========================================================================= Date: Mon, 24 Jul 1995 03:02:53 GMT From: Scott White Subject: Re: This Week's Sign.... MAYBE WE CAN TAKE THE PROCEEDS AND BY ANOTHER ELECTRIC CHAIR AND FRY HIS SORRY ASS. ========================================================================= Date: Tue, 25 Jul 1995 03:06:40 GMT From: Andrew Gregg Subject: Re: Blues Amps & Blues Distortion In article <199507202339.TAA00253@twins.cftnet.com>, "P.W. Fenton" wrote: >>> "Craig O'Donnell" writes: >>> >>> I think it was Guitar Player who had an interview with BB King, he said >>> he just plays thru a Fender Bassman with everything on 10 except the Bass >>> knob (on zero). Now that's the way to get tone! >> >>Every time I've seen B.B. play live over the last 10 years, he's played >>Lucille through a Lab series 2x10 which is similar to the older Fender >>Twins. In the last few inteviews I've read in Guitar Player and >>elsewhere B. B. said he only uses the Lab. He is pictured playing >>through a Bassman in the 50's, but not recently. >> >>Where did you read that? >> > >Maybe he was talking about Albert Collins who played a 4X10 Quad Reverb with >all knobs at ten and Bass at zero. Besides... The Bassman knobs all go to >"12" :-) Ive got some photo's of BB playing through a bassman from the late 50's ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Tue, 25 Jul 1995 03:13:06 GMT From: Andrew Gregg Subject: Re: cocaine (was Re: Robert Wilkins) In article <199507240241.WAA10710@genesis.ait.psu.edu>, Ross Whitwam wrote: Although I didnt see the start of this thread, has anyone mentioned that Robert Johnsons 'Stop Breakin Down" blues' mentioned (the way I see it) the use of cocaine? The verse which goes " I gave my baby the 99th degree " from what Ive been led to believe this was period slang for cocaine, and seems to fit with the lyric "the stuff I got will bust your brains out baby, It'll make you lose your mind" Any thought on this?? ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Mon, 24 Jul 1995 08:33:27 GMT From: bluesdj@HALCYON.COM Subject: tastes of blues I agree with Shurman......let's not get all picky and dissect the list into little bitty segments. Roberta ========================================================================= Date: Mon, 24 Jul 1995 08:41:08 GMT From: bluesdj@HALCYON.COM Subject: Big Joe Turner Big Joe Turner is on the Beach Music Top 40 Chart, along with Cheryl Crow, Francine Reed and a bunch of other people. Does anyone know of plans to release "Super Black Blues," with Big Joe, T-Bone Walker, Ernie Watts, Otis Spann, etc..., on CD? I think the lp was on Bluesway. ========================================================================= Date: Mon, 24 Jul 1995 12:34:29 +0300 From: T P Uschanov Subject: Re: Big Joe Turner... > > Apart from the Rhino 3-disc set, does anyone know of any Big > > Joe Turner CDs that have the original version of the Big Joe & Pete > > Johnson classic, "Roll 'em, Pete"? > > > It also appears on Big Joe Turner: Boss of the Blues, Atlantic 8812-2. But isn't this the '56 Atlantic recut, the one also on "Atlantic Blues: Piano"? /tp/ ========================================================================= Date: Mon, 24 Jul 1995 12:47:32 +0300 From: T P Uschanov Subject: Goldmine > Just a general comment about Goldmine, which I buy every four or five > months. The problem with it, apart from the fact that my eyesight ain't > what it used to be and I can hardly read most of the ads, is that the > articles are so windy, and the discographies are hopelessly incomplete. > There is rarely an attempt to list when a record was originally made, or > who played on it. I'm a major Bland fan (and, in fact, promoted his first > Canadian appearance, which lost a lot of money and I stopped smoking the > next day to pay the bills!), but I found nothing in the piece I didn't > know, and really missed a decent discography. Anyone else ou there have > similar feelings, and if so, how can we pressure the mag to pull up its > socks? Well, the Editor has been known to have the e-mail address of jefftamar@aol.com. /tp/ ========================================================================= Date: Tue, 23 Jul 1996 03:30:23 PDT From: Michael Suffern Subject: Re: Chuck Berry/Texas Boogie Technique >> "Craig O'Donnell" writes: >> >> There's another way to do this. >> >> (On A for ex). >> >> Middle finger on 5th fret of E-STRING. >> Little finger plays the 5th (7th fret/A) >> Lift up little finger. >> Use index to fret the 6th (4th fret/D). >> Back to step 2. >> >> You can use the index or middle finger to fret the 7th. >> >> Much easier to mute and "chunk" as far as I'm concerned. >> Also can be used on any set of strings (E-A, D-G). >> I'll be damed. I finally learned something new (to play) on blues-l. I don't like having to mute the A string, though. This is so opposite what I'm used to that keep using going to the 6th instead of the 5th when going back to the root chord. It's a funny feeling of incompetence (as opposed to the usual frustrating variety). Thanks for the fun! Mike -------------------------------------------------------- Name : Michael A. Suffern Mated : Judith Darin-Suffern E-mail: msuffern@xnet.com Does... He : Code by day... ...blow, pick, and holler Chicago Blues by night She : SoundTravels/B&B Travel Blues Vacations, Cool Vacations, Europe, etc... ...learn bass, listen to E.C. & Freddie King, talk to her nieces half the night, put up w/ me "Uhhh.... if you see my little red rooster, Please.... a drive him home. Well.... if you see my little red rooster, Please.... a drive him home. 'Der no peace in thE barn yard, Since the little red rooster been gone." Willie Dixon (Howlin' Wolf) -------------------------------------------------------- ========================================================================= Date: Tue, 23 Jul 1996 20:28:29 PDT From: Michael Suffern Subject: Re: Blues Amps & Blues Distortion More Re: Blues Amps & Blues Distortion >Recently on this thread... > >>And now, back to the 4x10 Fender ... >> >> ... > Many ... tube overdrives ... include a pre-amp >> ... > tube. Marshal and Blue Tube are two examples >> ... > Both will add a nice, variable "tweed" tube overdrive sound. The >> ... > Sans-Amp units, while not using a tube, are also >> ... > quite popular for this type of sound. >> ... >> ... > >then I said: > >> ... I would like to add the Mesa V-Twin Pedal to this list. It's >> ... expensive (350.00) but it is a real 2-tube guitar preamp that has >> ... some wonderful tones in it. >then Craig O'Donnell said: > >>Whoa doggies. We've just spent an extra few hundred bucks for this guy! > >>Mainly what you need to do is hit the input stage harder with the guitar >>signal. There are several ways to do this. Cheap is just as good as >>Expensive. >In all of our dreams, son.... And Mike says: Cheap is as...err, how cheap results can you be satisfied with? Some extra gain, of any flavor, before your first preamp tube gain stage will give you more distortion from that first stage. My Peavey Classic 30 has one 12ax7 preamp tube in the Normal 'channel' (well it did until I re-tubed with a 12at7) with an attenuator to control the level *after* the input tube, going to the splitter. The Lead 'channel' adds another 12ax7 before the splitter with a Pre attenuator to lower the level going into the extra tube (the straight gain from the input tube) and a Post attenuator to control the level after it going to the splitter. Note that the level going into the 1st preamp tube (the input tube) is determined by the output of the pickups. The gain of this tube is fixed. The attenuator after the tube controls how much signal goes to the power amp stage - the full output of the 1st tube, or less if the 'Volume' is turned down. The Lead channel allows you to take that same 1st stage output and feed as much or as little of it to another 12ax7. This 2nd tube stage has a fixed gain too, but you've got a much hotter signal available to feed it. Hot enough to cause the 2nd tube to compress* and even clip**. For either channel, if the resulting signal is high enough, it drives the power amp stage into compression and clipping. For each tube stage the distortion is cumulative and errors are introduced at each point. Now, if I add anything to my setup to increase the level going into the 1st tube, I can get the 1st tube to compress or clip. That's one more tube distorting than before. So if you like the sound of the additional preamp tube distorting, and the following preamp tube maybe distorting more, and the power amp tubes maybe distorting more, then whatever boosts that can be right for you - cheap or expensive. It is possible to get a sound you like by using a simple opamp gain stage before the first tube. I happen to dislike the sound of a 12ax7 clipping, the sound of it compressing a bit is good. If I add some gain before my 1st 12ax7 preamp tube, and use the lead channel with it's extra, controllable 12ax7, maybe I could dial in a bit of compression in both 12ax7's and get some of that British overdrive I mentioned in the last installment of this thread. Now take a more expensive gain device, say a complete, small, low output amp with an output attenuator to match the level to that of a preamp. Use that to overdrive the 1st (and following) tube stages. Or, why overdrive them if this miniamp/maxipreamp sounds better than your's? You could even bypass your preamp if you've got an effects return/power in. If your amp doesn't have circuitry that responds satisfactorily to the inexpensive approach, then this is a reasonable fix - if the amp doesn't just suck. You could sell it and get a new amp. The expensive approach does give a lot of flexibility if you record, you can go straight into the board (or even at a jam session), it's light and portable. At least Mesa used power amp tubes in the V Twin. :-> If I needed one, I wouldn't hesitate to check it out. I have one problem with the boxes that are designed to be amp simulators, if they eq the sound to make it more 'amp like' before sending it out the jack you're supposed to feed to your guitar amp (often a separate jack from the recording compensated or cabinet simulated out), it doesn't sound right. You lose many of the good qualities of the amp (if there were any). Caveat: try before you buy. The other option (my preferred), is to wring more out of your existing amp. If you run the amp on 4 instead of 9, then you're not using the output stage for distortion. That is a sin! I see guys buying 50 watt combos that they are never going to turn up past 4. Then to get some distortion they have to use the Master volume to distort the preamp. The solution? Get an attenuator a Marshall Power Brake or the new THD box. This is another expensive solution (as solutions, other than a new amp, go). In either case, we may only be talking about the difference between great and really great, or just degrees of flexibility. You have to appreciate the difference, and care. If a $65 enhancement w/ a touch of a natty distortion is satisfactory, and you don't want or need the extra smoothness of a $350 enhancement, who cares? I think we all agree, don't blindly follow any of the advice thrown around (blues-l or your favorite music store). At least blues-l members have a much better chance to make an informed decision. And don't forget to share your results with the rest of us! >>How about hotter pickups? My friend Tom installed Fender Texas Specials >>in an cheap but nice playing Japanese "Heavy Metal" style Fender Strat >>and WOW, what a difference. >I really object to putting good PU's in a cheap guitar. Sure, its a >good cheap fix, but once you hear a real good guitar with good PU's, you >will probably decide you wasted your money. If the tone is not in the >instrument, you're not going to get it from the PU's..... Yes, but if all you have is a cheaper guitar, and you want to have the best cheaper guitar around (for sentimental reasons, cost, or you stubbornly refuse to give up on it yet), why not? Maybe the pickups deserve to be in a better axe, but if it works... What bothers me is when the results are not good. When a mod ruins the axe. When the mod'ed axe sounds about the same as before. When a mod doesn't fit or looks bad. There is a certain wacky individualistic statement in a '76 AMC Gremlin with a 390 V8 from an AMX (and a frame that hasn't bent under the stress yet). It's better than having one with an inline 6. >>Most all tube amps have a tube or two which simply provide gain, THEN a >>volume control. So the point is to make those first few tubes distort to >>the proper level _if_ that's the sound you're after... This is important to reiterate, the volume control in a tube amp attenuates the signal that has been amplified a set amount, by the gain of the tube circuit design. The volume doesn't change the gain of that stage and can't make it distort. Thus, the desire to make that 1st stage distort by pumping up the input signal. Like if the 1st cylinder in your car was only getting half the fuel mixture it could. >Opamps, (solid state operational amps) can work as guitar preamps, but you >have the first circuit the signal sees being a chip(!) instead of a tube. >This is not a recipe for great tone... sorry. .. >You can't just pop an opamp into your guitar-and-tube-amp >signal chain and expect that it will be transparent. I disagree. This is irrelevant. You could say that the first circuit the signal sees is an RC network in the guitar, or an RC network on the input side of the 1st stage, most usually not directly to the tube. And anyway, it's what changes the tone that count's and the high speed and wide frequency range of an opamp add no color - as long as it's a low noise opamp and the gain is moderate, little or no noise is added either. Even if it's an opamp that changes the tone, if it does it well (great for active filtering, accurate gain changes, buffering) there is no reason to *not* use one (other than to market to people who think they're evil). I just don't care to overdrive semiconductors for distortion, unless I wanted a fuzz. So, while it may seem sacreligious not to connect directly to a tube, it isn't. >>If someone came to me with this question I'd recommend an inexpensive >>preamp stomp box to isolate the guitar pickups (more punch, more highs) >>and provide the "re-quee-zeet" level of boost. > >This reminds me of the "engineers" who used to push the Radio Shack "PZM" >mics cuz hey, "they're just like the Crown version and ONLY 35 BUCKS MAN!" And they're the best damn $35 concert recording mic around! They don't have the Crown capsule, but they have all of the soundwave aligning properties. Until I can afford the Crown, the RS is just what *I* need. :) >"Inexpensive preamp stomp boxes" SOUND like "inexpensive preamp stomp >boxes"! How important is your tone to you?? Depends on the box and how you use it. A distortion pedal sounds like semiconductor. A compressor doesn't. > ... statements that I >firmly disagree with (mainly that you can do everything for dirt cheap and >it will be just as good as expensive), but that doesn't mean he's wrong... >it simply means that I think there's another side to be told, so I told it. >Try everything! Trust your ears! Intelligent application of 'cheap' were it does the most good with the least side effect is something worth striving for. Obviously there are many things that can't be accomplished with cheap to the same degree, or at all. For those with limited resources, you do what you can. There are certain things that I try to by the best of, because it provides joy longer than cheap. I've never been dissatisfied following that policy. I have had to go without while waiting to accumulate the funds. Non-essential items are the ones that I'll skimp on, and I'm always looking for the Alesis's and Mackie's of the world - do it as good or better, for less. Blues-l is a wonderful forum where the pros and cons can be listed and, unlike magazines, revised. >regards > >Don >____________________________________________________ >dcicchet@vega.lasierra.edu >____________________________________________________ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ GLOSSARY ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *Compression: The signal being amplified in the tube begins to require voltage swings so far and fast that the tube can't physically respond fast enough and the level changes are no longer as large as they were before the signal was this large. The hotter the signal the worse this gets - less output increase for an increase in input. That's why it's called compression. The output gain increase, for equal amounts of input level increases, becomes less and less (like the faster you drive your car the longer it takes to go even 10 mph faster, then 5 mph faster takes even longer, then 1 mph faster takes forever...) so that if you charted the output gain, the changes at the top end would be compressed. Since the output isn't changing level as much as the input, the sound is smoother (compressed) and since the output is not following the input fast enough, you get a distortion of the waveform (a mellower distortion than clipping). *Clipping: The signal is, by now, heavily compressed. If you increase the input level a bit more, the amplified signal becomes as large as the tube can make it. If the tube is running at 50 volts, it can't amplify a 1 volt signal to any higher than 50 volts (this is simplistic, and not quite accurate, but get's the point across). So, if the gain was 50, the output signal would be as high as it could go. If the input signal gets a bit higher, the output is *not* going to change. An input of 1.1 volts times 50 should equal 50.5 volts, but since the maximum output is 50 volts, there isn't any difference between a 1 volt and a 1.1 volt signal. The highest peaks of the waveform are being 'clipped' off - a flat line on top (like when you've got the pedal to the metal and you've reached 130 mph - on a closed course with a professional driver, always use your seat belts, your mileage may vary, void where prohibited - and the car just isn't going to go any faster). Since the output signal again doesn't match the input signal, you have distortion from clipping. Since it doesn't match *real bad*, with the peaks clipped off, you have a lot of distortion. Pump even more signal in, and you cut off more peaks, and you get more distortion. The main reason that tube distortion sounds more musical than transistor distortion is that the compresses more on the way to clipping. The transistor tends to track the input accurately until you hit the rails and then it clips - like Yoko screaming. Tubes are slower to respond, they start to mistrack before you get to the clipping stage, this sounds mellower, sweeter, more musical. Add the grit of clipping and you've got a nice tone recipe. Add a tube rectifier that isn't so fast at supplying surges of power (pick attack) and a power transformer that's a bit small, and get sag - more mistracking. It is said that tubes produce [more] even order harmonics (2nd's, 4th's, 8th's...) and transistors produce [more] odd (3rd's, 5th's, 7th's) and that even orders are more musical, mellower, etc. I have never seen a spectrum analysis comparing the two and just because 2 seems to be a 'smoother', 'rounder', number than '3', doesn't mean that even harmonics are nicer then odd. There are non-harmonically related artifacts, like a 3.779th, that I would expect to be nastier. You also have to consider the levels each harmonic is produced at the lower the harmonic, the stronger it will probably be. -------------------------------------------------------- Name : Michael A. Suffern Mated : Judith Darin-Suffern E-mail: msuffern@xnet.com Does... He : Code by day... ...blow, pick, and holler Chicago Blues by night She : SoundTravels/B&B Travel Blues Vacations, Cool Vacations, Europe, etc... ...learn bass, listen to E.C. & Freddie King, talk to her nieces half the night, put up w/ me "Uhhh.... if you see my little red rooster, Please.... a drive him home. Well.... if you see my little red rooster, Please.... a drive him home. 'Der no peace in thE barn yard, Since the little red rooster been gone." Willie Dixon (Howlin' Wolf) -------------------------------------------------------- ========================================================================= Date: Wed, 24 Jul 1996 00:53:26 PDT From: Michael Suffern Subject: Re: Splitting the list (was Re: Did you know this?) Dick, Your claim to be "the long historian to snake out Buddy turf" is wrong. As a graduate of NCI's Blues Hospitality Associates Degree by mail program, with a special interest in snakes, I have to say, IMHO, you are sadly mistaken. Even if I had paid attention to what you said, and not gotten all hyper about a few words that made my knee jerk, I still might send a harsh reply completely devoid of logical arguments or any facts to back up my claims. I realize that as a new blues-l'er you have not had time to become de-sensitized to errors in judgement, courtesy, and common sense, but, I assure you that, as time passes, you'll see such lapses and just sigh and think once more, "That's not *even* what the guy said!". So, welcome to blues-l and, next time..., get your facts straight. Mike -------------------------------------------------------- Name : Michael A. Suffern Mated : Judith Darin-Suffern E-mail: msuffern@xnet.com Does... He : Code by day... ...blow, pick, and holler Chicago Blues by night ...totally shot by morning She : SoundTravels/B&B Travel Blues Vacations, Cool Vacations, Europe, etc... ...learn bass, listen to E.C. & Freddie King, talk to her nieces half the night, put up w/ Mike "Uhhh.... if you see my little red rooster, Please.... a drive him home. Well.... if you see my little red rooster, Please.... a drive him home. 'Der no peace in thE barn yard, Since the little red rooster been gone." Willie Dixon (Howlin' Wolf) -------------------------------------------------------- On Fri, 21 Jul 1995 12:03:21 -0400 Dick Waterman wrote: >I thought that I was making an innocent comment on how I hoped to have more >connection with people who had an interest in Pre-War blues. It was intended >only as a casual remark that I posted as part of the postage stamp >availability. >It was never my intention to ignite an Acoustic vs. Electric situation. Since >I have long personal history with Son House and John Hurt as well as Buddy >Guy and Magic Sam, I'd be the last one to start staking out any preferred >turf. >I also got scolded several times by folks who said, "This list is what you >make it. Stop whining and start posting." >I'm going back into my cave now. >dick waterman ========================================================================= Date: Wed, 24 Jul 1996 01:45:12 PDT From: Michael Suffern Subject: Re: Goldmine Articles Of course every one reads Goldmine for the articles... Mike On Fri, 21 Jul 1995 17:53:17 -0400 P.W. Fenton wrote: >Richard Flohill sez: >> >>Just a general comment about Goldmine, which I buy every four or five >>months. The problem with it, apart from the fact that my eyesight ain't >>what it used to be and I can hardly read most of the ads, is that the >>articles are so windy, and the discographies are hopelessly incomplete. >>There is rarely an attempt to list when a record was originally made, or >>who played on it. I'm a major Bland fan (and, in fact, promoted his first >>Canadian appearance, which lost a lot of money and I stopped smoking the >>next day to pay the bills!), but I found nothing in the piece I didn't >>know, and really missed a decent discography. Anyone else ou there have >>similar feelings, and if so, how can we pressure the mag to pull up its >>socks? >>Richard >> >Another thing about Goldmine articles that I've noticed about the few I've >read, was their dubious origins. This is something that Mary Katherin, and >Richard Shurman might be interested in. Last year I remember reading >articles which were nothing more than verbatum copies of Chess Box liner >notes (from the nice big books inside). I remember thinking, "Wait a >minute... some cover article... I've read all this before!". > >I hope everybody realizes I'm not accusing Goldmine of anything illegal. >For all I know that stuff was reprinted with permission, and maybe even >payed for. I was just dissapointed, because I bought Goldmine for these >articles alone, and then realized I had already read them (with different >photos). > >P. W. Fenton >Tampa, Florida >e-mail: pwfenton@cftnet.com >WWW: http://www.webweaver.com/pwfenton ========================================================================= Date: Mon, 24 Jul 1995 07:19:31 -0400 From: "P.W. Fenton" Subject: Re: Splitting the list (was Re: Did you know this?) >Dick, > >Your claim to be "the long historian to snake out Buddy turf" is wrong. > >As a graduate of NCI's Blues Hospitality Associates Degree by mail program, >with a special interest in snakes, I have to say, IMHO, you are sadly >mistaken. Even if I had paid attention to what you said, and not gotten >all hyper about a few words that made my knee jerk, I still might send a >harsh reply completely devoid of logical arguments or any facts to back >up my claims. > >I realize that as a new blues-l'er you have not had time to become >de-sensitized to errors in judgement, courtesy, and common sense, but, I >assure you that, as time passes, you'll see such lapses and just sigh and >think once more, "That's not *even* what the guy said!". > >So, welcome to blues-l and, next time..., get your facts straight. > >Mike > Mike, I had to read this three times before I decided it was an attempt at humor, and not a rude insult. I hope that Dick Waterman realizes that, or it will go down as one of the worst attempts at "patching things up" that Blues-l has ever seen. P.W. Fenton Tampa, Florida email: pwfenton@cftnet.com Web: http://www.webweaver.com/pwfenton ========================================================================= Date: Mon, 24 Jul 1995 14:48:07 +0300 From: T P Uschanov Subject: Re: Howard Tate: Get it while you can Some time ago Billy P. wrote: > ELIOT WILLIAMS asked about what happened to Howard Tate after he recorded for > Verve (the Verve material has now been reissused by Mercury). > > He recorded several years later for Atlantic. The Atlantic album was also > produced by Jerry Ragovoy, and it has some great moments, although today it > sounds dated because of the fact that it a made conscious appeal to what was > at the time the contemporary rock market. The album included covers of the > Band's Jemima Surrender and Dylan's Girl From the North Country, and the horn > charts were influenced by Blood, Sweat, and Tears / early Chicago. Tate later > did at least one 45 for Epic, also produced by Ragovoy. The Epic single, the > name of which escapes me, is on the Lost Soul compilation on Sony/Legacy. I > also have a Tate 45 on Lloyd Price label of "Have You Ever Had the Blues." Howard Tate discography, according to Blues News 141 (summer 1993): Utopia 510/511 (1965) Half a Man/You're Lookin' Good Verve 10420 (1966) Ain't Nobody Home/How Come My Bulldog Don't Bark Verve 10464 Look at Granny Run Run/Half a Man Verve 10496 (1967) Get It While You Can/Glad I Knew Better Verve 10525 Baby I Love You/How Blue Can You Get Verve 10547 I Learned It All the Hard Way/Part Time Love Verve V-5022 GET IT WHILE YOU CAN: Ain't Nobody Home/Part Time Love/Glad I Knew Better/How Blue Can You Get/Get It While You Can/Baby I Love You/ I Learned It All the Hard Way/Every Day I Have the Blues/How Come My Bulldog Don't Bark/Look at Granny Run Run Verve 10573 Stop/Shoot Them All Down Verve 10604 (1968) Every Day I Have the Blues/Night Owl Verve 10625 Sweet Love Child/I'm Your Servant Verve V6-5072 GET IT WHILE YOU CAN: Ain't Nobody Home/Part Time Love/Glad I Knew Better/How Blue Can You Get/Get It While You Can/Stop/Baby I Love You/ I Learned It All the Hard Way/Every Day I Have the Blues/How Come My Bulldog Don't Bark/Look at Granny Run Run/Sweet Love Child Turntable 505 (1969) These Are the Things That Make Me Know You're Gone/ That's What Happens Turntable 507 Have You Ever Had the Blues/Plenty of Love Turntable 508 My Soul's Got a Hole in It/It's Too Late Turntable TTS-5002 REACTION: Question/Have You Ever Had the Blues/Plenty of Love/That's What Happens/Little Volcano/ It's Too Late/Hold Me Tight/Come into My Heart/What'll I Do/Chain Gang/My Soul's Got a Hole in It/These Are the Things that Make Me Know You're Gone Atlantic 2836 Keep Cool (Don't Be a Fool)/Strugglin' Atlantic 2860 She's a Burglar/You Don't Know Nothing About Love Atlantic 2894 Eight Days on the Road/ Atlantic SD-8303 HOWARD TATE: She's a Burglar/Eight Days on the Road/ You Don't Know Nothing About Love/When I Was a Young Man/Girl of the North Country/Where Did My Baby Go/Keep Cool (Don't Be a Fool)/Jemima Surrender/ Strugglin'/It's Heavy/It's Your Move/The Bitter End Epic 11118 (1974) Ain't Nobody to Give It to/Can You Stop This HT [unknown #] (1976) Brand New Me/Pride /tp/ ========================================================================= Date: Mon, 24 Jul 1995 11:51:02 +0000 From: Pat Hertel Subject: Coco Montoya Got to see Coco last friday in Ottawa and I thoroughly enjoyed myself although I have a few niggling quibbles. If you disregard the "walking through the crowd with a long lead cord part" he pretty well split the solo honours with his "partner in crime from L.A.", the keyboard man Buddy Yee(sp?). He was an excellent keyboardist but I will never be a keyboard fan and besides the name of the game is Coco Montoya. After a while organ solos seem like commercial interruptions to me.I think he needs to be less "egoless". There was also a time where everyone abondonned the stage (went to the bathroom, headed for the bar etc.) leaving the drummer to do an extended solo. He brought it off alright but he is no Billy Cobham or the like. Montoya has a sense of whimsy, witnessed by his autograph which comes out as a stylized face with the O's in Coco for the eyes. At one point in his wanderings through the crowd he made his guitar "talk" to a girl in the audience. Her embarassment gave it even more of an effect. There was really only one number I didn't particularly like, and that was "Top Of The Hill" which is on his CD. I just don't get this song, it bores the heck out of me. I don't understand why a newer generation guitarist like Montoya uses a long lead cord to go walkabout instead of a transmitter (maybe its an Albert Collins influence). This would mean that people dancing in front of the stage wouldn't stomp all over the cord. I even saw it wrapped around an ankle at one point (go figure) He plays left handed and has a left handed strat but it has a right handed neck on it so that the pegs and the heavier strings are at the bottom. Made for some strange fingering. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [24/7/95 7:09 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 24 Jul 1995 07:52:38 EDT From: "Eric C. Shoaf" Subject: Re: Buddy Guy guitars PW Fenton says of Buddy Guy: He eventually got an endorsement out of Gretch and brought the "Nightbird" to all his gigs ************************************************************************** Actually, the Nightbird was made by Guild. I can't think of many blues guys who played Gretsch guitars. Does Bo Diddley count? E. Shoaf ========================================================================= Date: Mon, 24 Jul 1995 12:15:32 GMT From: Magnus Ensby Subject: Philip Walker info wanted Philip Walker Bluesband is coming to Oslo, Norway, and will play at Cruise Cafe friday night. I have got only 1- one record (vinyl), and that's the one he made together with his friend Lonesome Sundown. It's called From L.A. to L.A. Everything I know about Philip Walker, I've got from this record and its cover. Can anybody help me with more information. Anything of interest. Magnus ========================================================================= Date: Mon, 24 Jul 1995 08:05:12 -0400 From: "P.W. Fenton" Subject: Re: Buddy Guy guitars >PW Fenton says of Buddy Guy: > >He eventually got an endorsement out of Gretch and >brought the "Nightbird" to all his gigs >************************************************************************** > >Actually, the Nightbird was made by Guild. I can't think of many blues guys >who played Gretsch guitars. Does Bo Diddley count? > > E. Shoaf Woops... Thanks, Eric. When I sent that off, I kept staring at the word "Gretch" and thinking it looked wrong. Not only was it spelled wrong, but it was the wrong dang make of guitar. Even stranger is the fact that a 24 X 36" poster of Buddy playing that guitar is hanging about 4 feet from my computer screen. I could have spelled "Guild" correctly. Sheesh. P.W. Fenton Tampa, Florida email: pwfenton@cftnet.com Web: http://www.webweaver.com/pwfenton ========================================================================= Date: Mon, 24 Jul 1995 08:32:30 -0400 From: bob unger Subject: Quinessential Etta I need some help. I have to get some Etta James. I just gotta have that voice in my house. What is/are the quintessential Etta James recording/s. BU bob@bnkst.edu ========================================================================= Date: Mon, 24 Jul 1995 08:04:19 CST From: William Shute Subject: four short concert reviews (south Texas) From: Bill Shute No time for anything long or detailed today--just some brief comments about four live gigs I've seen in the last four days here in San Antonio. THE KELLY WILLIAMS BAND Ms. Williams is from Corpus Christi, but they work out of and the band is from Atlanta. KW is kind of in the singer-songwriter vein, but she writes fine songs with lyrics that are taken from real life--at least the kind of life I live (paging Leonard Cohen!). About 1/4 of her material has a Texas roadhouse blues feel to it, others are kind of country- rock, and overall the band sounds like they could have recorded an album for Enterprise Records in l971 (Hi Denise!) produced by Duck Dunn. Her guitarist and bassist are the Phariss brothers, and the guitar playing Phariss brother did some fine fine slide dobro work, including a solo tune or two while the band took a brief break. Vocally, like so many southern/Texas/southwestern female singers, she owes a debt to Wanda Jackson. Over all, a good "weeknight" band...if you aren't expecting a completely BLUES BAND. CHRIS HOLZHAUS The longtime Delbert McClinton sideman and now co-owner of the SA Billy Bluescan attract a dedicated after-midnight crowd on a weeknight in San Antonio, and it's easy to see why. On the extended jams, jam-my covers, and quirky originals, Chris is a powerhouse-- VERY inventive playing, incredible near-telepathic empathy with his bassist/drummer, and a self-deprecating "what the f##k" stage persona. Chris attacks his material like a guitar-playing blues version of what the late 60s Archie Shepp was to the saxophone. Unfortunately, I was VERY sorry to hear that problems with carpel-tunnel syndrome may keep Chris from active performances somewhat. I was told that he was very much in pain Friday after Thursday night's blistering performance. VAN WILKS All Texas Music fans ought to know this veteran gtr-slinger, who's been around since at least the early 70s, I think. If there's anything VAn can't do with a guitar, I can't think of what it is. I've seen him do beautiful acoustic gigs at Austin's SAXON PUB, his recordings are often in the Billy Gibbons/Johnny Winter And vein, and Friday night he focused on electric blues, which he plays with the ease of a master. I saw over three hours of Mr. Wilks and I left just after the beginning of the third set, so he must have played over four hours total. His original compositions are witty yet anthemic and feature lots of his stinging guitar--on his new album SOUL OF A MAN on the "Texas '51" label (e-mail me privately for address, etc.) the tunes have more of a early 70s Texas hard-rock/blues feel reminiscent of, as I said earlier, Johnny Winter And or a more bluesy John Nitzinger. His beautiful version of "Red House" was a showstopper and you could hear a pin drop as even the very-drunk people in the audience knew something special was happening. Van's also a really nice guy, and whenever he's within driving distance I'll go see him (the next evening he had a gig at the legendary Gruene Hall in Gruene, Texas, where the unique VAn Wilks sound would undoubtedly take on a slight Country Boogie tinge!). GUY FORSYTH AND THE REAL DEAL I commented on Guy's unannounced guest shot at the Lazy Lester gig at Antone's. This was his own show at Cibolo Creek Country Club, a different kind of venue from Antone's as CCCC is a roomy, overlarge old 30s roadhouse where you'd never see a mass of sweating bodies crowded around the stage as you do at Antone's. Guy is definitely one of the finest live performers in Texas. Not that he's ever been bad, but he keeps getting better and better. His harmonica playing is, to me, the equal of a James Harman--and I LOVE James Harman. His rich vocals are natural and unforced and mature-- surprising for a man still in his 20s I think. His guitar playing, which he doesn't always feature but did here, was equally impressive-- he's a mean man with a slide and could undoubtedly "make it" solely as a gtrist if he had to. His original songs are now less in a Joe Ely/Robert Earl Keen 'story song" vein but more in a natural "pure blues" vein using the jargon of the blues well but being natural vehicles for expressing what he has to say. Shirtless and wearing overalls that he didn't really button on the sides (the lady at my table sure dug that! I asked her for "the women's impression of Guy" and she let me bum cigarettes--hey, I don't even smoke, so that tells you what level Guy took me to!), Guy Forsyth had the VERY large crowd (a bigger crowd than "names" like Debbie Davies and Jonathan Richman drew!) under his control. Yet, he's still on the surface when offstage or between songs an unassuming, slightly shy good ole Texas boy. If you haven't seen Guy in, say, the last 12 months, treat yourself to him now. He mentioned having a new album in the can, but I didn't get to speak to him personally about what label it's on or if he's shopping it around. Guy also paces a set really well, and his 350 lb. bassist sings a song in each set in a kind of Howlin Wolf voice accompanied by crowd-pleasing "antics" (he looks like a funkier David Thomas or that big guy in Plan 9 from RI). I am a dedicated fan of GUY FORSYTH--whatever "it" is, he has "it." And if there's any justice in the world ( which there probably isn't), everyone will have heard of him and will become a fan REAL SOON. By Sunday I was too burned out to catch ex-Vanguards leader and sometime host of blues jams at Hank's Roadhouse Cafe,Spencer Jarmon, at CCCC, but I will catch him ASAP and report back. Remember, Texas blues-l-ers, Jeff Seale challenges you to be in San Antonio on August 12th for the TEXAS JOHNNY BROWN show (I will make a few calls to definitely confirm that date, provided us by TJB) and I do too! I'll introduce you to my children, and you can watch my almost-six year old daughter Kendra take over the dance floor! BILL SHUTE San Antonio, TX ========================================================================= Date: Mon, 24 Jul 1995 08:14:34 CST From: William Shute Subject: quintessential Etta James (reply) From: Bill Shute While the Virgin/Flair collection of her 50s sides is essential and her more recent stuff is fine too, I'd have to go for the early 60s live album on Chess, ETTA JAMES ROCKS THE HOUSE, which has a few unreleased cuts on the CD version. This is Etta's version of James BRown at the Apollo, if you get my drift. As someone too young to have seen her in the 60s, I can get a fix of her dynamite stage presence and incomparable POWER via this recording. She devotes a full page to this album in her recent autobiography, which I also recommend highly.Speaking of the book, I don't wanna give anything away, but the anecdotes about Bo Diddley's "home movies" (seems he DOES have something "in common" with Chuck Berry) and Allen Toussaint's "pedicures" and toe massages are only the beginning. And if you are wondering what ever happened to l940's comic actor Willie "Sleep n Eat" Best (one time sidekick to Charlie Chan before Mantan Moreland,)you'll certainly find out here. Could someone e-mail me privately with a speculation about the "rock star" with certain "connections" who was alluded to in the part about the death of Larry Williams? Bill Shute (no relation to "Jamesetta X") ========================================================================= Date: Mon, 24 Jul 1995 09:24:10 -0500 From: VT Subject: REVIEW - Live - Hubert SUMLIN @ Turning Point Pt.1 63 year old man smokes joint........ No one's talking about the weed, nor am I talking about "old" either. Hubert Sumlin - Sat.95.07.22 @ The Turning Point, Piermont, NY. "The Wolf is in your town" said Danny "Mississippi" Russo harp player and leader of the band backing Hubert for the night. Eric "Little Brother" Baker on bass (remember both of these guys? - they played at the John Brim gig at the Bayou). The band members were the same as the ones who backed Hubert at the Turning Point on Feb/11 this year - which means it's Tadd Kotick drums and Dariush Reza on guitar. The warm up numbers included: what sounded like "Back at the Chicken Shack" (Jimmy Smith) - that's 3 times I have heard bands open with this number - and yes "Little Brother" does also get that pumping organ bass pedal sound. "Rocket 88" - a rousing version - and this considering that I had just heard James Cotton Band doing this just last Saturday. "Highway 49" - and the man who is the Wolf's #1 son is introduced - to a very enthusiastic welcome from the crowd. Hubert played his white Squier all night. He goes straight into his slinky lines - I can tell when he's in a good mood (and it isn't just because I had been upstairs with him earlier) - he plays lines with these long finger slides - plus he's grinning all over his face (!) He's stringing long runs and short bursts. He definitely changes the words to the song so it is no longer what it started out as - it does sound like he's making up the words - but pulling them out of his vast repertiore. Great start. Slow blues - nice loping bass playing from Eric - "All I Need is Your Love"(?) at least these were the opening lines. Very tastfully done. Everyone gives everyone space. Hubert's voice really suited this song. In stark contrast to his love and mentor for over quarter of a century (Howlin' Wolf! - not Tiny Tim!) Hubert's vocals are quite gentle matching his character, unlike his FIERY guitar playing. "Sitting On Top of the World" - the intro sounded like doodling at first then he plays the famous riff. His vocals were almost like talking at the start - then man! I am taken aback - instead of the usual hesitant and almost apologetic style he's throwing his voice out. After the instrumental break which had some really nice harp and guitar interplay, there was even more confidence in that voice. No, I am not saying roaring like the Wolf but there was definitely an air of authority in the way he sang that. "Feed Me" - stomping like rhythm. Hubert is playing more bass notes and he's hitting hard. The singing has enthusiasm. He's pulling all sorts of things on his guitar - totally unpredictable, and yet you can easily follow the music - this is genius. Hubert tells us that he feels all right tonight (told you...:-) Very quiet and gentle introduction on the guitar and the band tastfully stays subdued. The lines almost sound like "Sitting On Top of the World". Now the words do sound like he's making them up as he's going on. The guitar break is beautiful - Hubert's CRYIN' the blues - this is transendent. The whole band is building - Danny takes a solo - this is just great - I feel so blessed to be here. My guess at the title of this song is "I Can't Do it all By Myself". I tell you this is not the usual Hubert Sumlin (not that wasn't already extraordinary) The guitar lines aren't the usual - but nevertheless there is no mistaking it is Hubert. Another mid-tempo song similar rhythm and pace to "Feed Me" - sh*t! when he plays it's like all over the place he's burning - I apologize for misleading you he didn't smoke the joint - he BURNT the place UP. Just when you think things can't get any better - Howling for My Darling - yes! Hubert's vocals have so much more confidence - no he still has a limited voice, but it sure sounds good tonight. A word must be said for the second guitarist - Dariush Reza - he's playing that riff/lick on this song allowing Hubert to concentrate on his singing. Boy! when Hubert cuts loose on his solo, man! watch out watch out! the Wolf IS in your town! Don't Throw Your Love on Me So Hard(?) - more enthusiasm and the confidence in the voice is still growing - very good number. hee-heh :-) I'm a Man - yes! yes! that number and Hubert ROARS his vocals - he is just so on tonight. His guitar playing is powerful too but his adds all those Hubert slinky slides. Yeah not only is the Wolf in your town he's got into your house - watch out! "Little Wheel" - Danny takes over the vocals and the band is grooving on this one, Hubert cuts on the solo - very attractive number. "Hey, Baby"(?) - Danny continues on the lead Dariush plays an attractive riff through what sounds like a Leslie. But Hubert's solo is FRIGHTENINGLY good - I think the guitarists in the audience have wet themselves....... Slow blues - Hubert asks Danny to "help your Dad out" to continue on vocals. The song sounds somewhat like Little Walter's "Last Night" - Hubert does another one of those solos that makes you wonder not even how he does it - but WHAT he is doing. "Everything's Going to Be Alright" - closes the first show. One and a half hours after they started. "Old" I think is a relative term - and that relative is one's grandfather. Is it worth sticking around for part 2? Wild horses couldn't drag me away for the second show of the night..... Vincent p00061@psilink.com ========================================================================= Date: Mon, 24 Jul 1995 08:18:26 -0500 From: Richard Shurman Subject: Re: Willy Clayton I'm not a southerner but since Willie Clayton is a former Chicagoan (who allegedly can't go back; I'm not sure whether his problems are with the law or outlaws) I'll comment. He has a number of recent CDs and cassettes and all are worthwhile, on labels including Ace (US) and P-Vine and has been having good success (due partly to a good manager) down south for the last couple/several years. In his youth he was known as Willie "Pee Wee" Clayton (in Arkansas, I think) and was managed by Jimmy Liggins. He cut a nice string of soul 45s in Chicago with some blues mixed in (like "How Can You Love Two" in the early '90s) with some tasty Tyrone Davis covers, originals, etc. For unfortunate reasons, we haven't been able to get him for the Chicago Blues Festival, but Lee "Shot" Williams (by whom Willie recently produced some cuts targeted for an anthology) says Willie tours pretty regularly down south. ========================================================================= Date: Mon, 24 Jul 1995 07:45:12 -0700 From: Ron Wack Subject: Re: Splitting the list (was Re: Did you Item Subject: Message text I'd also like to keep the list as it is. I belong to another list which (beleive it or not) generates more mail than Blues-L. Any posting to this list *must* contain certain category words in the Subject Heading. This works very well for sorting out what you don't want. Maybe we could try something like this? RW ========================================================================= Date: Mon, 24 Jul 1995 08:42:41 GMT-5 From: ELIOT WILLIAMS Subject: Re: Quinessential Etta > From: bob unger > I need some help. I have to get some Etta James. I just gotta have that > voice in my house. What is/are the quintessential Etta James recording/s. I'd vote for her Chess recordings: "At Last", "Tell Mama", "Stop the Wedding", etc etc. MCA9341 +JAMES*ETTA ESSENTIAL ETTA JAMES $26.96 &MCA 6/93 Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 24 Jul 1995 09:47:43 -0400 From: Ted Dames Subject: Bugs Henderson Saw this on Prodigy blues bb(7/21)and thought I'd share it: heard henderson in nashville this weekend and liked his sound. expressive guitar work, good raw vocals and an interesting selection of tunes --- bluesey covers of lucille and ain't nobodies business made me hear those songs in a fresh new way. local paper compared his guitar chops to albert collins and freddie king, i don't know about that but he's got something. he's in his fifties? and his sound just seems complete, unhurried and like its coming from someplace not everybody can get to but would like to go. gaelle who's no blues fan said it sounded like his guitar was talking. i agree. who knows about this guy? saw his cds at tower but would like some thoughts about which one. thanks. sandy ............................................. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Mon, 24 Jul 1995 08:24:04 -0500 From: Richard Shurman Subject: Re: Brewer Phillips Brewer did some sessions in Fort Wayne a couple years ago; I don't know their status. He also cut a CD for Delmark right after the Blues Festival; I've heard good things about the sessions (produced by Pete Nathan, who did the Delmark Syl Johnson CD) but don't know the release date. ========================================================================= Date: Mon, 24 Jul 1995 08:38:40 -0500 From: Richard Shurman Subject: Floyd McDaniel dies Sigh... here we go again. Singer/guitarist Floyd McDaniel had a fatal heart attack behind the wheel of his car on the way home from one of his 80th birthday weekend gigs at the Green Mill in Chicago, in the early morning of Sunday, July 23. Even though Floyd had just hit 80, he sure didn't seem like a candidate for any kind of setback. Less than two months ago, the Chicago Blues Festival was the first of FIVE gigs for him that weekend, including a run to Kalamazoo. My notes to Floyd's Delmark CD (his debut, at age 79!) cover some of his varied career in New York and Chicago with the Cotton Club Tramp Band, Four and Five Blazes, learning blues guitar from T-Bone Walker, etc. He returned to blues about ten years ago and toured Europe (where he's on a Little Willie Littlefield CD and has a recent duet CD with Erwin Helfer) and Japan (where he just made it out of Kobe before the earthquake). He was busy around Chicago in a wide variety of contexts ranging from the jump band The Blues Swingers (with whom he did the Delmark project) to his duo gigs with Helfer at Pete Crawford's Gavroche bistro. He was a walking history of 20th century music, a good artist and a very nice person who seemed in great physical shape to take advantage of his belated Indian Summer. His loss is all the more poignant because he was among the last of his generation and ilk; nobody is really replaceable but even less so in Floyd's case. Too bad his heart apparently couldn't take the load of too many birthday parties, but nobody can say it wasn't good enough or big enough. ========================================================================= Date: Mon, 24 Jul 1995 10:17:14 -0500 From: VT Subject: Re: Splitting the list (was Re: Did you know this?) >DATE: Sat, 22 Jul 1995 09:11:18 -0400 >FROM: Peter K. Siegel > >In bit.listserv.blues-l Dick Waterman said: > >>I thought that I was making an innocent comment on how I hoped to have >>more connection with people who had an interest in Pre-War blues. > >And that's exactly how I read it. I think the "splitting the list" stuff >entered a bit later. > Thank you Peter - That's the way I read Dick's post too - he was merely asking people if they wanted to discuss pre-war blues - which HAD ABSOLUTELY NOTHING to do with splitting the list. Exactly as Peter said the "thoughts" on splitting the list came later from another Blues-L member. If Dick Waterman received flames from this list - I personally would like to apologize to him for the behavior of (hopefully) a "few" hot headed people. Please let's get back to talking about the blues instead of splitting the list. Since I am sure Dick is reading this one: Please tell us about when you FIRST met Son House and what his reactions were like? (and perhaps your own reactions? like how did you know it was him?) Vincent p00061@psilink.com ========================================================================= Date: Tue, 25 Jul 1995 00:25:53 +1000 From: Andy Turner Subject: Brownie,mortality,yanks On two 'separate' occasions Dick wrote: >Here's a free piece of advice, Andy . . . >I suggest that you do not tell McG that you consider this to be "undoubtedly >his last Australian tour." >Being of sound body as well as very sound mind, Mr. McG will give you what us >Yanks call 'a knuckle sandwich' and give you a whole new meaning to the term >'Down Under.' >Tread softly . . you are forewarned . . . >dick waterman On two more occasions, and after much thought and refinement of wording, Dick wrote: >A piece of advice, Andy . . . >Don't tell Brownie that this will be "undoubtedly his last Australian tour . >. . " >Mr. McG might well give you what us Yanks call 'a knuckle sandwich' and give >you a whole new meaning to the term 'down under.' I'm touched that you think so much of my idea that you'd mail the list twice and CC it to me so I get the pleasure of receiving and reading each one twice more (you don't have to CC someone who'll get the message from the list anyway). I believe another 'yank' expression is "jumping the gun". Given that Brownie hasn't toured Australia for nigh on 30 years, and that he's also come out of retirement as a favour to a friend and made it quite plain that he has no intention of doing so again, I doubt that he'd give a damn if I suggest it's his last Aussie tour. You seem to be more worried about his mortality than I am. In fact, what the hey, I'll mention your post to him and see exactly what his reaction is (and if he does give me a "knuckle sandwich" he's more talented than I thought -it's a phone interview, so he'll be 10 thousand kilometers away!!). Now, do you have anything you'd like to ask the man??? Regards, Andy Turner P.S. Thank God it was 'free advice'. "It's a sad and beautiful world" ========================================================================= Date: Fri, 21 Jul 1995 18:18:23 PDT From: "R. J. Bauman" Subject: Re: Did you know this (is confusing :) ? =============Does anyone think the A or E system would make blues-l a better place? Bill Higdon=================== I just read the subject line. If it's an unfamiliar subject I read a little of the message and only resort to deleting it if I don't find it interesting to me personally. The whole process takes about 5 seconds. It's no big deal for me to hit delete if I don't want to read something. One gets used to handling the volume pretty quickly. RJ Bauman (I'd join any new list, too, though) ========================================================================= Date: Mon, 24 Jul 1995 09:46:51 PDT From: "R. J. Bauman" Subject: Re: Brownie Mcghee =============So,if you want to interview a blues legend by proxy, fire away. I've got plenty to ask him myself, but I'll fit in as many questions from others as I can. All the best, Andy Turner "It's a sad and beautiful world"========================= I'd like you to ask him about the forgotten blues hero send-up episode of Family Ties where he played "the legendary Eddie Dupree". Did he ever see it? Was he embarrassed at the campy treatment blues got from the Keaton family in the episode and did he notice the historical errors , such as "Terraplane Blues was Recorded by R. Johnson in 1927", etc. He played wonderfully at the end of the show, but I was embarrassed for real blues musicians by how the producers handled the subject. thanks, RJ Bauman ========================================================================= Date: Mon, 24 Jul 1995 08:24:54 -0400 From: Linda Rebecca Rash Subject: Re: Willy Clayton B CHICAGO (bchicago@AOL.COM) wrote: : i saw willie clayton in chicago a few years ago nad he put on a great : show. I have known Willie Clayton for many years. He and I were born in the same small town of Sunflower, Mississippi. We went to the same elementary school together. He was always singing in the vaious programs at school and also at various gigs around the area of Sunflower/Indianola/Moorehead when he was in highschool. -- Linda Rash Phone: 404-727-6879 Emory University Libraries Internet: liblrr@emuvm1.bitnet Atlanta, Georgia ========================================================================= Date: Mon, 24 Jul 1995 14:22:33 +0000 From: Martin Adamson Subject: Re: Discovery or RE-Discovery > I like to fantasize about Blind Willie McTell being found in some > boarding house in Atlanta - or are the circumstances of his death > established? To slightly mis-quote Stan Laurel - "I hope so, they buried him." Martin ========================================================================= Date: Mon, 24 Jul 1995 08:26:56 -0700 From: Ron Daschmans Subject: Re: another sad blues story Hello Blues-L Subscribers! I live in Sacramento, CA and am familiar with the names mentioned in this post. I guess, I would have to say that Glen Lane was my first blues "concert" experience. He (or one of his bandmates) lives in the apartment complex that my wife and I used to live in. Annually, Mr. Lane and his band would put on a show by the pool with a B.B.Q. -- lots o'fun :) Omar Shariff is pretty popular in these parts, however I haven't had the chance to see him yet! I can't believe that he's only sold 100 units though... I'm gonna have to do something about that. P.S. Clarence "Gatemouth" Brown is playing in Napa Valley, I am unfamiliar with his music (ok... I hear whispers of "newbie" from all directions)... is this a good show to see? He's playing the Robert Mondavi Winery -- It's the only way to get my wife to a blues show :) On Thu, 20 Jul 1995, Lee Spector wrote: > There is an independent record (CD) company in Sacramento called Have > Mercy Records (I have nothing to do with them other than to buy their > products). They have put out some fantastic stuff by the Soul Prophets, > the WD Gospel Singers, Glen Lane and Omar Shariff. All of this stuff > is just excellent. All have gotten very good reviews in Living Blues and ========================================================================= Date: Mon, 24 Jul 1995 10:23:06 CDT From: L W Subject: Monday Ramblin There is an article in the unversity paper, claiming that the "Whitewashing" of the blues brought about BAD RAP.... IMHO (I'm writing an editorial to the paper) the whites have kept the blues alive. There were about 5 blacks at the Kenny Neal show, the writer was not there, btw.....The black blues men are still around.....Lockwood, Cotton, Raful Neal, Buddy....etc...They aren't getting black support....So IMHO bad rap was brought about by blacks turning their backs on the blues and not supporting the blues.....I;m going to blast that fellow NOW: Help me....I need a PC (I'll buy it) I need a cheap one (286 even) I use a very old word processor to do my interviews/articles as does my wife. After doing the Kenny Neal interview last night, I am never, ever doing an article/interview on that WP.....Anyone have one cheap lemme know, you'll keep me writing if nothing else....sorry to beg, but i ain't paying much money for a PC....(gotta buy guitars and stuff).....Help me if you can LW ========================================================================= Date: Mon, 24 Jul 1995 11:44:52 -0400 From: Dick Waterman Subject: Re: Brownie,mortality,yanks My, my, a bit touchy are we in the Australian winter? I'm sincerely touched that you said that BMcGhee 'came out of retirement as a favor to a friend' since I was the person who talked him into performing at Chicago Blues Fest on June 4th. Don't ask me, ask fest chief Barry Dolins who told me it was imperative that Brownie be there since he was born in 1915 and this was their 80th birthday year. So Brownie agreed to do it and then took a California fest and agreed to do Australia as part of a deal where he's recorded there and gets to keep the master for resale to the rest of the world. When I signed online, I promised that I would avoid that career crap 'been there, done that' but this apparently will only apply north of the Equator. Have a nice day . . . dick waterman ========================================================================= Date: Mon, 24 Jul 1995 08:43:52 -0700 From: Depti Patel Subject: Mailing List Update Hello, Please update your mailing list from Richard_Doerr@tds.com to = Rich_Doerr@tds.com. Sorry for the inconvenience. Depti= ========================================================================= Date: Mon, 24 Jul 1995 10:55:25 -0500 From: Jeff Seale Subject: Tyrone Davis in Nine Months Saw the movie this weekend and was more excited about hearing the Tyrone Davis song, "Turn Back the Hands of Time". What a nice surprise. It made me wish I hadn't traded his Rhino Greatest Hits cd in for that Buddy Guy Southern Blues. I first saw Tyrone as an opening act for BB King. What a talented soul singer. Check him out. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Mon, 24 Jul 1995 15:18:12 +0000 From: Martin Adamson Subject: Re: Ted Hawkins: The Kershaw Sessions > I recently saw the following import CD on the Strange Fruit label: "Ted > Hawkins: The Kershaw Sessions". As Ted Hawkins has been a favorite > performer and recording artist of mine I was very intrigued by this release > (his last two shows in Austin were easily among the most powerful concerts > I've attended) . A little research turned up the following: Hawkins was in > England in 94/95 and appeared on BBC disc jockey Andy Kershaw's show; > Kershaw apparently has been promoting Hawkins in England for years. I > assume that this recent release is, in fact, recordings from Hawkins > appearances on the show...does anyone know more about these releases. As > Hawkins has passed on, it is of great interest to get a chance to hear more > of his remarkable talent. He also mentioned, during his Austin show in > November, that he had recently finished another album that was being > released in Europe (could this be the Kershaw Sessions?). Again, any more > information would be of great interest to myself and, I believe, others on > the list. Thanks. As you say, Andy Kershaw is a BBC Radio 1 DJ. I think the story was that during the mid-80s he heard one of Ted's LPs on Rounder, and got interested in tracking down the guy to play some shows here in Britain. He had some trouble finding him but eventually managed and brought him across, after giving him a lot of airplay and attracting a certain amount of media interest. Ted became pretty popular in Britain, and was even resident here for a few years before he returned to the States and got the contract with Geffen. Although I haven't seen the Strange Fruit release, the label is owned by the BBC and is used to release stuff that they have got in their archives from live shows, radio sessions etc. As you can imagine the BBC Archives are an absolute goldmine, with tons of classic stuff from the Beatles to the present day. I would imagine that these tracks would date from the mid 80s onwards. Martin ========================================================================= Date: Mon, 24 Jul 1995 11:46:40 -0500 From: VT Subject: REVIEW? Re: This Week's Sign.... >DATE: Sun, 23 Jul 1995 11:12:46 -0600 >FROM: David Silberberg > >From the NY TImes, Sunday, July 23, 1995 (Seattle, AP): > >"Charles Manson, the architect of seven murders in California in 1969, has >released a compact disk that includes a tribute to Hank Williams, Sr. and >songs about the environment. > >---------------------------- > >Can't wait for Vincent's review.... > CHARLES MANSON COMMEMORATION White Devil Inc. ....this is a killer! :-) Vincent p00061@psilink.com ========================================================================= Date: Mon, 24 Jul 1995 11:34:08 -0500 From: VT Subject: Re: Quinessential Etta Bob, I really like her "At Last" also "I'd Rather Go Blind". If you really have to have her voice in your house then studio versions of those songs are your best bet - which also happen to be her big hits. Unfortunately these 2 songs are NOT on a single official CD (on MCA) so you'll have to fork out for at least 2 CDs to get these. Since you have to buy 2 CDs anyway I would suggest: JAMES*ETTA ESSENTIAL ETTA JAMES MCA9341 $27.51 which might be over kill but you'll have just about everything that's "Essential" from her Chess/Checker days. Then you can move on to check out her more modern stuff. Of course if you can't/won't afford that set then you can buy her hits in 2 installments on: JAMES*ETTA SWEETEST PEACHES #1 MCA9280 $9.12 JAMES*ETTA SWEETEST PEACHES #2 MCA9281 $9.12 #1 has "At Last". #2 has "Blind" Finally: JAMES*ETTA THESE FOOLISH THINGS: CLASSIC BALLAD MCA9354 $10.79 does show off her voice, but does NOT have At Last.......but it does make a good companion volume. Vincent p00061@psilink.com >DATE: Mon, 24 Jul 1995 08:32:30 -0400 >FROM: bob unger > >I need some help. I have to get some Etta James. I just gotta have that >voice in my house. What is/are the quintessential Etta James recording/s. > ========================================================================= Date: Mon, 24 Jul 1995 11:05:29 -0500 From: Cathi Norton Subject: Gary Primich schedule Begin forwarded message: I missed a Primich Itinerary Date--take note!!! Thanks...Cathi N. From: Date: Sat, 22 Jul 1995 10:49:55 -0400 To: canorton@indiana.edu Subject: Gary Primich schedule One missing gig on your Gary Primich schedule: Aug 31 - SPAH blues jam, Romulus, Michigan Bob Williams, Harpspah@aol.com ========================================================================= Date: Mon, 24 Jul 1995 15:35:35 +0000 From: Martin Adamson Subject: Re: Ali Farka Toure and African Blues > I own a copy of Ali Farka Toure's "Talking Timbuktu" cd which has > several songs that are distinctively bluesy. A song called "Ai Du" is > very bluesy and features Gatemouth Brown playing a tear-drenched viola. > Ry Cooder is a featured artist on the CD. The CD is exceptional for the > bluesy numbers and the polyrhytmic tunes. > > I'm wondering if there are other Blues-lers who are familiar with Toure's > earlier recordings. I'm interested to know if those recordings are as > bluesy as this 1994 release. Although Toure comes from Mali, and plays all kinds of traditional music from that part of West Africa his work has always had a strong blues feel. This is partly because the music of that area is inherently similar to the blues, and partly because Toure himself listened to the blues, especially John Lee Hooker when he was a student in France in the 1960s. > Do you suppose what I'm hearing on this Toure release is an > influence by American blues artists or an indigenous expression? This may > be a "chicken and egg" type question. As I say, it is a bit of both. Toure was drawn to JLH because his music sounded like traditional Mandinka music. Musicologists could argue all night about whether this is just a coincidence, or whether the blues derives in some remote way from Mandinka music. > Also, I'm curious to know if there are other African or "Third World" > musicians whose music sounds distinctively bluesy. If you want to here more music like this, look for artists with names like Kouyate or Diabateh (or spelling variants thereof). These are the names of the traditional castes of musicians in those countries, and so there are literally dozens of recorded artists with these names who are not necessarily very closely related to each other. This kind of music is mainly (but not exclusively) found in countries like Senegal, Gambia and Mali. Many musicians continue to record the old songs in a traditional way, using African instruments. The main instruments used are the kora - a 22 string harp - and the balafon - a kind of wooden xylophone. Other musicians, like Toure have adapted the music to fit onto western instruments like acoustic or electric guitars, bass, drums, keyboards etc. Further information, including specific names of musicians, CDs, record labels etc available on request, once I check my database at home. Martin ========================================================================= Date: Mon, 24 Jul 1995 10:31:03 -0600 From: Scott Berman Subject: Thanks for the Reviews I just wanted to thank all the people who sent their reviews of the cd's I asked about last month. I bought Pitchford's ALL AROUND MAN, Red's LOWDOWN BACK PORCH BLUES, McDowell's MISSISSIPPI DELTA BLUES, Estes's THE LEGEND OF SLEEPY JOHN ESTES, Hutto's MASTERS OF MODERN BLUES, and Waters's CHESS BOX. All of them, except one, are fantastic. Pitchford's is great mostly, but 3 or 4 songs could have been edited out. Louisiana Red's is also great but I was surprised a little by his voice. Isn't he the one who sings one song on Johnny Shines's TOO WET TO PLOW? His voice sounds different on Shines's cd. Anyway, I like it nevertheless. McDowell's is as good as ALL the people said it is. Certainly a good cd to have if you have no McDowell, which I didn't before. Hutto's is fun. And Muddy Waters's is without question the best thing to have if you only have one blues cd collection. My one disappointment is the Estes's cd. It's OK. Maybe it will grow on me. Right now, though, I could be willing to trade it for something if anyone would like to make an offer (to me, not the list!). I decided to not get Cray's WHO'S BEEN TALKING b/c I think our library has it here under a different title, TOO MANY COOKS (Tomato), and I didn't really like it very much. He's fine, but he just doesn't move me. I also decided, perhaps incorrectly, to not get Shines's JOHNNY SHINES (Hightone 8028) because of what a reviewer on the CD Connection said. Perhaps that was a mistake, though, and I can always rectify it later. And I decided to wait on the Barbeque Bob cd. I want to hear something of his first before I buy a cd of him. My favorite is slide guitar, and he does this, but pre-war recordings are often times not done quite the way I like them. Not always, but most often. Just personal taste, not meant as a criticism. Again, thanks for your help! Scott _______________________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy Office (314) 977-3160 St. Louis University Fax (314) 977-3874 St. Louis, MO 63103 U.S.A. ========================================================================= Date: Mon, 24 Jul 1995 11:39:43 -0500 From: Jeff Seale Subject: Re: St. Louis Blues Heritage Festival To those of you going to St. Louis, let me recommend that you NOT miss the followin glocal artists: Big Bad Smitty Bennie Smith Tommy Bankhead Doc Terry Big George Brock David Dee I have seen all these guys several times and they will be every bit as good as all those names on that list that have name recognition. -Jeff (and have fun for me!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Mon, 24 Jul 1995 12:50:18 -0400 From: Leo Aspiras Subject: Crescent City Thanks Hi folks: I'm back from an enjoyable conference trip to New Orleans. I would like to start off by thanking Mr. Bill Morgan off this list for putting up with my nightime proclivities!!!! He was a great host and a million thanks for the back issues of OFFBEAT magazine. When solids within my system need purging, I've been grabbing up one of these mags and like this list learning alot about the blues. Quite a nice source for musical information. They do have a web page also for computer types. I highly recommend both (Offbeat and Mr. Morgan) to enhance your visit to New Orleans. I got to see Junior Wells at the House of Blues the Sunday night that I got there. He had quite alot of players with him on stage (2 young guitarist one from New England and the other from Cincinnati). Anybody out there know anything about these guys especially the one from Ohio??? The opener was an Australian dude by the name of Dave Hole. He is quite a slide player. All in all, it was a pretty good show. I'd also like to thank the band (A Taste of New Orleans) at the Old Opera House bar on Bourbon Street for letting me sit in. It's good to be back on the list!!!! Leo 'The Scatman' Aspiras ========================================================================= Date: Mon, 24 Jul 1995 13:30:47 -0400 From: Mary Katherine Aldin Subject: for listserver only Tried to post a note directly to listserver but it bounced. Sorry for posting this to the general list but--listserver, please email me with a direct return address, I have a question, thanks. Mary Katherine ========================================================================= Date: Mon, 24 Jul 1995 10:48:31 PDT From: Corinne Subject: Re: Ali Farka Toure and African Blues He's playing at SLIMS in San Francisco this week or next. /c ========================================================================= Date: Mon, 24 Jul 1995 13:51:07 -0400 From: Tremolux Subject: Re: Blues Amps & Blues Distortion The Fender Quad Reverb as used by Albert Collins (and Freddie King??) is a 4 x 12. They didn't make a 4 x 10, 100 Watt SF era amp. The Super Six Reverb was a 100 Watt 6 x 10, and was so large you needed a truck and two guys to move it. The Twin Reverb/ Dual Showman Reverb chassis used in the Quad and Super Six is a bit wider than the Super Reverb chassis, so the overall cabinet was wide enough for the 12s in the Quad. Quad Reverbs were a mixed-bag. I've heard one side-by-side with a Twin and the Twin kicked ass, having better tone and was significantly louder. Go figure. Maybe it was the JBLs and fresh tubes in the Twin. Regards. ========================================================================= Date: Mon, 24 Jul 1995 12:55:52 -0600 From: James Foster Subject: Little Willie and the Zydeco Hitchhikers I would like to second the opinion, presented by a poster last night, on the incredible music and performance by Little Willie and the Zydeco Hitchhikers at the Texas Culture Bash yesterday in Austin. This is a GREAT zydeco band, much in the tradition of the great Clifton Chenier. These guys can play and, if you are ever in the Houston area, be sure to try and track down where they play (apparently they are quite active on almost every weekend night). To convince you further this band includes the GREAT GREAT drummer from Clifton's band: Robert St. Judy (also known as Robert St. Julien or Robert Peter). A wonderful player and very friendly man. I was sitting next to Carol Fran during this portion of the show (she was explaining to me how her directions to this show were terrible and how she and Clarence considered returning to Houston before they found the site! Lucky for us they perservered and put on a fun set). Anyway, as Little Willie and band get started Carol looks up and says, "Hey, I know that drummer from years ago in Louisiana!" Another guy near us says, "Yea, that's Robert" and then Robert looks up, recognizes Fran and smiles ear-to-ear and goes right into the opening number. It was a great day for music! James Foster ========================================================================= Date: Mon, 24 Jul 1995 18:03:24 GMT From: Anthony Graybosch Subject: Re: Ali Farka Toure and African Blues In article , Boudini wrote: ========================================================================= Date: Mon, 24 Jul 1995 18:12:44 GMT From: Eric LeBlanc-CISTI Subject: Re: Splitting the list (was Re: Did you kno I agree with Peter. Set you're self to NOMAIL & read the newsgroups. It's painless & works. eRIC ========================================================================= Date: Mon, 24 Jul 1995 18:19:11 GMT From: Steve Leigh Subject: Robert Johnson TAB? Anyone know where on the net I can retrieve Robert Johnson tablature? ========================================================================= Date: Mon, 24 Jul 1995 13:14:48 CDT From: L W Subject: Bukka at The Olympics Some of you know Bukka White played at the Olympic games in Mexico in 1968 Did anyone expericience this....? Does any one have any further info on who was responsible and how it all came about.....I'd like to know more about this... Can't you see Henry Qualls or CeDell playing at the games in Atlanta....It will probally be Micheal Bolton...(maybe he'll do Aberdeen...ugh) LW ========================================================================= Date: Mon, 24 Jul 1995 11:30:05 -0800 From: Don Cicchetti Subject: Re: Blues Amps & Blues Distortion Previously, I said: >>Opamps, (solid state operational amps) can work as guitar preamps, but you >>have the first circuit the signal sees being a chip(!) instead of a tube. >>This is not a recipe for great tone... sorry. >.. >>You can't just pop an opamp into your guitar-and-tube-amp >>signal chain and expect that it will be transparent. Mike said: >I disagree. This is irrelevant. You could say that the first circuit the >signal sees is an RC network in the guitar, or an RC network on the input >side of the 1st stage, most usually not directly to the tube. My guitars have no tone controls, no RC networks, and yes they sound different even compared to the tone controls wide open. Your comparison does not hold up well when removing the tone controls increases the gain and clarity! Besides, we are not comparing RC networks to tubes, we are comparing tubes to chips.... >And anyway, >it's what changes the tone that count's and the high speed and wide >frequency range of an opamp add no color - as long as it's a low noise >opamp and the gain is moderate, little or no noise is added either. Even >if it's an opamp that changes the tone, if it does it well (great for >active filtering, accurate gain changes, buffering) there is no reason to >*not* use one (other than to market to people who think they're evil). I >just don't care to overdrive semiconductors for distortion, unless I >wanted a fuzz. > >So, while it may seem sacreligious not to connect directly to a tube, it >isn't. You have not clarified where in the circuit you're putting the chip. If you put it in the guitar, you will buffer the guitar from the amp's first stage. You may like the resulting buffered sound, (I don't), but it is far from transparent! Mike, I've been recording for 20 years, and EVERYTHING YOU PUT IN THE CIRCUIT IS AUDIBLE.... There is no such thing as a "transparent Opamp". Done right, it can sound good, but it is not transparent... I have a full-discrete transistor mic-pre (Jensen Twin Servo 990) that I use for orchestral recordings. My friend the electronics professor was convinced he could build a mic pre using modern low-noise opamp chips that would compare. He tried every chip (including the latest ones) and couldn't even get close. Yes, they are better than they used to be, but let's be honest, people use them because they are CHEAP, not because they are the best sounding. If you want to put an opamp somewhere close to the amp (or inside it) you won't have the buffer effect, and you may even like the sound, but don't try to tell ME it's transparent..... (well, it would be transparent in a big foggy-sounding rack rig, but not in a great combo amp) The point is, they're cheap! try it you may like it. but this is certainly NOT irrelevant! >>>If someone came to me with this question I'd recommend an inexpensive >>>preamp stomp box to isolate the guitar pickups (more punch, more highs) >>>and provide the "re-quee-zeet" level of boost. >> >>This reminds me of the "engineers" who used to push the Radio Shack "PZM" >>mics cuz hey, "they're just like the Crown version and ONLY 35 BUCKS MAN!" > >And they're the best damn $35 concert recording mic around! They don't have >the Crown capsule, but they have all of the soundwave aligning properties. >Until I can afford the Crown, the RS is just what *I* need. :) The problem is that even the "best damn $35 concert recording mic around" sounds like garbage.... There ARE no good 35.00 mics, Mike! We can wish there were, but pros do not use Radio Shack mics... sorry. (BTW, PZM's, even the Crowns are not real good, when you can afford the Crowns, there are much better choices) *Standard Disclaimer* For home recordists and hobbyists, this stuff is fine. If you decide to be a pro, you will have to lose the Radio Shack mics.... I'm not being a snob here, I'm saying "here is where cheap junk works (home recording, hobbyists, impoverished guitar players) here is where it doesn't (professional engineers, guitar players who have good ears and a few more bucks). Having said that, some pro guitarists like cheap junk cuz it has a certain sound. Cool, BUT if you have the money for good gear, you should at least listen to the good stuff before you buy into the "Cheap is just as good as Expensive" line.... If you make great music with cheap gear... GREAT! But it is pretty much a pipe dream in most cases.... >>"Inexpensive preamp stomp boxes" SOUND like "inexpensive preamp stomp >>boxes"! How important is your tone to you?? > >Depends on the box and how you use it. A distortion pedal sounds like >semiconductor. A compressor doesn't. No it doesn't depend on the box... sure some sound pretty good (the armstrong orange squeezer comes to mind), but a "cheap stompbox" will never sound like the pro version of the same thing. You should hear both, don't you think? >Intelligent application of 'cheap' were it does the most good with the least >side effect is something worth striving for. Obviously there are many things >that can't be accomplished with cheap to the same degree, or at all. thanks, couldn't agree more... >For those with limited resources, you do what you can. There are certain >things that I try to by the best of, because it provides joy longer than >cheap. I've never been dissatisfied following that policy. I have had to >go without while waiting to accumulate the funds. Non-essential items are >the ones that I'll skimp on, and I'm always looking for the Alesis's and >Mackie's of the world - do it as good or better, for less. Mackie's may be inexpensive, but they are not cheap.... They sound as good as anything up to 4 times the price. Alesis are not quite so impressive. Although they are decent, I would say to stretch a bit and get the Lexicon. Before anyone thinks I am some studio snob who doesn't live in the "real world" think again. My first guitar amp (high school) was a 20watt Hammond organ amp with the two field-coil speakers I picked up for $20.00, and drove with a Electro Harmonix LPB1 preamp/booster. Built speaker boxes (yeah, lets put the port here, that looks about right, hey leave the fiberglass out, it will dampen the tone man...) cheap cheap cheap... I blew up a Wollensak portable tube reel-to-reel's speakers with my guitar cuz I liked the fuzz sound... etc etc. It is a good process to do silly stuff like that because you learn how things work. But I can't sit by and let "cheap is just as good as expensive" slide by without a comment. Go find out for yourselves! Many if not all of you will end up here, where I am after you play with all your funky little weird amps, and "cheap opamps" and whatnot. Electronics guys think everything can be done cheaply (meaning under 100.00 for most stuff), But Jim Demeter, or Mike Bendinelli will build you a real tube guitar preamp for a lot less than people spend on ski trips. When I hear the tone I got on tape in my demo session last week with my Mesa V-Twin (350.00), It sounds like 10,000.00 to me. I guess cheap is relative.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 24 Jul 1995 14:06:54 -0400 From: Dick Waterman Subject: Re: Quinessential Etta I have an Etta James that seems to be pretty complete and it was unusually cheap in a major chain record store. I think it was something like $8.99 for an 18 track CD. The series is called "Masters of the Blues" and the label says that it is TELSTAR RECORDS and is a remastering of the original Chess recordings. Others in this seriesa are JReed, MWaters, JLHooker, BDiddley and many others. This one does have both "At Last" and "I'd Rather Go Blind" on it. Can anyone document whether this is legal or bootleg and whether we should be supporting reissues that do not pay publishing/artists royalties? This is NOT an accusation against Telstar, understand? But it's hard to comprehend that royalties can be paid from anything that sells this cheaply at retail level. dick waterman ========================================================================= Date: Mon, 24 Jul 1995 11:40:38 -0800 From: Don Cicchetti Subject: Cookin' the Blues Hi Everybody! Juust got my new Tabasco cookbook in the mail. It's called "Cookin' the Blues". (You send in some money, to an address in the Tabasco box) I forgot what it costs, but it wasn't much. Looks pretty cool, with stuff like: Kenny Neal's 'Dose & 'Dem Nuts Gatemouth's Religious Corn Muffins The Thomas Family's South Memphis Soul Loaf Buddy's Seafood Okra Gumbo and lots more. (I'll pass on the Aerosmith stuff tho ;-] ) You all might want to check this out. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 24 Jul 1995 14:44:10 -0400 From: Tom Morgan Subject: Blues-l subscription help Can someone help Sherie? In another time and place, Sherie Brubaker said: > Hi Tom.... I need a little help.... > > I signed off blues-l cause I couldn't handle the volumne of messages. > > Now I want back on, but with the digest format.. thinking 1 file a day > would be better than 100..... > > But I've sent all kinds of notes to listserv@brownvm.brown.edu and to > listserv@brownvm.bitnet and a variety of similar addresses & > commands.... most of the time I get a return with host unknown..... > > I've written for Help, and Info.. nothing. I wrote to David Pimmel at his > email address, no response..... > > what is the listserv address? are you aware of problems gettting back > on the list after leaving? please help if you can... I have a lot of > reviews (& photos) of blues bands on the west coast I wanted to get > out.... I even have photos of the Allmann Brothers Band.. from front > row from 7/1/95. Sherie, I am going to forward this to the list and maybe the new owner of the list will help you. The listserv address seems to be fine so I don't know why you aren't able to resubscribe in digest form. Someone will come to your aid I hope. Tom PS The list address for posting messages is BLUES-L@BROWNVM.brown.edu ========================================================================= Date: Mon, 24 Jul 1995 13:42:28 -0500 From: Rob Varak Subject: Re: Floyd McDaniel dies Steve Cushing mentioned this on Blues Before Sunrise, last night. He got the news while he was on the air, and he seemed pretty shaken up. I guess Floyd had joined him in the studio during the show a couple times and they new each other pretty well. Cushing played about 4 or 5 tunes in his honor. It was a very touching farewell. Like Dick Shurman said, there are all too few of his generation remaining. See them and support them while you can. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 24 Jul 1995 14:54:32 -0400 From: Mike Annis Subject: Rounder July Blues Releases Following are the Rounder Records Group July releases. Please contact the address(es) listed below for more information. Bullseye Blues 9562 Little Buster & the Soul Brothers "Right on Time" New release. Black Top 1118 James Harman "black & white" New release Rounder 3042 John Hammond "Mileage" Now available on CD. Originally released in 1980. Bullseye Blues 9559 Smokey Wilson "The Real Deal" New release. Black Top 1117 Philip Walker "Working Girl Blues" New release. Rounder 2139 Davell Crawford "Let Them Talk" New release. (Blues/New Orleans Jazz) ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Mon, 24 Jul 1995 18:51:54 GMT From: George Myers Subject: Re: Byther Smith I'm with you. Like his record also. It's that dark stuff that is the REAL deal! ========================================================================= Date: Mon, 24 Jul 1995 18:50:42 GMT From: George Myers Subject: Re: Bugs Henderson Bugs was real influential on Stevie Ray (Stevie said so many times). He'll be at the Grand Emporium in K.C. 8/4 ========================================================================= Date: Mon, 24 Jul 1995 14:06:37 CDT From: L W Subject: Sam Phillps Anyone know what Sam Phillips is doing these days.......(contact info would be good) THANKS LW ========================================================================= Date: Mon, 24 Jul 1995 19:02:53 GMT From: George Myers Subject: Re: The Bel Airs!!!!!!!!!!!!!!! They just played at the Grand Emporium in K.C. Saturday night and will be back Thanksgiving weekend. ========================================================================= Date: Mon, 24 Jul 1995 18:54:14 GMT From: George Myers Subject: Re: Dan Penn & Dick Waterman's Answering Mach. Yeah, when you talk about Dick, you're talking about one of the greatest guys EVER in the business, both for what he's done and for just simply being a wonderful person! ========================================================================= Date: Mon, 24 Jul 1995 18:59:58 GMT From: George Myers Subject: Re: Johnny "Guitar" Watson--new hit album! So you say "Johnny G Is Back", huh. I saw him about 6 months ago opening for the O Jays. It stunk. Then last night I saw him at the K.C. Blues & Jazz Fest. WOW! Bow Wow! I went home and washed my mouth out with soap for what I had said about him before. In my defense, I really think that it was the venue. When he's playing at one of those r&b shows where quality is the least important thing, the bad vibe rubs off on everyone. But when it is a blues gig, one knows there are people in the audience that actually care about MUSIC, not just being there. Incidentally, LEE OSKAR sat in on the gig last night! Yeah, you're right Johnny G IS back! ========================================================================= Date: Mon, 24 Jul 1995 10:25:34 PST From: Mike McCourt Subject: Re: Victoria Amp Review Thanks for the review, it was very interesting. I know the amp probably wasn't free so... how much? I know, if you have to ask.... etc. Also, assuming this was a copy of the original 2-12 Bandmaster it was a curious choice for the speaker setup. I would be interested in hearing more about how the 3-10s were chosen. Mike McCourt mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: Victoria Amp Review Author: jbards@MAIL-SH.LSUMC.EDU at ccUnix Date: 7/21/95 1:51 PM In sum, this amp is built extremely true to the original model, and any "improvments" are quite deliberate departures from the prototype. It looks and sounds great and it's built like the proverbial brick s**thouse. I don't want to gush, but it's hard to find anything wrong with great headroom, gobs of sustain, tone to the bone, and extremely quiet operation. I can't imagine anyone /not/ liking this product. Hats off to Mark Baier and Victoria amps! Jim ========================================================================= Date: Mon, 24 Jul 1995 15:28:41 -0400 From: BluesRevue Subject: Sat Nite at Kansas City Blues & Jazz Fest From: BluesRevue Just got back, a day earlier than I'd like, but the proofs for the next issue need to be looked over . . . a tight schedule, but that's what it is like during festival season. I did get to see a world class lineup and performance on Saturday nite, with Dave Hole, Otis Rush, and Luther Allison. Tremendous performances by all three! In fact, some of the best music I've heard all year. Dave Hole was killer at the Grand Emporium on Friday nite, with the bluesiest set I've ever heard him perform. Saturday nite at the fest was just as devastating . . . but I've always liked the more intimate performance of a club set. Otis was in rare form on Saturday nite, and I overheard several bluesers arguin about whether he was better in Chicago or KC. It will probably be Otis' lot to be the most argued over bluesman in history . . . whether this or that set was his best. I'm telling you here and now, that he was OUTRAGEOUS at both fests......nuff said. And Luther! Man, you shoulda been there. If anybody gets the "most booked blues act for festivals in 1995" it has to be Luther, an justifiably so! If you haven't had a chance to see him live, then you are missing history in the making. Luther is about to take his place with all of the gods of blues guitar....and this is definitely his year. Well, I'm jet lagged and beat, but had to pass along the above bits of glad tidings. See you at Poconos next week if you all are gonna be there. Good blues to ya. Bob Vorel, publisher Blues Revue Magazine. Subscription Info: BluesRevue@aol.com ========================================================================= Date: Mon, 24 Jul 1995 09:32:57 -0400 From: Ed Mezynski Subject: Skeeter Brandon & H'way 61 Did anyone happen to hear Skeeter Brandon & H'way 61 on the latest Blues Stage? I thought they sounded great! Skeeter's got a voice that would give cause to start the "goosebump" thread again. They are a local band, and record for a small blues label in Chapel Hill. If you liked their performance and would be interested in one of their CD's, I'd be glad to tell you how to get 'em. DISCLAIMER: Not affiliated with the band or New Moon Blues. Just trying to get the word out about some good music, IMHO. ed mezynski (mezynski@dg-rtp.dg.com) ========================================================================= Date: Mon, 24 Jul 1995 20:32:17 +0200 From: Rudi Vandermeiren Subject: Re: Ali Farka Toure and African Blues Ali Farka Toure plays this saturday at the "sfinks-festival" in Boechout,Belgium. Rudi Vdm. >He's playing at SLIMS in San Francisco this week or next. > >/c > > ========================================================================= Date: Mon, 24 Jul 1995 14:09:00 CDT From: Paul Garon Subject: Re: Buddy Guy guitars >Actually, the Nightbird was made by Guild. I can't think of many blues guys >who played Gretsch guitars. Does Bo Diddley count? > E. Shoaf There was a ground-swell of, er, pressure to get Bo Diddley's Ace CD, BO'S BLUES, into the finally-finished new edition of THE BLACKWELL GUIDE TO RECORDED BLUES (pub. date still a mystery). It'll be in my chapter, along with Chuck Berry's ON THE BLUE SIDE, also on Ace, which I prefer to the Bo. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Mon, 24 Jul 1995 13:51:53 -0600 From: PAN D'MONIUM Subject: *very* little blues content This is about _Santana_ and if you don't include this in your definition of the blues, it would be good for you to quit here. In looking over the notes from _Sacred Fire_ recently, we got to wondering what a couple of the members were up to these days. You guys always seem to know everything about everybody, so what's up with Greg Rollie and Neil Schon? Personal e-mail is great, but I'd be just as happy if you posted to the list if you felt the group would benefit. Thanks much! Paul p_franzmann@wmc34c.wmc.edu ========================================================================= Date: Mon, 24 Jul 1995 16:13:21 EDT From: Peter Welch Subject: New Harman, P.Walker & S. Wilson CDs? Has anyone heard the latest Phillip Walker, Smokey Wilson and James Harman releases that have been appearing in stores lately? Thanks, Peter W. ========================================================================= Date: Mon, 24 Jul 1995 16:17:08 -0400 From: James Leftwich Subject: Re: Ali Farka Toure and African Blues You may want to check out some of David Lindley's stuff. Not from that part of the continent, but if Lindley's involved there has to be some kind of blues kinship. His latest is with some musicians from Madagascar. Sorry I couldn't be more specific. Jim Leftwich leftwich@cloud9.net "I'm on Cloud9!" :) Check out my brother's page: http://www.cloud9.net/~swtpete/ ========================================================================= Date: Mon, 24 Jul 1995 15:31:38 CST From: James Bardsley Subject: Re[2]: Victoria Amp Review I think actually the 59 Bandmaster was three 10s and later went to 2 12"s. There's also another 38 watt model using 2 10s which (about $1375) Mark described as tighter and more focused. MY 3 x10 was $1475. He also makes two "Bassman" models- a 59 and a 60, respectively, which he says are a LOT louder, and have more headroom and a better clean sound. I find the Bandmaster to be so clean andd transparent, I can't imagine what these others sound like. I think the prices might run up around $16-1700 or so. Mark is trying to get on the internet and will join the blues-l listing when he gets around to it, so hopefully he'll be able to explain much better than I have. He's a real fanatic about detail, quality and authenticity. -Jim _______________________________________________________________________________ Subject: Re: Victoria Amp Review From: "Mike McCourt" at INTERNET-SH Date: 7/24/95 10:25 AM Thanks for the review, it was very interesting. I know the amp probably wasn't free so... how much? I know, if you have to ask.... etc. Also, assuming this was a copy of the original 2-12 Bandmaster it was a curious choice for the speaker setup. I would be interested in hearing more about how the 3-10s were chosen. Mike McCourt mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: Victoria Amp Review Author: jbards@MAIL-SH.LSUMC.EDU at ccUnix Date: 7/21/95 1:51 PM In sum, this amp is built extremely true to the original model, and any "improvments" are quite deliberate departures from the prototype. It looks and sounds great and it's built like the proverbial brick s**thouse. I don't want to gush, but it's hard to find anything wrong with great headroom, gobs of sustain, tone to the bone, and extremely quiet operation. I can't imagine anyone /not/ liking this product. Hats off to Mark Baier and Victoria amps! Jim ========================================================================= Date: Mon, 24 Jul 1995 15:25:17 CDT From: L W Subject: Kenny Neal live review ...sort of We saw Kenny about six months ago and he was 100% GREAT...I mean GREAT. We saw him saturday night and he was OK.....We invited some friends of "color" to the show, with the guarantee that if they did not like the show, We (my wife and I) would reimburse ALL THEIR COSTS (drinks,cover...etc)....They liked it, but I was really afraid Kenny was going to lose them. EVERY single song had a solo that was 75% of the song...He didn't play drums he didn't put on much of a show...At least not like he's capable of. It was he last night and he was going home to Baton Rouge after the show...Maybe that had something to do with...He was still a gentleman and a great asset to the future of the blues.....No more guarantees from me though. I thought he had lost them with his excessiveness NO RESTRAINT WHATSOEVER..... LW 'a snobish, elitish, self righteous....etc purist...saved you the trouble' ========================================================================= Date: Mon, 24 Jul 1995 15:58:00 CDT From: Bonnie Kalmbach Subject: J.B.Lenoir J.B. Lenoir's mid-sixties acoustic sets, released on 2 (L+R -German) LP's, have just been reissued by Evidence. There are about 22 cuts of fine acoustic blues - a number with social commentary, such as "Alabama", "Vietnam Blues", "James Meredith". The album is titled "Vietnam Blues". Lacking is the commentary (J.B. and Ella Louise Lenoir, Willie Dixon) from the Polydor/Mayall version. -Bonnie ========================================================================= Date: Mon, 24 Jul 1995 17:13:15 -0400 From: Barry Silverberg Subject: Poconos Blues Fest. Room! If anyone is interested in a room for the Poconos Blues Fest. this coming weekend - please respond to me by e-mail. I may have a room available very close to the festival & at a very reasonable rate. Personal situation may make it not possible for me to attend. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 24 Jul 1995 21:09:44 GMT From: Anthony Graybosch Subject: Re: Ali Farka Toure and African Blues In article , James Leftwich wrote: > You may want to check out some of David Lindley's stuff. Not from that > part of the continent, but if Lindley's involved there has to be some > kind of blues kinship. His latest is with some musicians from > Madagascar. Sorry I couldn't be more specific. > henry kaiser and david Lindley, A World Out of Time. volumes one and two. I think they are on Shanacie ========================================================================= Date: Mon, 24 Jul 1995 14:18:02 PDT From: Eric LeBlanc-CISTI Subject: Re: ROBERT PETE WILLIAMS I've been having lots of problems with our newsreader, so I haven't been able to read this posting on ROBERT PETE WILLIAMS until today! What a great posting. I remember speaking to Robert Pete Williams at the Mariposa Folk Festival, sometime in the early 70s. He was on a workshop with Taj Mahal and David Wilcox, the Canadian singer/guitarist. Wilcox' duty was to see that everyone had a turn. Anyway, Robert Pete was first up & he begins to talk about how much he likes "red beans". His performance lasted almost the whole workshop. Both Taj & Wilcox just let him have most of it. It was amazing as he made up everything as he went along. I was at that festival with Roger Misiewicz (same Misiewicz who's involved with Document Records). I think Roger taped it so one day maybe I'll get released. Also sometime that evening he was recorded at someone's home. Again Ranko, thanks for the posting. eRIC ========================================================================= Date: Mon, 24 Jul 1995 14:22:36 -0700 From: Jeffrey Taylor Subject: Re: Robert Johnson TAB? OLGA, the On-Line Guitar Archive at ftp.nevada.edu has a half dozen songs in /pub/guitar/j/robert_johnson. ===================================== Jeff T "Blues with a feeling... ===================================== On Mon, 24 Jul 1995, Steve Leigh wrote: > Anyone know where on the net I can retrieve Robert Johnson tablature? > ========================================================================= Date: Mon, 24 Jul 1995 14:28:48 -0700 From: Mark Gentry Subject: Otis Grand/Curtis Salgado Review Howdy, A friend just gave me a tape of Otis Grand's, "Nothing Else Matters". I believe it was released on the Sequel label. Other than that, my friend didn't give me many details on Otis or the personnel on this release. I listened to the tape a couple of times and called my friend back and asked, "who's the guy singing on the first track with the great voice?". He respnded, "Curtis Salgado". I've never had the pleasure to hear Curtis sing before but I'll tell you what, Curtis Salgado's vocals are hotter then the jalapeno peppers I had for dinner last night. In other words, He's HOT!! On the first track, a B.B. King style tune, I thought it was B.B. King himself doing a guest spot. I don't know if he was intentionally trying to imitate B.B. or not but regardless, it sounds great. A couple of other tracks, "Mother and Law Blues" and, "You Win, I Lose" are blues vocals at their best. The lyrics combine humor, irony, and a passion in a way that make blues so great. Sugar Ray and Kim Wilson do guest vocal spots on a couple of tunes and they both do a great job. This is my first encounter with the guitar of Otis Grand and I like what I've heard so far. The guitar throughout sounds like a strat through a Fender amp. Kind of a clean tone, slightly broken up, with a little sting to it. The passion and the emotion of Otis's guitar playing is what really stands out to me. The influences are pretty diverse in his style. He does a good instrumental entitled, "Coldburn" which is an Albert Collins styled tune (could have been written by Albert for all I know). For at least a verse at the end he is actually covering an Albert Collins tune that I recognize but can't remember the name of right now. There is also a T-Bone Walker styled tune and Otis does a great job of playing the solo T-Bone style. On another song I heard a little Freddie King influence in his playing. A great slow tune on this release is "The Things I Forgot to Do" which is based on the "Things I used to Do" riff. Kim Wilson does the vocals on this. Overall, a good album. There is something on here that will probably appeal to every blues fan. A majority of the tunes have a horn section so beware if that's not your cup of tea. The pleasant suprise of this tape, for me, is Curtis Salgado. Who can tell me more about Otis or Curtis? Thanks, Mark Gentry ========================================================================= Date: Mon, 24 Jul 1995 16:32:48 -0500 From: "music-chgo.pub.lib" Subject: Cow Cow Davenport We're looking for piano rolls recorded by blues musician Cow Cow Davenport (aka Charles Edward). Evidently one Mike Montgomery of Royal Oak, Michigan collected Cow Cow's piano rolls as late as 1963, but this lead hasn't turned up anything for us yet. Please e-mail us directly if you can offer any help. ========================================================================= Date: Mon, 24 Jul 1995 17:32:00 CDT From: Bonnie Kalmbach Subject: New Releases Beside the J.B. Lenoir "Viet NamBlues", I also recently acquired: Phillip Walker's "Working Girl Blues" Larry Garner's new Verve album I haven't listened to either all the way through - but Phillip Walker's is very good and Larry Garner is definitely a major talent - as stated by others on this List. Jimmy Dawkins - "B Phur Reel" very good - just behind "Blues and Pain" I'd say. Louis Myers - "I'm a Southern Man" (Testament). This is SO-O GOOD!! I never did have the LP version which came out on Advent about 15 years ago. Louis plays harp and real tasty slide. I like the lyrics on "Women's Lib" and "Woman Trouble": ("Woman trouble - woman trouble, you know they're having it all over the world..") Mississippi Heat - "Thunder in My Heart" - another great set from this fine 50's Chicago style band although musical chameleon/fellow cheese-head Billy Fylnn gets in some stinging Albert Collins riffs on the title track). Deitra Farr's vocals are strong - Bob Stroger has more. Liner notes by Blues-L's Niles Frantz - who modestly did not own up to it in a previous MS Heat post. Boston Blackie/Smokey Smothers - I finally got it. There is more than a hint of the scorching intensity with which we heard Blackie (Bennie Joe Houston) sing and play at Joetta's New Look Lounge deep within Chicago's West Side ghetto in '92. His talent was definitely leagues above that of his murderer - Taildragger(may he never get of the pen!). Otis Smothers side's are very enjoyable. Kent's "Mississippi Blues", "Arkansas Blues", "California Blues" "Texas Blues", "Detroit Blues" - made in the fifties - excellent. I only bought the first two as they are on the pricey P-Vine label out of Japan. I have the others on LP. It sems as thought there are extra cuts/outtakes on the Mississippi volume. Artists include Charlie Booker, Robert Dudlow Taylor, Peck Curtis, Dixie Blues Boys, Houston Boines, etc. I haven't looked closely yet. I got home pretty late last night after watching the Sox trounced the Brewers. The Chicago Tower in having a sale on blues records 'til the first of August. I'm going back for more if I drop down to see Johnny B. Moore at Blue Chicago this Friday. -Bonnie ========================================================================= Date: Mon, 24 Jul 1995 17:58:00 CDT From: Bonnie Kalmbach Subject: Re: another sad blues story > >>There is an independent record (CD) company in Sacramento called Have >>Mercy Records (I have nothing to do with them other than to buy their >>products). They have put out some fantastic stuff by the Soul Prophets, >>the WD Gospel Singers, Glen Lane and Omar Shariff. All of this stuff >>is just excellent. All have gotten very good reviews in Living Blues and >>Blues Revue. Unfortunately, nobody wants to buy them. ** I was about to order some of these directly from the address in "Living Blues" when I found Arbess Willams's CD on Have Mercy at Tower Records in Chicago. (It's quite good). Hoping others on this label would turn up - I didn't do the mail-order. -Bonnie kalmbach@macc.wisc.edu ========================================================================= Date: Mon, 24 Jul 1995 18:59:00 EDT From: edward c liu Subject: More guitar gear talk Howdy all, Michael with a Suffern mind wrote: >Scale lengths from memory: > [ S N I P ] >Gibson scale 24 5/8 " The newer Gibsons all use a 24.75" scale length. I can't figure out how it is that the Les Paul Studio I tried felt short while the ES335 felt normal (compared to my AmStd Strat, that is). VT wrote: >And g*d only know WHAT Hound Dog Taylor used to play...... like he used >to say he may not know sh*t, but it sure sounds good. I think he took great pride in telling folks that he played a cheap guitar from Sears through some crappy amp. And I still can't quite figure out why I dig Hound Dog so much and don't like Jr. Kimbrough. Ah, well. -- Ed Edward C. Liu | "You people veer dangerously close to sanity. edwick@cc.bellcore.com | But fortunately, you never quite make it all | the way there." -- H. Ellison The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 24 Jul 1995 19:14:00 EDT From: edward c liu Subject: The Funniest Joke in the World Howdy all, L W wrote: >I'm not really knowledgable about blues that much > [ S N I P ] BWAH-hah-hah-HAH-hah-hah-HAH-HAH-HAH-hah-hah-hah-hah-hah-hah-HAH!!! LW sez he don't know about blues that much. HAHAHAHAHAHAHAHAHAHAH!!!! A-hoohoohoohoohoohooheeheeheeheehee! Oh, jeez, stop LW...you're KILLING me! =8^). ObBluesContent: Ed's pick this week is Little Charlie & the Nightcats _Straight Up_. With a little bit of luck, I'll be seeing 'em this weekend at a local restaurant (and get an autograph or two. Or 4 =8^) I also finally managed to get a reaction out of my officemate (who doesn't HATE the blues, she just don't got 'em) with the Alligator 20th Anniversary set. Charlie Musselwhite's "Leavin' Your Town" got her groovin' and she giggled through Sonny Terry's whoopin' in "Crow Jane." -- Ed Edward C. Liu | "You people veer dangerously close to sanity. edwick@cc.bellcore.com | But fortunately, you never quite make it all | the way there." -- H. Ellison The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 24 Jul 1995 16:12:44 PST From: Mike McCourt Subject: First Guitar (was Blues Amps & Distortion) A good start for a new thread, your first (hopefully really cheezy) guitar or amp. Ah... my first guitar, how well I remember. It was a $30 (brand new) Mexican classic guitar, got it for Christmas in 1964. The neck broke off in a fall, had it glued back on for $15. Had that guitar for about 5 years. Who sez cheap can't be good? :) First electric guitar $70, a Japanese electric, performed my first (and only) fret-ectomy in an attempt to get that blazing fast guitar technique. I managed to turn a usable guitar into a pile of wood and metal. First amp was a Fender Vibro Champ, I think it was $80 back then. Had a great vibrato, good for playin' all those cool surfin' tunes. Wish I still had it. Anybody else? Mike McCourt mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: Re: Blues Amps & Blues Distortion Author: Don Cicchetti at ccUnix Date: 7/24/95 2:22 PM My first guitar amp (high school) was a 20watt Hammond organ amp with the two field-coil speakers I picked up for $20.00, and drove with a Electro Harmonix LPB1 preamp/booster. Built speaker boxes (yeah, lets put the port here, that looks about right, hey leave the fiberglass out, it will dampen the tone man...) cheap cheap cheap... I blew up a Wollensak portable tube reel-to-reel's speakers with my guitar cuz I liked the fuzz sound... etc etc. ========================================================================= Date: Mon, 24 Jul 1995 20:08:51 EDT From: William Pollak Subject: Re: Johnny "Guitar" Watson--new hit album! Count me in on the bandwagon for the new Johnny Guitar Watson album, Bow Wow. It's in the same bag as his 1970s fusion of jazz, blues, funk, and disco--which I loved--and features his tasty guitar playing, funny and entertaining songs, and off-the-wall sensibility. It's on Bellmark, the new label from Al Bell, former exec at Stax. Bill P. ========================================================================= Date: Mon, 24 Jul 1995 20:14:48 -0400 From: "Gordon, Rich" Subject: Tab Benoit Spoke with Tab at lunch time today...he sounded like he was just waking up. He's in Wichita, KS and will be playing Hollywood Nights on July 25. His tour goes to MO,IL,WI,MN,OR,MT,CA, and CO. Plans are being made for a East Coast tour in the fall. No mention about the "great white north". Was very pleased to hear about interesr on this list.Current tour is a trio with Allyn Robinson on drums and Doug Therrine on bass. He just recently completed the third studio album. It was recorded "live" to a two track in order to capture that raw, stripped-down blues performance. It's got lots of soul, mistakes and all. It's a more natural evironment...like playing out rather in the studio. The album contains an even mix of originals and covers. His preference is the Fender Telecaster Slimline pictured on "What I Live For". Sorry I forgot to ask about his amp. He's influences are Albert King, Buddy Guy, B.B. King, John Lee Hooker and Lightning Hopkins. He was raised in Houma, LA surrounded by Cajun, country-western and top 40 oldies bands. The blues was in New Orleans. Asked him why the blues are so popular today? He replied by saying that it was hard for him to comment on that since he's only been on the road for four years. He didn't know what it was like before that. "Nice and Warm" has opened a lot of doors for him. Today people are looking for the blues. The blues are real. There is no funny stuff here. It's music about human beings and basic instincts. Tha blues have always been around. Today, the blues appeal to more types of people. Rich Gordon P.S. BTW, we did discuss the similarities been Zydeco-Cajun and polkas. ========================================================================= Date: Mon, 24 Jul 1995 20:30:25 -0400 From: Dick Waterman Subject: Helena Lineup This is a lengthy post regarding the schedule for the King Biscuit Blues Festival in Helena, Ark. over the weekend of Oct. 6-7-8th. As you read this lineup realize that this festival has (1) no major alcohol sponsor; (2) no major tobacco sponsor; (3) no large corporation in town as a resident sponsor; (4) no major hotel tie-in as sponsor; (5) no significant state Arts Commission grant. Oh, by the way . . . . it's also free . . . There is also a pre-festival freebie on Thursday, October 5, with Little Milton playing across the Mississippi River in the Lady Luck Casino. FEATURE BLUES STAGE Friday, October 6 12:00 Sonny Boy Blues Society Contest Winner 12:45 Famous Unknowns 1:45 Mary Ann Brandon 2:45 Frank Frost & Sam Carr with Fred James 3:45 Lynn White 5:00 Billy Branch & SOBs with Pinetop Perkins 6:15 Luther Allison 7:30 Charlie Musselwhite 8:45 Jimmy McCracklin 10:15 Irma Thomas Saturday, October 7 12:00 Blues Foundation Winner: Hardaway Connection 12:45 John 'So Blue' Weston 1:45 Radio Kings 2:45 Otis Clay 4:00 Rod Piazza & The Mighty Flyers 5:15 Anson & the Rockets w/Sam Myers 6:15 Joe Louis Walker & the Boss Talkers 7:30 Robert Junior Lockwood 8:30 James Cotton 10:00 Buddy Guy Sunday, October 8 2:00 Doctor John & The New Island Social & Pleasure Club (Additional acts and guests may be added here) HOUSTON STACKHOUSE ACOUSTIC STAGE Saturday, October 7 1:00 Mr. Downchild 2:00 Fruteland Jackson 3:00 Paul Rishell & Little Annie Raines 4:00 Jack Owens 5:00 John Hammond In additon, there are 10 Gospel stage artists starting at 4:00 PM on Friday and a full day of Gospel on Saturday with 15 different groups from throughout the South. For hotel information, call Main Street Helena (501-388-9144) but be advised that there are few major hotels in the immediate area so be prepared to drive a bit. Helena is located on the western bank of the Mississippi River about an hour from the Memphis Airport. You can fly into Little Rock, of course, and better fares may be available on Southwest Airlines which DOES go into LR and does NOT go into Memphis. While you're in the area, visit Clarksdale (Miss.), about 25 miles away and see the Blues Museum; visit Oxford and the Blues Archives; visit Memphis for Beale Street action. Weather is still warm in October and you'll get to see cotton being picked and baled right by the roadside. Y'all come on down and visit us. I think this looks like one of the finest free blues festivals ever put together so let's hope for good weather. For those who have never been to a King Biscuit festival, the stage is located right next to the levee so you get to watch great music on one side and river barge traffic moving down to New Orleans right behind you. dick waterman ========================================================================= Date: Tue, 25 Jul 1995 21:04:17 GMT From: Andrew Gregg Subject: Re: Victoria Amp Review In article <9506248066.AA806606511@ccgate.acuson.com>, Mike McCourt wrote: > Thanks for the review, it was very interesting. I know the amp probably > wasn't free so... how much? I know, if you have to ask.... etc. > > Also, assuming this was a copy of the original 2-12 Bandmaster it was a > curious choice for the speaker setup. I would be interested in hearing > more about how the 3-10s were chosen. There was a 3-10 bandmaster in the late '50's (theres even a photo of one in the Tube Amp book, by APittman) that was from what I gather a Bassman with one less speaker. They are considerably rarer that 4-10 bassmans though.... ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Mon, 24 Jul 1995 21:23:07 -0500 From: "Alice E. Brown" Subject: Re: Coco Montoya Small correction, the keyboard player's name is Benny Yee, not Buddy. Alice ========================================================================= Date: Mon, 24 Jul 1995 22:28:48 -0400 From: Jacquelin Katz Subject: the search for Son House Dick Waterman, I'd be interested to hear how you located Son House. Being from Rochester, I've been wondering what neighborhood he lived in: a street name will do. Was it around Clarissa St? Have you written a book or article about this? Jackie Katz jkatz@mcls.rochester.lib.ny.us ========================================================================= Date: Mon, 24 Jul 1995 22:34:33 -0400 From: Jacquelin Katz Subject: Re: Brownie,mortality,yanks Andy, I think you can handle your own interviews: that's not the kind of help you need. Jackie Katz jkatz@mcls.rochester.lib.ny.us ========================================================================= Date: Mon, 24 Jul 1995 22:41:25 +0000 From: Ian Angus Subject: Re: J.B.Lenoir Bonnie's report that JB Lenoir's 60s LPs are out on CD is great news. JB Lenoir is a vastly underrated blues singer whose other recorded material was quite different from the 60s recordings. I will be buying it. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 25 Jul 1996 00:20:37 PDT From: Michael Suffern Subject: Re: Splitting the list (was Re: Did you know this?) Sorry Dick, Your original is at the bottom, I must have inserted my signature between my text and your orignal. This was just a satire of how often people don't pay attention to what a member writes and then jump all over him and can't even quote him correctly. They will get all bent out of shape because one or two words they read set them off. It was supposed to be absurd in the extreme, that's why I cut up part of your 4th sentence and bastardized some of your words (now noted with ^^^^ in your original) - as an example of misquotation - but *I* should have known better than to send it straight faced. Below is the same message annotated with lots of winks ;-) My sincere apology for the confusion I fostered, and thanks to P.W. for pointing out my gaffe. Dick, Your claim to be "the long historian to snake out Buddy turf" is wrong. ;-) As a graduate of NCI's Blues Hospitality Associates Degree by mail program, with a special interest in snakes, I have to say, IMHO, you are sadly mistaken. Even if I had paid attention to what you said, and not gotten all hyper about a few words that made my knee jerk, I still might send a harsh reply completely devoid of logical arguments or any facts to back up my claims. ;-) ;-) ;-) [Seriously ]-------------------------------------------------------------- I realize that as a new blues-l'er you have not had time to become de-sensitized to errors in judgement, courtesy, and common sense, but, I assure you that, as time passes, you'll see such lapses and just sigh and think once more, "That's not *even* what the guy said!". So, welcome to blues-l --------------------------------------------------------[End of Seriously] and, next time..., get your facts straight. ;-) ;-) ;-) Mike On Fri, 21 Jul 1995 12:03:21 -0400 Dick Waterman wrote: >I thought that I was making an innocent comment on how I hoped to have >more connection with people who had an interest in Pre-War blues. It was >intended only as a casual remark that I posted as part of the postage >stamp availability. >It was never my intention to ignite an Acoustic vs. Electric situation. >Since I have long personal history with Son House and John Hurt as ^^^^ ^^^^^^^ >well as Buddy Guy and Magic Sam, I'd be the last one to start staking ^^^^^ ^^^ ^^^^^^^ >out any preferred turf. ^^^^ >I also got scolded several times by folks who said, "This list is what you >make it. Stop whining and start posting." >I'm going back into my cave now. >dick waterman -------------------------------------------------------- Name : Michael A. Suffern Mated : Judith Darin-Suffern E-mail: msuffern@xnet.com Does... He : Code by day... ...blow, pick, and holler Chicago Blues by night ...totally shot by morning She : SoundTravels/B&B Travel Blues Vacations, Cool Vacations, Europe, etc... ...learn bass, listen to E.C. & Freddie King, talk to her nieces half the night, put up w/ Mike "Uhhh.... if you see my little red rooster, Please.... a drive him home. Well.... if you see my little red rooster, Please.... a drive him home. 'Der no peace in thE barn yard, Since the little red rooster been gone." Willie Dixon (Howlin' Wolf) -------------------------------------------------------- ========================================================================= Date: Tue, 25 Jul 1995 22:02:47 +1000 From: Andy Turner Subject: touchy Aussies in Winter! To all - I've already written to Dick to say sorry for the 'touchiness' of my response to his post re:Brownie Mcghee. It was a good lesson in the new adage about waiting 24 hours for the affects of a loong day and the 'harsh' Australian winter to wear off before you hit the send button. Sorry to the rest of the list as well! Regards Andy T "It's a sad and beautiful world" ========================================================================= Date: Tue, 25 Jul 1995 07:40:00 CST From: William Shute Subject: for Lazy Lester fans only! From: Bill Shute I've been on blues-l for about a year now, and it has been a fantastic experience for me. Linking up with so many knowledgeable folks and like-minded persons internationally is something I could never do otherwise. So, as a kind of "thank you" to my blues-l brothers and sisters, I've come up with a little giveaway for "Christmas in July." I got a few good pictures of Lazy Lester at his show during Antone's 20th Anniversary Celebration, one of which was a close-up of Lester's happy face (taken at 3:10 am!) that he offered me when I asked him for a photo op in case my on-stage photos didn't come out. I have had 25 4"x6" copies of the color photo made, and I am going to give them away FREE to 25 blues-l persons, sent first-class (US)/air mail (overseas). This is a great photo and really captures everything you love about Lazy Lester (thank my automatic Canon camera, not any skill on my part!). It was developed by a black lady in her 50s who said, when she pulled the photos out of the machine, "He sure is a handsome old man, that Lester!" and asked me if she could make an extra copy for herself! However, you do not need to be in your 50s OR a lady to get a free copy. Here are the instructions: 1) either hit the "reply" key or send me a message with "Lazy Lester Photo" in the subject line. 2) Tell me your name, your e-mail address, and your mailing address. 3) Tell me in a few sentences why you like Lester and/or why you'd like a picture of him and/or why I should choose YOU as a recipient. 4) Do the above before 8 am Texas Time on Saturday 29 July l995. I will contact winners only individually. My rationale for choosing winners will be completely subjective and private. In the spirit of affirmative action and quotas, I will set aside a minimum of SEVEN of the 25 photos for persons outside the United States. People who like Texas and Memphis music will be given a slight "boost" in their rating as will people who have "welched on" an enrollment agreement with Columbia House promoted over the supposedly non-commercial blues-l. I would put a disclaimer, but I'm not gonna make a cent off this-- in fact, it's gonna cost me quite a bit. If response is overwhelming, I may well have some more photos printed and expand the pool of winners...then again I may not! This photo may NOT be published anywhere or used commercially without the written permission of Mr. Leslie Johnson himself...Lazy Lester. Thanks to all who respond. May you put together "a real combination for love" ASAP Bill Shute ("they call me lazy/but Lord knows I'm only tired!") San Antonio, TX (home of one of Lester's fave radio stations) in case my e-mail address is not included in your header, I think mine is wshute@accdvm.accd.edu --30-- ========================================================================= Date: Tue, 25 Jul 1995 09:57:57 -0300 From: Rob Hutten Subject: Main Street Helena phone number Dick Waterman wrote: > For hotel information, call Main Street Helena (501-388-9144) I just tried this number (three times) and got a recorded message telling me that "this number is not in service." Has the number changed, and/or does anyone have the new number? -Rob ========================================================================= Date: Tue, 25 Jul 1995 07:18:43 -0600 From: Jessica Jones Subject: Bleecker St. Midwest Tour Dates Bleecker St. is once again roaming the Midwest in support of their new CD "Tumblin' Down" (featuring Taj Mahal on one cut). Go check 'em out. Aug 2 MCKENNA'S Omaha, NE 402 393-7427 3 THE MILL Iowa City,IA 319 351-9529 4 MAINTENANCE SHOP Ames, IA 515 294-2772 5 SIDELINE GRILL Chicago, IL 312 528-7569 6 ROSA'S Chicago, IL 312 342-0452 8 BLUE'S Chicago, IL 312 349-9416 10 DEEP BLUES Columbia, MO 314 875-0588 11 BB'S LAWN BBQ Kansas City, MO 816 822-7427 12 MULLIGAN'S Lawrence, KS 913 865-4055 For further info, E-mail me at jessicaj@spot.Colorado.edu or Ben Stevens at BleeckerS@aol.com. jessica ========================================================================= Date: Tue, 25 Jul 1995 09:17:56 -0500 From: VT Subject: Re: Quinessential Etta >DATE: Mon, 24 Jul 1995 14:06:54 -0400 >FROM: Jinxblues@aol.com > >I have an Etta James that seems to be pretty complete and it was unusually >cheap in a major chain record store. I think it was something like $8.99 for >an 18 track CD. >The series is called "Masters of the Blues" and the label says that it is >TELSTAR RECORDS and is a remastering of the original Chess recordings. Others >in this seriesa are JReed, MWaters, JLHooker, BDiddley and many others. This >one does have both "At Last" and "I'd Rather Go Blind" on it. Dick, I also have exactly that Etta CD on JCI/Telstar. The reason I did not mention it is because I don't think it's generally available anymore. These were available back in the mid to late '80's (man, don't time fly when you're not paying attention :-) when CDs were still relatively "expensive" so the price of around $8.99 was very good indeed, and the series had very good track selections and most were around 1 hour long. The Lightnin' Hopkins with Sonny & Brownie and Big Joe Williams I keep raving about was "re-issued" on that label as "Blues X Four" - those tracks as I did my minimal research turns out to be 2 different sessions, but on the same day! The stuff with all the men were from the same session that produced Down South Summit Meeting - recently reissued on Capitol as part of a double CD - the solo Lightnin' was from the same day in the same city Los Angeles - which produced the fantastic "Big Black Cadillac" - 7 minutes worth including nearly 4 minutes of Lightnin's very humorous introduction/rap. These recordings have cropped up on various labels including PILZ, Drive Archive, Legacy (not the Sony label) and LW mentioned that Charly has it on "Coffee House Blues". Sorry to go off at a tangent....... Vincent - who does know how to stick to the point, but can't be bothered. p00061@psilink.com ========================================================================= Date: Tue, 25 Jul 1995 13:22:15 GMT From: Art Schuna Subject: Re: New Releases In article <25072417323447@vms2.macc.wisc.edu>, Bonnie Kalmbach says: > Jimmy Dawkins - "B Phur Reel" very good - just behind "Blues > and Pain" I'd say. I would have to echo these sentiments. Just picked up a copy last week. This set could have been recorded at the same session as "Blues and Pain" Recommended for those who are J. Dawkins' fans Though not listed in this post, I just got around to picking up Shirley Brown "Diva of Soul", based on Bonnie's prior recommendation. This is the best Aretha Franklin record she never recorded. I don't mean this in a negative sense as I am a huge fan. Shirley deserves a much wider audience than she currently enjoys. I would rate her right up there with Aretha and Anita Baker (on her better recordings). I suspect the small label (Malaco) with limited promotion keeps her from wider recognition. "Diva of Soul" is highly recommended. Art Schuna ========================================================================= Date: Tue, 25 Jul 1995 07:41:18 -0600 From: Jessica Jones Subject: Bleecker St. European CD Release NEWS FLASH Axmo Agency in Germany has just announced the official European Release date of the Bleecker St. cd "Tumblin' Down" will be August 1. It will be Distributed by Bellaphon International Sound Service (BISS). For further info on the European distribution, e-mail Hermann Motor of the Axmo Agency at 100541.312@compuserve.com jessicaj ========================================================================= Date: Tue, 25 Jul 1995 13:14:14 +0000 From: Martin Adamson Subject: Re: Ali Farka Toure and African Blues > You may want to check out some of David Lindley's stuff. Not from that > part of the continent, but if Lindley's involved there has to be some > kind of blues kinship. His latest is with some musicians from > Madagascar. Sorry I couldn't be more specific. They are on two CDs called "A world out of time" on, I think, the Shanachie label. Martin ========================================================================= Date: Tue, 25 Jul 1995 08:46:02 CDT From: L W Subject: Charles Brown...any questions I'll be talking to CB tonight, he was either gonna call last night or tonight Thankg goodness he didn't call last night, I wasn't prepared... Any good questions for Charles....Private mail of course LW btw: If i offended anyone with the term "of color" when talking about my friends who went to see Kenny Neal, I apolgize...No offense was intended,,hey these folks are my friends, I wouldn't call them anything I thought would be offensive...sorry ========================================================================= Date: Tue, 25 Jul 1995 09:57:49 -0400 From: Kathe Grant Subject: Introducing myself Hi y'all! I just discovered this listserve when I was cruisin' the 'net, just subscribed, and wanted to say hello. The Blues are simply my favorite type of music. I do a lot of dancing, mostly West Coast Swing, and am always on the lookout for very smooth, very sultry music. Off the top of my head, two of my most favorite songs are Debbie Davies, "This Man is Killing Me" and Allanah Myles, "Black Velvet." Can anyone out there make any recommendations? Thanks. Kathe Kathe Grant Administrative Assistant Computer Science Undergraduate Office 303 Upson Hall 255-0982 ========================================================================= Date: Tue, 25 Jul 1995 10:06:54 EST From: Alora Paul Subject: Jimmie Vaughan on tour I checked on http://www.pollstar.com to see where JV had perhaps been playing - schedule shows only August dates. I'll be seeing him at Great Woods/Mansfield, MA on 8/20/95 and was wondering if anyone has seem him this summer. It's the Bluesfest thing and I see that "Mark of the Quad Cities" in Moline, IL is offering the same line-up on 8/18 (hey delta doc - you goin'?) but didn't look at other sights to see if the whole road show is touring extensively. ANYWAY, how long does Jimmie get on stage? Won't be long enough for me most likely. would like a chance to see just him. Plenty of us yanks on the East Coast, so posting comments and/or info. to the list wouldn't be out of line i don't think. Thanks y'all. Love the world, Alora apaul@whoi.edu ========================================================================= Date: Tue, 25 Jul 1995 10:13:02 -0400 From: Rick Miller Subject: Gatemouth Brown in Napa, CA. Yes, go see him! :) YOu won't regret it! Terrific performer and unique blues style. This is not a smalltimer, Gatemouth is bigtime blues.... a national act (or international, I suppose). :) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 25 Jul 1995 10:17:01 -0500 From: Patti Bowman Subject: Overwhelming Mail I have only been on this list for a week or so and you guys are right - there is a _lot_ of traffic! As far as "too much"................. just pop some blues in the stereo and read the stuff that looks interesting and keep the delete button close at hand. Simple. It's amazing how fast the time flies when the blues are playing. Just a thought. -Patti ========================================================================= Date: Tue, 25 Jul 1995 14:30:25 +0000 From: Pat Hertel Subject: Re: New Releases On Tue, 25 Jul 1995, Art Schuna wrote: > In article <25072417323447@vms2.macc.wisc.edu>, Bonnie Kalmbach says: > > > Jimmy Dawkins - "B Phur Reel" very good - just behind "Blues > > and Pain" I'd say. > > I would have to echo these sentiments. Just picked up a copy last week. > This set could have been recorded at the same session as "Blues and > Pain" Recommended for those who are J. Dawkins' fans > I'd STILL like to know about his "Come Back Baby" CD. Hasn't anyone out there heard it? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/7/95 10:28 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 25 Jul 1995 10:39:38 -0400 From: Rick Miller Subject: Victoria amp review That gushing :) amp review sounds a lot like the one in the recent Guitar Player magazine, where they review the new amps from Holland and Victoria, which are both designed to be great recreations of some of Leo Fender's classic old stuff. The Holland is a 4x10 and the Victoria is a 3x10, I belive . Both are over a thousand bucks $$$$ according to the article, and I'm really curious how they'd do in a side-by-side comparison of Fender's of today, like my Blues Deville 4x10. I'm sure all that hand-wiring and soldering is nice (on the construction side) but do they REALLY sound better? I'm so infatuated with the clarity, space and headroom of the DeVille (as well as it's outright BALLS when you call for 'em) that for about twice the money, is it worth it? Are we talking Ferrari vs Porsche? or Ferrari vs Chevy? :) Riffin Rick (((( oo-) /- -all gushing personal opinions happily considered... :) F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 25 Jul 1995 15:38:45 GMT From: Dennis Miele Subject: Albert Collins' guitar tuning I've been having a discussion with a friend about how Albert Collins tuned his guitar. I recall reading (probably in Guitar Player) that he tuned to an F#m chord and used a capo at various frets. Does anyone have specific info, like the exact tuning and where he capoed? TIA, Dennis ========================================================================= Date: Tue, 25 Jul 1995 07:42:33 PDT From: Dave Fields Subject: Re: Ali Farka Toure and African Blues Martin Adamson wrote: > > > You may want to check out some of David Lindley's stuff. Not from that > > part of the continent, but if Lindley's involved there has to be some > > kind of blues kinship. His latest is with some musicians from > > Madagascar. Sorry I couldn't be more specific. > > They are on two CDs called "A world out of time" on, I think, the > Shanachie label. > Yes, they're on Shanachie. But they're not the latest from Kaiser & Lindley. That would be the album with Finnish musicians they came out with about 7 or 8 months ago called "The Sweet Sunny North," also on Shanachie. The two discs done with Malagasy musicians are "A World Out of Time" and "A World Out of Time, Volume 2." ========================================================================= Date: Tue, 25 Jul 1995 09:49:53 -0500 From: Bruce Roberts Subject: That's a cold shot I read an ad in the local paper the other day that someone was selling copies of an old car title to a car owned by SRV. He was selling them for about $50 dollars a pop. Gee why not just bottle dirt from his grave and sell it? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Tue, 25 Jul 1995 10:56:27 -0400 From: Dick Waterman Subject: Re: Splitting the list (was Re: Did you know this?) Re: First meeting Son House: Long and complicated story that will be written someday. I heard from Booker White that he had seen Son House in Memphis. I had booked Booker in Boston (April, 1964) and two months later headed South with computer programmer Phil Spiro and college dropout Nick Perls. We drive Perls' yellow VW bug into Mississippi in June, 1964, the infamous summer of "Mississippi Burning" with voter registartion, Klan reaction, etc. Took us weeks to backtrack Son through his wife's relatives. Great help was given to us by Rev. Robert Wilkens, riding with us through Delta shack towns on dirt road. Eventually tracked Son House down in Rochester where he had no phone. Got friend to bring him to phone. Spoke to him at length on Sunday, June 21, 1964. Elated, we left for Rochester and actually met Son & Evie House at their home on evening of Tuesday, June 23rd. The day we talked to Son while we were in the northwest corner of Mississippi, about two hours away, Goodman, Schwerner & Chaney were being dragged from their car in Philadelphia, Miss. (Neshoba County) and murdered. Same day. The irony is that Son had not been in Memphis for over 20 years and Booker had lied just to impress us that he knew Son House. dick waterman ========================================================================= Date: Tue, 25 Jul 1995 09:56:33 CDT From: L W Subject: Charles Brown & Elvis Costello I think it's interesting that ECostello wrote "I WOnder How She Knows" for CB....I want ask about that........ LW ========================================================================= Date: Tue, 25 Jul 1995 11:01:08 -0400 From: Linden/Powers Subject: Blues Festivals Hi there. Wondering if there is a comprehensive list of Blues Festivals???? This would be invaluable to blues fans and blues musicians alike. Hmmmmmmmm???? Colin Linden Toronto ========================================================================= Date: Tue, 25 Jul 1995 11:09:24 -0400 From: Dick Waterman Subject: Gave the wrong number ! I am not only a slow typist, I am an inaccurate one as well. The correct phone number for "Main Street Helena" is (501) 338-9144. . . and thanks Rob Hutten for catching that one. dick waterman ========================================================================= Date: Tue, 25 Jul 1995 08:12:26 -0700 From: Depti Patel Subject: Please update blues list The username Richard_Doerr@tds.com is now Rich_Doerr@tds.com. Please make this change so the mail does not bounce back. Depti ========================================================================= Date: Tue, 25 Jul 1995 11:07:28 CST From: William Shute Subject: James Europe recordings(query) From: Bill Shute I was listening last night to the then-rejected January l917 recordings of the Original Dixieland Jazz Band (2 months later they recorded for Victor and those WERE issued and became a smash and are considered the first released "jazz recordings."). for Columbia. This got me listening to those l917 WC Handy recordings that were reissued on Memphis Archives. And those led me to the following question: have any of the band/orchestra recordings of James Europe ever been reissued? (there are some recordings of a vocal group under Europe's direction/name on Document, but those don't count) I've heard that while they could by no stretch of the imagination be called jazz, they are of interest because 1) Europe was black and 2) his work predated the ODJB by four or so years. I am quite fascinated with the acoustic recording era and would welcome any info on how I could hear a sample of that material. If any 78 collectors have recordings of Europe's circa l913-l916, I would love to hear a track or two. While I obviously have nothing of that super-rarity to trade tape-wise, anything I have access to would be yours in return on tape. Mr. Europe passed away soon after that, didn't he? Has anyone ever written an article on him? If so, bibliographical info would be welcomed (enough so I could get it through interlibrary loan). Thanks in advance to anyone who can help. Bill Shute San Antonio, TX ps, if anyone is reading this out in LA, would Ian Whitcomb ever play something like this on his radio program? If anyone out there could tape either Whitcomb's or Billy Vera's radio shows, I'd be happy to tape things from my collection for you in return. pps, one wonders if Document, as they branch out into non-blues black American music of the pre-war era, would ever attempt a chronological James Europe? And in an unrelated area, if anyone knows Johnny Parth, perhaps another question for him would be whether or not Document also plans to reissue those sermon 78s that do not feature any music?What about minstrel-routine records if the performers were black (like the Jim Jackson disc on one of the Too Late Too Late comps?). And speaking of WHITE minstrelsy, when is CBS going to be putting out that long-promised compilation of Emmett Miller and his Georgia Crackers? We read on blues-l the other day that no new Legacy releases would be out until l996. I guess that would affect the Miller set (assuming it was that close to completiion)too, eh? My enquiring mind wants to know these things! --30-- ========================================================================= Date: Tue, 25 Jul 1995 10:09:12 -0700 From: Ron Wack Subject: MAIL TEST - DELETE NOW! Item Subject: Message text test ========================================================================= Date: Tue, 25 Jul 1995 12:19:32 EST From: Alora Paul Subject: Re: Blues Festivals msg. from Colin Linden (wow) ooh, colin, uh, mr. linden, may i introduce you to the family?? pretty please? Hey y'all, meet one smokin', tough and tender guitar player- Mr. Colin Linden!! whom i saw play alongside bruce cockburn last year at berkeley in boston! so nice to have you here, to be able to say THANK YOU for the great show, and well, hopefully someone can answer your question about blues fests. Alora apaul@whoi.edu (truly hope you don't mind, colin.) ========================================================================= Date: Tue, 25 Jul 1995 12:29:58 -0400 From: Tom Morgan Subject: Bartender's Bop Playlist 7/24/95 It's the middle of summer, the heat has turned my brain to mush and all I can think of is a show full of nonsensical titles. :) Title Group Year Label -------------------- -------------------- ---- ------------- Abalabip Cole, Eddie Gotham Ta De Ah Cole, Nat King 39 Savoy Oo Wee Davis, Martha 47 Juke Box Lil Oooh La La Gayten, Paul 50 Specialty Boppity Bop Carr, Wynona 57 ACE Ring Dang Dilly Big Maybelle 56 Savoy Switching Witching Ballard, Hank King Titching Ooh Bop She Bop Dukes, The 57 ACE Yama Yama Pretty Berry, Richard ACE Mama Be Baba Leba Harris, Thurston 58 Pathe Marconi Ting A Ling Clovers 52 Atlantic Ka Ding Dong Diamonds 56 Atlantic Bim Bam Boom El Doradoes 56 Charly Zoop Charts Lost Nite Beep Beep Beep Day, Bobby 58 Rhino Zip Zip Diamonds 57 Rhino Chop Ling Soom El Doradoes 56 Charly Hum Ding A Ling Otis, Johnny Capitol Ay La Bas Cooper, Dolly 55 ACE Lovey Dovery Clovers 53 Atlantic Ring A Ling Otis, Johnny Capitol Voo Vee Ah Bee Platters King Shilly Dilly Flamingos Chess Ookey Ook Penguins Dootone Ziggus Five keys King Ko Ko Mo Flamingos Chess Oochi Pachi Platters King Boom Diddie Boom El Doradoes 56 Charly Chickie Um Bah Flamingos Chess Cha Dooky Doo Neville, Art 58 ACE Rub Dub Dub Kdoe, Ernie Bandy Oogsey Moo Hill, Jessie Bandy Dinky Doo Bo, Eddie 61 Rounder La La Dorsey, Lee Charly Te Ta Te Ta Ta Kdoe, Ernie Bandy Zing Zing Zing Neville, Art 58 ACE Heebie Jeebies Kdoe, Ernie Bandy Ooh Pooh Pah Doh Hill, Jessie Bandy Chonnie On Chon Brown, James King Da Dee Ya Da Harrison, Wilbert 51 Savoy Ooh Wee Baby Neville, Art ACE My home page: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM 91.1 Charlottesville, VA Author--From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music, 1895-1930 ========================================================================= Date: Tue, 25 Jul 1995 12:33:14 -0500 From: VT Subject: REVIEW - Live - Hubert SUMLIN @ Turning Point Pt.2 >Hubert Sumlin - Sat.95.07.22 @ The Turning Point, Piermont, NY. > >Is it worth sticking around for part 2? Wild horses couldn't drag me >away for the second show of the night..... Part 2: Danny Russo's band warmed up for the second show of the night with 3 numbers which included a nice version of Little Walter's "Last Night" - Littel Brother Eric's bass playing was just so on this one. A mid tempo boogie Danny singing with words: "...know my people's gone..... can't stay here too long...... just alone" and Hubert is introduced. Hubert plays a long solo - I thought the tune was going to be just an instrumental - he does his long finger slide thing. Danny sings out the song. Little Red Rooster - the audience really appreciated this one. Hubert's vocals had authority tonight and his guitar playing is just simply phenomenal. Road of No Return(?) - slow blues - Huberts plays that mid range slide/bend thing like in the famous "Goin' Down Slow" - this is so great to be hearing him play and sing so well. Work Hard For You(?) - big bends. Typical Hubert vibrato and the classic Sumlin/Wolf sound - it's all here tonight. Hubert says he's going to try this one - and the tune turns out to be "Last Night"(!) Hubert does the singing - and nods to Danny to take a solo. Very nice indeed, with long ringing notes on the harp - then Danny takes over on the vocals. Hubert's plaintive solo CRYS the blues - nice slow long solo - what a treat. Do What You Want(?) - Hubert starts and Eric follows on bass then the rest of the band follows. Mid tempo, attractive riff, nice number. Calidonia - Danny on vocals but they are having fun with this one - are we having fun yet? Smokestack Lightning - from a shouted request - Danny still on vocals - Huberts and Dariush's guitars ring the same notes - this is really good. Of course what's missing is the Wolf's ROAR and howl, but this has a nice feel to it and Danny even throws in a howl........ Mid tempo number - I coudn't figure out the title - they were all cookin'. Eyesight to the Blind - the SWBII number domne more in the Little Walter style Hubert's playing is still on and the sounds are just wonderful. Last number - Mojo! - Got My Mojo Working - they launch into this one Danny taking the vocals, but Hubert steps up to the mic for the answering chorus and does the "bbbrrrrr" thing twice on the second lines - you can see and hear the exuberance in him. I'll just tell you guy this - Hubert is really ON FORM - NOW - he did great things at the HoB Cambridge, MA and I heard about his "surprise" appearance at the Antone's 20th Anniversary. ....and to paraphrase Dick Shurman's bit about Otis Rush - I KNEW tonight that nobody was hearing better blues than me at that moment. NOTHING lasts forever you'd better get off your BUTs and go see these blues legends before you regret it for the rest of your lives. Vincent p00061@psilink.com ========================================================================= Date: Tue, 25 Jul 1995 11:41:32 CST From: Steve Sobaski Subject: James Harman Just a plea for information on one of my favorite harp players and blues singers, James Harman. I understand he has a new release scheduled for this summer. Do any of you fellow Blues-Lers know if it's been released by Blacktop Records yet and does anyone know James touring schedule for the summer? Cheers! |||||||||||||||||||||||||||||||||||| Steve Sobaski | Illinois Natural History Survey | Center for Aquatic Ecology | 607 E. Peabody Drive | Champaign, IL 61820 | sobaski@ux1.cso.uiuc.edu | (217)-333-3312 | |||||||||||||||||||||||||||||||||||| ========================================================================= Date: Tue, 25 Jul 1995 10:43:55 -0700 From: Ron Wack Subject: Charlie Sexton Item Subject: Message text I've got a chance to see Charlie Sexton tomorrow night at a local club. I've read the article in this month's Guitar Player. It says that his playing has an underlying blues sound, but his comment, "I can play the blues, but don't feel I really need to" causes me some concern. Is anyone familiar with him? Thanks RW Wack_Ron/rfh@sask.aecl.ca ========================================================================= Date: Tue, 25 Jul 1995 12:53:18 -0400 From: Tom Morgan Subject: Re: James Europe recordings(query) In another time and place, William Shute said: > > > have any of the band/orchestra recordings of James Europe > ever been reissued? (there are some recordings of a vocal > group under Europe's direction/name on Document, but those > don't count) I've heard that while they could by no stretch > of the imagination be called jazz, they are of interest > because 1) Europe was black and 2) his work predated the > ODJB by four or so years. > I am quite fascinated with the acoustic recording era and > would welcome any info on how I could hear a sample of that material. Bill, one or two have been put on CD but not all of them, More of them are on lp. One cut "Castle Walk" is on Saydisc 336. Some of Europe's recordings could be called jazz, I refer to him in my book as the "Father of Orchestral Jazz." I play these recordings on my Jazz Roots show and have a few pieces of sheet music that Europe wrote in the teens and twenties. I will post a profile of James Reese Europe from my book this afternoon. There is also an excellent new book out about him by Reid Badger. > If any 78 collectors have recordings of Europe's circa l913-l916, > I would love to hear a track or two. While I obviously have nothing > of that super-rarity to trade tape-wise, anything I have access to > would be yours in return on tape. I'll trade with you. > Mr. Europe passed away soon after that, didn't he? Has anyone ever > written an article on him? If so, bibliographical info would > be welcomed (enough so I could get it through interlibrary loan). Europe was killed by his drummer in 1919. The obit said "The Jazz King is Dead." Europe was a fascinating man, composed music for black broadway shows in the 0's, organized the "Clef Club" in the teens as well as was the band leader for Vern and Irene Castle, then organized a military band that spread the "jazz germ" across Europe. More to come Tom My home page: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM 91.1 Charlottesville, VA Author--From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music, 1895-1930 ========================================================================= Date: Tue, 25 Jul 1995 12:55:53 -0400 From: Andrea Waldman Subject: Etta James Does anyone know when Etta James went from singing "I'd rather be blind" to "I'd rather be a blind girl"? I hadn't seen her live in a long, long time and it was a shock to hear her (and some of her fans) singing the latter at Monterey recently. Also, is she in bad health? She was scheduled to do a book signing here (Northern California) and cancelled twice. Aaack. I really wanted an autographed copy. /Andrea ========================================================================= Date: Tue, 25 Jul 1995 13:01:56 -0400 From: Tom Morgan Subject: James Reese Europe bio (LONG) James Reese Europe Copyrighted by Thomas L Morgan and Elliot and Clark Publishing 1992 Of his contemporaries, James Reese Europe's story is the saddest. He achieved much in his short life, but his greatest achievements were surely to come, and it is fair to say that the whole history of jazz would have been different had Europe not met an untimely death at the end of World War I. James Reese Europe was born in Mobile, Alabama, on February 22, 1881. Both of his parents were musicians, and when Europe was about ten, his family moved to Washington, D.C., where he studied violin with Enrico Hurlei, the assistant director of the Marine Corps Band. Europe entered a music-writing contest at the age of 14 and was awarded second place, bested only by his sister Mary. At 22, Europe moved to New York and began playing piano in a cabaret. He also continued his musical studies, and in 1905, he joined Joe Jordan to write for The Memphis Students. That was the year he unknowingly influenced a future songwriting great: George Gershwin remembered sitting on the curb outside Baron Wilkin's nightclub in Harlem for hours when he was seven years old, listening to Europe play. In 1907, Europe was the musical director of Cole and Johnson's Shoo-Fly Regiment. Two years later he performed the same duties for Bert Williams's Mr. Lode Of Coal. In 1910, he founded one of the most unusual African-American organizations of the time. The Clef Club was unique in that it was part fraternal organization and part union. The building it purchased on West 53rd Street served both as a club and as an office for bookings. Its board included William Tyers, previously an arranger for Stern Music Publishing Company, as its treasurer and assistant symphony orchestra conductor, and Henry Creamer, who would later pair with Turner Layton to write many popular songs, as its press representative and general manager. Europe was the Clef Club's first elected president as well as the conductor of its symphony orchestra. The Clef Club Orchestra appeared at Carnegie Hall for the first time on May 2, 1912. They were so well received that they returned in 1913 and 1914. One American writer said that popular music first invaded the concert auditorium when Europe played Carnegie Hall. One Clef Club Orchestra performance boasted 150 musicians, although it has been said that not everyone who was on stage in some shows could actually play an instrument. Some were taught just enough chords to get them through the performance, and others were simply holding instruments with rubber strings. Nevertheless, the Carnegie Hall concerts gave the Clef Club Orchestra greater respectability among white society, and as a result, they were engaged to play at many of the most elite functions both both in New York and in London, Paris, and on yachts traveling worldwide. The club functioned as a clearing house not only for musicians but also for all types of entertainers, and under Europe's leadership, it was actively involved in improving the entertainers' working conditions. Prior to this era, some establishments hired musicians primarily as waiters and bartenders who also happened to be expected to entertain the guests. When an act was booked through the Clef Club, however, the musicians were hired solely as entertainers and received a salary, plus transportation expenses, room, and board. The club proved exceptionally successful, generating over $100,000 a year in bookings at its height of popularity. At the time dancing was all the rage in New York, and the most famous dancers were Vernon and Irene Castle. When the Castles met Europe at a private society party where the Clef Club Orchestra was playing, they decided to make him their band leader. They also hired fellow black composer Ford Dabney as their musical arranger. Europe was instrumental in the premier and success of the Castle's most famous dance creation, the fox trot, which was reputedly adapted from W. C. Handy's "Memphis Blues." While with the Castles, he also added a saxophone to his band, giving what had previously been used mainly as a novelty in musical acts the status of a respectable jazz instrument for the first time. Europe and Dabney wrote most of the music for the Castles' dances. In 1914, after disputes arose between Clef Club members, Europe resigned as its leader and formed the Tempo Club which, when he played for the Castles, was also called Europe's Society Orchestra. When Europe left the Castles in 1915, Ford Dabney took over his spot as band leader. At the start of World War I, Europe enlisted as a private in the army. After passing the officer's exam, he was asked by his commander, Colonel William Hayward, to form a military band as part of the combat unit. Europe felt that it would be hard to convince New York City musicians to leave their highly paid jobs to go to war, but Colonel Hayward instructed Europe to get the musicians wherever he could. He did just that, even traveling all the way to Puerto Rico to recruit his reed players. When the unit arrived in France on New Year's Day 1918, it was the first African-American combat unit to set foot on French soil. Europe's band entertained troops and citizens in every city they visited and was received with great enthusiasm. Noble Sissle said at the time that the "Jazz germ" hit France, and it spread everywhere they went. Throughout the war, Europe continued to write songs, composing the words to "On Patrol in No Man's Land" while hospitalized after surviving a gas attack at the front. On August 18, he was sent from the front to lead his band at an Allied conference in Paris. They were only to play one concert, but the crowd reaction was such that both American and French officials asked them to stay in the City of Light for eight weeks. During this time, Europe's group performed in a series of concerts with some of the greatest marching bands of France, Britain, and Italy. After one performance, the French band leader asked for one of Europe's arrangements so that his band could play some of this American jazz. The next day the leader questioned Europe because his bands' version did not sound like the original. After listening to them play, Europe agreed and tried to explain how the jazz effect was accomplished. The puzzled Frenchman later inspected Europe's instruments; his band felt that the only explanation for the sounds they created could be that the instruments were doctored. Europe and his band returned triumphantly to New York on February 12, 1919, and soon began a tour of American cities. The final concert on the tour was at Mechanic's Hall in Boston on May 9, 1919. That evening, when one of the "Percussion Twins," Herbert Wright, became angered by Europe's strict direction, he attacked the band leader with a knife during intermission. Noble Sissle recalled: Jim wrestled Herbert to the ground, I shook Herbert and he seemed like a crazed child, trembling with excitement. Although Jim's wound seemed superficial, they couldn't stop the bleeding, and as he was being rushed to the hospital he said to me: "Sissle, don't forget to have the band down at the State House at nine in the morning. I am going to the hospital and I will have my wound dressed....I leave everything for you to carry on." Europe's jugular vein had been severed. The next day the papers carried the headlines: "The Jazz King Is Dead." Sissle's partner Eubie Blake later said of Europe, "He was our benefactor and inspiration. Even more, he was the Martin Luther King of music." Sissle remarked: There was only one Jim Europe, and he had not just been "made" with that band of his. There was years of experience behind that sweep of his arms, and anyone who tried to follow him would just be out of his mind....I was sure that conducting was not the field in which I was to carry on his life's dreams. In my mind his band should remain in the memory of those who heard it led by Lieutenant James Reese Europe, and that's how it ended. Europe was buried with military honors at Arlington National Cemetery. Despite his many accomplishments, he never fulfilled his greatest ambition: to restore the Negro to the Broadway stage. It would remain for his students, Noble Sissle and Eubie Blake, to realize his dream. My home page: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM 91.1 Charlottesville, VA Author--From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music, 1895-1930 ========================================================================= Date: Tue, 25 Jul 1995 11:41:26 CST From: James Bardsley Subject: Re: Victoria amp review As good as the new Fender "custom shop" amps are, they still use printed circuit board and some elements of mass construction which the botique amp purists believe to be less than otimal for the sound. I haven't played through a DeVille so I can't say. I think on the overall, though, I'd bet on the attention to detail and craftsmanship of a truely limited production hand made amp. -Jim _______________________________________________________________________________ Subject: Victoria amp review From: MILLER@SCI.WFEB.EDU at INTERNET-SH Date: 7/25/95 11:25 AM That gushing :) amp review sounds a lot like the one in the recent Guitar Player magazine, where they review the new amps from Holland and Victoria, which are both designed to be great recreations of some of Leo Fender's classic old stuff. The Holland is a 4x10 and the Victoria is a 3x10, I belive . Both are over a thousand bucks $$$$ according to the article, and I'm really curious how they'd do in a side-by-side comparison of Fender's of today, like my Blues Deville 4x10. I'm sure all that hand-wiring and soldering is nice (on the construction side) but do they REALLY sound better? I'm so infatuated with the clarity, space and headroom of the DeVille (as well as it's outright BALLS when you call for 'em) that for about twice the money, is it worth it? Are we talking Ferrari vs Porsche? or Ferrari vs Chevy? :) Riffin Rick (((( oo-) /- -all gushing personal opinions happily considered... :) F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 25 Jul 1995 12:19:20 CDT From: L W Subject: Johnny Moore/T-Bone Walker I don't know much about Johnny Moore and his "style", but the Living Blues with the Charles Brown interview/story (great one,btw), kept comparing Danny Caron's "style" to that of Johnny Moore. I think DC does THE BEST T-Bone of anyone I've heard (except Thibeaux..-).sp) I was wondering if Johnny Moore and T-Bone played teh same "style"..... Is Delmark releasing ALL the P-Vine recordings on CD.....I just found some used ones, along with Arhoolie BK Turner (aka The Black Ace) and ANOTHER Otis Spann.....You know if Otis is on it, I gots to have it.... LW ========================================================================= Date: Tue, 25 Jul 1995 13:23:18 +0000 From: "P.W. Fenton" Subject: Re: Blues Festivals > Hi there. > > Wondering if there is a comprehensive list of Blues Festivals???? > This would be invaluable to blues fans and blues musicians alike. > Hmmmmmmmm???? > It's my understanding that there is one in the Living Blues Directory available for a tidy sum from LB. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Tue, 25 Jul 1995 13:21:37 +0000 From: Ian Angus Subject: Re: Etta James > Does anyone know when Etta James went from singing "I'd rather be blind" to > "I'd rather be a blind girl"? I hadn't seen her live in a long, long time > and it was a shock to hear her (and some of her fans) singing the latter at > Monterey recently. hang on! I think what she sings "I'd rather go blind, girl." At least that's what I always thought. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 25 Jul 1995 13:34:53 -0400 From: LAURA FOWLER Subject: Re: Charlie Sexton I saw Little Charlie Sexton at the 9:30 Club in Washington, D.C., last month. Having moved here from Austin, Texas, I jump at the chance to catch almost all Austin acts-- I used to see him play at the Continental Club, etc., quite a bit. I must say, besides the nice mandolin and accordion touches in the band and his "bad boy good looks," I was bored out of my mind. Laura Fowler Laura Fowler lf0100@epfl2.epflbalto.org Prince George's County Circuit Court Upper Marlboro, Maryland ========================================================================= Date: Tue, 25 Jul 1995 13:37:38 -0400 From: Steve Levine Subject: Re: Blues Festivals +Hi there. + +Wondering if there is a comprehensive list of Blues Festivals???? This +would be invaluable to blues fans and blues musicians alike. Hmmmmmmmm???? + +Colin Linden +Toronto Living Blues puts together a pretty comprehensive list each year, usually in the Spring. I think this year's list is in the big anniversary issue. ========================================================================= Date: Tue, 25 Jul 1995 12:39:15 CDT From: L W Subject: Danny Caron Never mind my Johnny Moore / T-Bone question....I just talked to Danny Caron and he told me that T-Bone got some of his "influence" from Johnny Moore Charles's gig in B'ham may not happen..It was supposed to be on Sept 13th, but there are transportation problems. I'm trying to work on solving them We need that show in B'ham. !! LW ========================================================================= Date: Tue, 25 Jul 1995 10:47:43 PDT From: Eric LeBlanc-CISTI Subject: THE BLUES COMES TO THE BBC THE BLUE HIGHWAY Web site has just included a wonderful series by Arne Brogger, concerning his memories of Furry Lewis, Bukka White, Memphis Piano Red, Rev. Robert Wilkins, etc. You may want to check this. I'd like to thank Denise Tapp for telling us about this series of wonderful articles. I agree Denise, these a gems! I look forward to reading his memories of Sleepy John Estes, Hammy Nixon & Gus Cannon. Here's one of the gems. UNCLE eRIC The Blues Comes To The BBC by Arne Brogger In 1976, I received a call from a line producer for the BBC (British Broadcasting Company), aka, The Beeb. She was in the New York office and was making inquiries regarding a group she had heard about called the Memphis Blues Caravan. I told her she had come to the right place. It developed that the BBC was doing a 12-part history of popular music entitled "All You Need Is Love" and wanted to shoot the Caravan as representative of the segment on the blues. We had a high-profile date coming up at the Erie Arts Festival in Erie, Pennsylvania, together with other supporting dates on the East Coast. The Arts Festival date intrigued her, and she made us an offer to shoot the performance and then go on the road with us to the next date. The finished program would be aired first in the UK and then on public television here in the United States. The air date was to be about one year hence. Money and rights issues were addressed and worked out to everyone's satisfaction. We had a deal. It was decided that the camera crew would join us as we boarded the plane in Memphis and shoot for the next two days. As part of the deal, we were told we would have no editorial say in what was broadcast, and the piece would be shaped by "the director's ideas" as to form and content. This last line sounded a bit ominous to me, but what could he possibly do, I thought, to injure or disparage such a wonderfully innocent and exuberant group. I would find out, however, that what he ultimately had in mind was not going to sit to well with my friends on the Caravan. Unfortunate Preconception... If I might be allowed a bit of xenophobia, it has been my experience that there is a class of Brit who brings to an encounter with black American blues performers a certain elitist preconception. This preconception usually revolves around the British image of The Downtrodden American Negro. Part and parcel of this preconception is an ignorance of the humanity of the individual, the uniqueness of his artistry and specialness of his own life experiences. Rather, the artist is seen as the tragic result of society's dereliction, and his ovure is merely the resultant echoing of his unfortunate state. The fact that those who played the blues were gross victims of abuse and discrimination no one will argue. Especially me. But to view these people solely as a group, a sub-class, with no power of poetic mastery, no joy in life's revels, no special artistry but, rather, as a "cause and effect" result of the bad hand they have been dealt, is wrong. And, I say, it is also bullshit. So did the Caravan. The Accent... The encounter with the Beeb began innocently and affably, with the Caravan members being treated to movie-star attention. Orders were given by the director and quickly followed by his crew. These orders and their carry-through were dispatched and executed in the clipped and slightly nasal intonation of standard upper-class "A Levels" English, not the meat and potatoes argot of London's East End or the lilt of Newcastle's "Brown Ale brogue." No, these were well-educated accents: accents that a Cockney friend of mine once told me struck fear and shame in the heart of someone born within hearing distance of Bo Bells (the church of St. Bartholemew, in the heart of Cockney London). All of this, of course, was lost on the members of the Caravan. As far as they were concerned, the director and crew just "talked funny." Fetchn' Coffee... The director, "Sir Tony," obviously knew what he was doing. He was a thorough professional, a master of his craft. So was his assistant director, a young lady named Anunciatta, who seemed to enjoy a "special" relationship with her boss. The "specialness" of this relationship was quickly picked up on by the very hip members of the Caravan (they weren't road musicians for nothing), and the pretense of boss and employee being presented for our consumption was made considerable sport of over bourbon and fried chicken back at the hotel. "I reckon as how she fetches more than just coffee," observed Homer Jackson, Joe Willie Wilkins' drummer. That aside, things went smoothly that afternoon and into the evening. "Sir Tony" filmed the set-up for the show, the sound check, snippets of backstage banter and the artists' performances. Everything was going as planned, until the next day. "Sir Tony's" Folly... The production company had engaged a bus for our use (with the Heaven sign in the front) and wanted to shoot "road" footage culminating in a supposedly impromptu picnic at a stop along the way. It was at this picnic that he would do interviews with various members of the group which would later be intercut with their respective performances. The bus stopped by a broad grassy knoll that rolled gently away from the highway and down into a large meadow. The sun shone and the birds chirped. We were somewhere in rural Pennsylvania. Chicken and cold-cuts were brought out, together with soft drinks, and we all settled down on the grass to partake. The camera crew set up, and "Sir Tony" summoned Furry Lewis over for his al fresco interview. I walked over with Furry and helped him get settled. I sat to Furry's left, just out of camera range. The interview began with questions about Furry's past, how he first became interested in the guitar, what it was like trying to teach himself to play, if he ever learned to read music, etc. The tone of the questions, though not intentional, was condescending. But Furry was a patient man. Then "Sir Tony" asked Furry if his blues playing was all that he felt he could do, given the fact that slavery had denied the black man the opportunity for education and that "American racial repression" had denied him the right for any kind of social advancement. At first, Furry just looked uncomfortable. He said he did not understand what "Sir Tony" meant. "Sir Tony" explained. He asked if "as a result of American social and political repression" did Furry feel that his role in life was limited to blues playing as his only avenue for advancement? Furry looked at "Sir Tony." There was a long silence. Then Furry said, "Well, I play what I play 'cause I want to. It makes me happy. It makes other folks happy. And I get paid a little bit of money. But this 'repression' stuff...maybe you don't understand. I'm black and this fella setting next to me is white" (nodding toward me). "But we both Americans." He then turned to me and said, "I think I'll get back on the bus now." The interview was over. Cotton Eyed Joe... "Sir Tony" was speechless. Furry got up, and I helped him on to the bus. The assistant director suddenly appeared inquiring if there was a problem. I wanted to say, "Other than the fact that Furry Lewis is royally pissed off, no," but I told her I needed to talk to Furry privately and would get back to her quickly. Once on the bus, Furry erupted. "Who the fuck did he think he was talking to? Cotton Eyed Joe?!" I tried to calm him down and explain that "Sir Tony" mean well, but.... Then it dawned on me. I was trying to excuse behavior which I took just as much offense to as Furry did. The questions belittled who this man was and what he did and had done. It gave no credence to his artistry or his passion and reduced him to a caricature. I told Furry to sit tight, and that I had to go have a conversation with "Sir Tony" before he had a chance to do the same with Bukka White and we had some real trouble on our hands. I had visions of the Times Mirror headline: "Noted Film Director In Hospital After Blues Fracas." I asked "Sir Tony" if I might have a word. I explained that what his questions had done were to offend his subject. I explained why. I explained that perhaps he would be more successful if he were to remember who he was (nobody), where he was (the United States) and whom he was talking to (performing artists). To his credit, he got the picture. Shake 'em On Down... In the future, whenever we had press or broadcast interviews set, I had to assure everyone, especially Furry, that they would not be "like that English guy." I also made sure that the press was aware that they were dealing with artists and musicians who were every bit as proud of who they were and what they did as any rock star or opera diva. The learning curve, of course, went both ways. After the encounter with the famous Beeb had cooled down, the members of the Caravan displayed a new-found sophistication (and tolerance) in dealing with members of the Third Estate. It was Sleepy John Estes who put the incident in its proper perspective. "Who cares," he said. "We're on the road again. Gotta shake 'em on down...." Arne Brogger, us002838@interramp.com ========================================================================= Date: Tue, 25 Jul 1995 13:58:43 -0500 From: Patti Bowman Subject: Re: Blues Festivals >Wondering if there is a comprehensive list of Blues Festivals???? This >would be invaluable to blues fans and blues musicians alike. Hmmmmmmmm???? >Colin Linden >Toronto Colin- Living Blues Mag puts out a catalog of Blues Fests. you can get it by contacting them at 601-232-5574. They're hip enough to be on the web somewhere but I don't know where. ========================================================================= Date: Tue, 25 Jul 1995 14:32:40 -0400 From: Bill Reiser Subject: Re: Charlie Sexton On Tue, 25 Jul 1995, LAURA FOWLER wrote: > I saw Little Charlie Sexton at the 9:30 Club in Washington, D.C., last month. > Having moved here from Austin, Texas, I jump at the chance to catch almost all > Austin acts-- I used to see him play at the Continental Club, etc., quite a bit. > I must say, besides the nice mandolin and accordion touches in the band and his > "bad boy good looks," I was bored out of my mind. But if Mary Karlzen continues to serve as his opening act, go early and get home in time for ER. BR ========================================================================= Date: Tue, 25 Jul 1995 18:49:02 +0000 From: Pat Hertel Subject: Re: Blues Festivals On Tue, 25 Jul 1995, P.W. Fenton wrote: > > Hi there. > > > > Wondering if there is a comprehensive list of Blues Festivals???? > > This would be invaluable to blues fans and blues musicians alike. > > Hmmmmmmmm???? > > > > It's my understanding that there is one in the Living Blues Directory > available for a tidy sum from LB. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@cftnet.com > WWW = http://www.webweaver.com/pwfenton > Actually it seems to me that there is always one issue with many of the festivals listed. I don't believe there is any one place to get ALL festival listings. One of the best places is right here so W A T C H T H I S S P A C E :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/7/95 14:45 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 25 Jul 1995 11:53:35 -0700 From: Chris Adams Subject: Charlie Rich (fwd) Now, here is a big loss. A man who managed to struggle through every demon possible, a blues/jazz/countryu/r&b/gospel/ballad singer and a fine piano player. He did the Sun thing, did some Bullet sides, became semi-well known for his hits "Behind Closed Doors" and "The Most Beautiful Girl". But most have not recognized him for his jazz and blues roots. He made a wonderful comeback recording a few years ago, which included "Feel Like Going Home", with liner notes by his friend and fan Peter Guralnick. I hope Eric can do a tribute to this guy. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ---------- Forwarded message ---------- Date: 25 Jul 1995 09:56:11 -0800 From: Blair John To: ROCKABILLY Distribution List Subject: Charlie Rich Sorry to be the bringer of bad news, but... I just heard on the radio this morning that Charlie Rich died yesterday. He was 62. Died in a motel (behind closed doors) in Louisiana on his way to Florida with his wife. Those are all the details I know. jb ========================================================================= Date: Tue, 25 Jul 1995 13:38:32 EDT From: Toby Levy Subject: I'm Glad to Be Back! Hey Bluezellers! I am back on the Blues List at last, and darned happy to be here. My server died around the first of May and they kept telling me it was coming up but it never did, and then I started a new job in the end of June, but with vacation and all, I didn't get to re-up until now. I read three books on vacation which I am going to comment on at much greater length in the near future: Vineland, a novel by Thomas Pynchon, Chicago Breakdown by Mike Rowe, a history of the BLues in Chicago, and Woman With Guitar, a great biography of Memphis Minnie written by bluezeller Paul Garon and his wife Beth. I will also report on a great concert I went to last month and all the wonderful Blues Music I have been accumulating since Mayday. Thanks for keeping the flame burning while I was floundering in the dark. Toby ========================================================================= Date: Tue, 25 Jul 1995 12:17:00 CDT From: Bonnie Kalmbach Subject: MVBF inquiry Who was the guitarist in the Hank Crawford/Jimmy McGriff set. He was way cool! -Bonnie ========================================================================= Date: Tue, 25 Jul 1995 14:45:54 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Re[2]: Blues Festivals Yes, there is one in the LB Directory, which is (over)priced at $25. ______________________________ Reply Separator _________________________________ Subject: Re: Blues Festivals Author: "P.W. Fenton" at INTERNET_KDC Date: 7/25/95 2:39 PM > Hi there. > > Wondering if there is a comprehensive list of Blues Festivals???? > This would be invaluable to blues fans and blues musicians alike. > Hmmmmmmmm???? > It's my understanding that there is one in the Living Blues Directory available for a tidy sum from LB. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Tue, 25 Jul 1995 18:55:17 +0000 From: Pat Hertel Subject: Re: Blues Festivals On Tue, 25 Jul 1995, Patti Bowman wrote: > Colin- > Living Blues Mag puts out a catalog of Blues Fests. > you can get it by contacting them at 601-232-5574. > They're hip enough to be on the web somewhere but I don't know where. > http://imp.cssc.olemiss.edu/blues.html phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/7/95 14:54 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 25 Jul 1995 13:53:49 CDT From: L W Subject: MVBF inquiry ----------------------------Original message---------------------------- >Who was the guitarist in the Hank Crawford/Jimmy McGriff set. He was way cool! I've always wanted to see these guys together (or apart even)....I can't recall who plays on their recordings....I know Eric Gale plays on one, but the more recent stuff...I can't recall. I'd like to know the answer to this one also. LW ========================================================================= Date: Tue, 25 Jul 1995 18:59:58 +0000 From: Pat Hertel Subject: Willy(ie?) Deville? At one of the places I buy CDs I have seen several by Willy Deville. I have never heard of him. Can anyone fill me in? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/7/95 14:58 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 25 Jul 1995 14:20:37 -0500 From: Bruce Roberts Subject: Re: Charlie Sexton > I've got a chance to see Charlie Sexton tomorrow night at a local club. > I've read the article in this month's Guitar Player. It says that his > playing has an underlying blues sound, but his comment, "I can play the > blues, but don't feel I really need to" causes me some concern. Is > anyone familiar with him? I've seen Charlie play on many occasions, both solo and with different bands. I would not call him a blues musician. If he's with a band, I'd say go see him. Just don't expect a blues show. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Tue, 25 Jul 1995 12:36:52 -0700 From: Jeffrey Taylor Subject: Re: Boutique amps (was: Victoria amp review) I got a chance to play thru a Matchless Spitifire 15 yesterday (one of my better spent long lunches). They list for $1299. It was beautiful. There was that "bell" tone that the reviews talk about, first time I've heard it. Smooth as silk, without being mellow or limp. Turn it all the way up and it has some bark and bite. Loud too, for a 15 watter. Not quite the tone I am looking for, but very enjoyable to play. They are doing something right. I don't know if it's the silver plated copper wire or what, but what a tone. This is a specialist amp, not very versatile but very good at what it does. Also something I can lift without endangering my programmer's magnifique physique. I also played thru a Riveria Thirty Twelve (30 watts, 1x12). Half the price, neutral sounding, tube warmth, two channel (basically the same with different "pulls" for boost, bright, etc.). Liftable without strain. Good for the rock/blues cover band I'm sitting in with. I'm going to find a Peavy Classic 30 to compare it against. Not what I had come to expect from Riveria. ===================================== Jeff T "Blues with a feeling... ===================================== ========================================================================= Date: Tue, 25 Jul 1995 15:39:55 -0400 From: "Munson, Bill" Subject: Re: Colin Linden This is unfair of me I know, but I foolishly trashed and double trashed Colin's address. Could you send it to me if you still have it? Thanks Bill bmunson@itac.ca ========================================================================= Date: Tue, 25 Jul 1995 14:53:45 PDT From: "R. J. Bauman" Subject: Soul Fixin' Man Monday night's main music room at the Slippery Noodle Inn was supercharged by anitcipation among the crowd, as the pre-show dinner time had a sort of an Luther Allison audience reunion feel to it. It'd been 15 years since he'd been seen in these parts, and many conjectured as to what ever happened to him. ( One person suggested that her best friend's breakup with Luther caused his flight from Chicago!) Some thought he was dead or retired. Others shared memories of a chisled, young, exhuberant (if not just plain wild) singer and guitar player, and hoped the "old man" still had something left in the tank. We had seen him twice before in outdoor venues, and supposed that his live act would be potentially mind-blowing in close quarters such as these. By showtime, even those who never seen or heard him were getting excited from hearing others rave on about his abilities. Several $1.25 drafts past 8 o'clock the famous gold Les Paul was escorted from stage- side through the exit and the show began with a nice warm-up instrumental piece featuring second guitarist Jimmy Solberg (Gibson 345) and the lush Hammond organ work of Ernest Williamson. Fiery guitar licks from the 'Paul preceeded Allison as he made his entrance to the room to enthusiastic cheers. It soon became obvious he had remained in top form as he demonstrated his amazing, chameleon-like style on numbers such as "Bad Love", "Show Me A Reason To Stay", and "Put Your Money Where You Mouth Is." His voice was alternately soft and gravely, his guitar style oscillated form B.B. King to Jimmy Hendrix to somewhere in between. While rotating among a Lavendar Gibson 335 , an egg-shell tinted Strat, and the gold Les Paul, he proved to be a masterful technician with blistering blues chops. He delegated relatively few solos to his second guitarist, and handled soul , rock , funk, and traditional slow blues with equal dexterity and conviction. Such versatility has become a Luther Allison trademark. Fatigued by the strain of a very busy summer of touring, the band took a half-hour break after a solid hour-long first set. They re-emerged sans Allison for another Solberg led instrumental that showed off a more relaxed and loose attitude, which contributed to the best blues of the evening once Luther came back on stage. The actual music was only part of the attraction, however. It is in these conditions that those rare moments of transcendence occurs, and the audience seemed collectively tuned in to it. Luther and the crowd were really enjoying one another. Due to the nature of room, the patrons are virtually part of the stage and Luther took full advantage -- going all out to express himself completely to the audience. He was very generous with the fans, soloing table to table and even starting a long hammer- on run to fascilitate signing an album cover for my wife. Towards the middle of the more wide-open second set, the crowd was treated to a heretofore unknown artist (to this writer) named Willie Higgins. He had played in Albert King's band and shared the spotlight with Luther on "Born Under a Bad Sign" and a couple of other numbers. I have to respect anybody who can get up and battle with Luther without hurting something (as Solberg has done for years). As Willie and Luther solo'd back and forth, Willie on a left- handed purple Strat (played right- handed!) and Allison on his Les Paul, I became convinced that the Les Paul had an unfair tone/output advantage over the Strat in this particular guitar battle. I'd welcome an opportunity to see Willie as a solo act, as he is clearly very talented. I had hoped to see Allison do some of his terrific slide work some Hound Dog Taylor material, but we had to end this enchanted evening before the blues -mobile turned back into a pumkin. Heaven knows what wonders we missed toward the end. Hopefully someone will share their memories of this part at the NEXT Luther Allison show in Indy. Mr. Solberg told me they were leaving the states in a couple of weeks but would definately return. I've got no gripes about sharing Luther with European fans, but I think they've had him for long enough! It would be great to see him return to the U.S. on a more permanent basis. recommended listening: Live in Paris (Buda- Import)**** Love Me Papa (Evidence) *** Love Me Mama (Delmark) ***1/2 Soul Fixin' Man (Alligator) **1/2 RJ Bauman ========================================================================= Date: Tue, 25 Jul 1995 13:05:45 PDT From: "R. J. Bauman" Subject: Re: First Guitar (was Blues Amps & Distortion) I played my brother's Memphis Les Paul copy for years before every having one of my own. I was mostly playing drums then. He had a Crown Amp with reverb and vibrato but no pre or post gain boost/distortion. My first guitar was one of those student sized electrics with the speaker right in it. It had a really cheap (duh) painted neck. Finish canme off right in your hands. Once I filed the nut down it wasn't too bad sounding. That was in about '85. I had it about 6 months and bought a "real" budget guitar, A Series 10 strat model with one humbucker at the bridge, and a volume knob. I played it through the phono input on my portable stereo. Eventually nothing would work when connected through the RCA jacks. It had a pretty nice overdriven sound, actually. I didn't get serious with guitar until about 1988 when I got some decent gear. I preferred keyboards and drums. RJ Bauman ========================================================================= Date: Tue, 25 Jul 1995 14:55:43 -0500 From: David Silberberg Subject: Re: New Releases At 02:30 PM 7/25/95 +0000, Pat Hertel wrote: >On Tue, 25 Jul 1995, Art Schuna wrote: > >> In article <25072417323447@vms2.macc.wisc.edu>, Bonnie Kalmbach says: >> >> > Jimmy Dawkins - "B Phur Reel" very good - just behind "Blues >> > and Pain" I'd say. >> >> I would have to echo these sentiments. Just picked up a copy last week. >> This set could have been recorded at the same session as "Blues and >> Pain" Recommended for those who are J. Dawkins' fans >> > > I'd STILL like to know about his "Come Back Baby" CD. Hasn't >anyone out there heard it? > "Come Back Baby" is a reissue on Storyville Records of an MCM Blues Records (Marcelle Morgantini) release of a recording made at "Big Duke's" in Chicago on 11/10/76. Apparently just out. Sounds like it was recorded after hours (or before) - not much crowd noise. It is Dawkins with Richard Kirch (g), Sylvester Boines (b), and Tyrone Centuray (dr). Very good Dawkins - pre "Hot Wire 81" kind of stuff - much rawer, but excellent stuff. Mostly Dawkins' compositions. I would recommend it to fans of the older Dawkins, more of the West Side sound than he is doing now (B Phur Real or Blues and Pain). From what I know of your taste, Pat, I would recommend it to you. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 25 Jul 1995 14:59:40 CDT From: L W Subject: My first guitar The first was a classical that buzzed at the seventh fret. I used my brothers Univox hollow body a lot. Then it was christmas time and I wake up and you can guess......A MUSTANG WITH THE RACING STRIPES......Man was I in hawg heaven. I would plug that thang into my brothers Vox Super ???? (two cabinets) and terrorize the neighbors....Every friday night we would jam at my house and have every dog in the 'hood running for cover... Then my brother went to "preachin school" and left me his tobacco burst Les Paul....He eventually traded it and started classical guitar....He's a preacher now and I'm still ME...(He's a great preacher and brother, and I was supposed to play at his church....daylight savings time got me and I showed up after the service.....he tried to auction off my guitar cause I didn't show up :-)) LW 'don't start me talkin'' ========================================================================= Date: Tue, 25 Jul 1995 16:14:12 -0400 From: craig o'donnell Subject: Re: BLUES-L Digest - 23 Jul 1995 to 24 Jul 1995 >I have an Etta James that seems to be pretty complete and it was unusually >cheap in a major chain record store. I think it was something like $8.99 for >an 18 track CD. >The series is called "Masters of the Blues" and the label says that it is >TELSTAR RECORDS and is a remastering of the original Chess recordings. Others >in this seriesa are JReed, MWaters, JLHooker, BDiddley and many others. This >one does have both "At Last" and "I'd Rather Go Blind" on it. >Can anyone document whether this is legal or bootleg and whether we should be >supporting reissues that do not pay publishing/artists royalties? >This is NOT an accusation against Telstar, understand? But it's hard to >comprehend that royalties can be paid from anything that sells this cheaply >at retail level. >dick waterman Dick, I can't tell you about records per se but I can tell you about books sold to book clubs - which would probably be similar. (Gross oversimplification follows): When my book "Cool Mac Sounds" came out, the book club rights were sold by the publisher ("label") to a book club for a certain amount of money. Let's say it was $100. (IT wasn't, but it also wasn't a lot of money, because licensing deals aren't necessarily that lucrative). As the author I got $50 of this, because tht's what my contract said. A 50/50 split on this sort of side deals is pretty common in book publishing. If record deals are similar, the artist could get anything from $0 -> ? for master rights licensed by the record company. It depends on the original contract. Publishers and record companies like licensing because they get cash in hand up front and don't have to worry about the other paperwork. As far as songwriting and publishing royalties, these would be paid by Telstar to an agency like Harry Fox or another one which acts as a rights clearinghouse. They're a set amount and that's just built into the $9 price. My apologies if you already know this stuff. -- COD --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 25 Jul 1995 16:14:18 -0400 From: craig o'donnell Subject: Re: Victoria Amp > Also, assuming this was a copy of the original 2-12 Bandmaster it was a > curious choice for the speaker setup. I would be interested in hearing > more about how the 3-10s were chosen. This was the original design for the Bandmaster, I believe. I know that Fender chose 4 10's for the original Bassman because it moved more air than one 15-inch speaker (= more bass response). (100(pi) versus 50(pi) sq in). Who knows why 3x10"? Two 12" speakers would be 72(pi) sq in. Three 10's would be 75(pi) sq in. Maybe that's it. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 25 Jul 1995 16:14:24 -0400 From: craig o'donnell Subject: EG: First Guitar (was Blues Amps & Distortion) >First Guitar (was Blues Amps & Distortion). Yoicks. First amp: a Danelectro single-12 with reverb & tremolo. First REAL amp: Traynor Bass-Mate (these are cool, grab one if you see one) First guitar: a Japanese Beatle Bass copy; no name First other: borrowed my girlfriend's Framus 12-string acoustic. Cowboy chords only! First REAL bass: skanky Fender Precision of unknown age, 1969. Replaced by a 66 Fender Jazz in 1970. (Thanks to the influence of Noel Redding of Hendrix fame, and a slimmer neck). Still have the thing. Then I picked up a Yamaha acoustic guitar (FG-75) which I still have too. Used in 1971. Copy of an old Martin, they say. Finally in about 1973 or 74 I bought a Micro-Frets guitar from a college buddy. Later sold it (can't recall when or to whom). Got a Gibson Melody Maker which I still have. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 25 Jul 1995 16:20:45 -0400 From: Barry Silverberg Subject: Poconos blues fest room n/a. The room available for the poconos fest is no longer so. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Tue, 25 Jul 1995 13:46:29 -0700 From: James Carmin Subject: Re: MVBF inquiry >>Who was the guitarist in the Hank Crawford/Jimmy McGriff set. He was >>way cool! >I've always wanted to see these guys together (or apart even)....I can't >recall who plays on their recordings....I know Eric Gale plays on one, >but the more recent stuff...I can't recall. I'd like to know the answer >to this one also. >LW On the '94 Telarc release RIGHT TURN ON BLUE, Rodney Jones is the guitar man. Other guitarists w/ Crawford & McGriff have included Jimmy Parker (on ON THE BLUE SIDE-Milestone '89), Jimmy Ponder (on STEPPIN' UP-Milestone '87), George Benson & Jim Pittsburgh (on SOUL SURVIVORS-Fantasy '86). James C. jcarmin@teleport.com ========================================================================= Date: Tue, 25 Jul 1995 15:44:35 GMT-5 From: ELIOT WILLIAMS Subject: Re: Willy(ie?) Deville? from: Pat Hertel > At one of the places I buy CDs I have seen > several by Willy Deville. I have never heard of > him. Can anyone fill me in? Willy Deville is a roots-oriented rocker with something of a cult following, but who's never had a great deal of commercial success. He's fairly eclectic, with Latino, neo-rockabilly and New Orleans as well as blues influences. He's capable of playing some pretty mean delta-style guitar if he wants to (I've seen him do it live) but this isn't prominent on his records. I'd say he's an artist best heard live. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 25 Jul 1995 15:39:06 -0500 From: Richard Shurman Subject: Re: MVBF inquiry Wayne Boyd. He's worked on and off with Jimmy for many years including some recordings in between "all star" guests. ========================================================================= Date: Tue, 25 Jul 1995 15:46:41 -0500 From: Richard Shurman Subject: Re: Blues Festivals Didn't Blues Access recently also do a festivals issue? ========================================================================= Date: Tue, 25 Jul 1995 18:02:54 -0500 From: Patti Bowman Subject: looking for reviewers & bands I have started a website called InDeepEndAnts (aka Ants) which will showcase all types of music, including blues, for _independent_ labels. (The big guys don't need any help!) Any indie label or band with past or present compact disc releases interested in _distribution_ on the Net should definitely contact me. (i'm just not set up for vinyl, sorry - don't hate me!) I am also putting together an Ants review staff of radio personnel and/or music publication personnel. Experts in the field, if you will, who are interested in new music. -Anybody out there interested? Compact discs will be sent directly to the reviewers - arriving sort of like Columbia House except you don't pay $4 kabillion dollars for it and it's actually a genre you want! The reviews will be posted on the website and reviewers will be listed - complete with photos of the non-shy. (Sound like you? Or the guy next to you? Your mom maybe?) Please check the site out at and send me your thoughts and comments. The first band on the site is a bluesy jazz (or is it a jazzy blues?) player named H.M. Johnson. Since this list gets so much mail anyway, please feel free to respond to me personally at patti@elwood.com. Thanks. -Patti ========================================================================= Date: Tue, 25 Jul 1995 15:36:21 PDT From: Eric LeBlanc-CISTI Subject: NEW EVIDENCE RELEASES Has anyone hear these yet? EVIDENCE 26066 : SUNNYLAND SLIM - SUNNYLAND TRAIN EVIDENCE 26067 : SUNNYLAND SLIM BLUES BAND - CHICAGO JUMP EVIDENCE 26068 : J. B. LENOIR - THE COMPLETE L & R RECORDINGS EVIDENCE 26069 : BILLY BRANCH & SONS OF BLUES - WHERE'S MY MONEY? EVIDENCE 26070 : MAGIC SAM'S BLUES BAND - THE LATE GREAT MAGIC SAM EVIDENCE 26071 : SONNY BOY WILLIAMSON - IN EUROPE (w/CLAPTON,DIXON,SPANN) EVIDENCE 26072 : THE YARDBIRDS - CLAPTON'S CRADLE: EARLY RECORDINGS eRIC ========================================================================= Date: Tue, 25 Jul 1995 18:45:07 -0400 From: James Leftwich Subject: Re: Blues Festivals Blues Access offers a fairly comprehensive listing in their summer issue. They're available on-line, though I'm not sure the festival listing is. Jim On Tue, 25 Jul 1995, P.W. Fenton wrote: > > Hi there. > > > > Wondering if there is a comprehensive list of Blues Festivals???? > > This would be invaluable to blues fans and blues musicians alike. > > Hmmmmmmmm???? > > > > It's my understanding that there is one in the Living Blues Directory > available for a tidy sum from LB. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@cftnet.com > WWW = http://www.webweaver.com/pwfenton > ========================================================================= Date: Tue, 25 Jul 1995 19:01:38 -0400 From: James Leftwich Subject: Re: Soul Fixin' Man Luther will be headlining at the Poconos Festival, Sunday July 30 Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) try my brother's home page: http://www.cloud9.net/~swtpete ========================================================================= Date: Tue, 25 Jul 1995 19:09:44 -0400 From: "William E. Forrester" Subject: Re: James Harman On Tue, 25 Jul 1995, Steve Sobaski wrote: > Just a plea for information on one of my favorite harp players and blues > singers, James Harman. I understand he has a new release scheduled for this > summer. Do any of you fellow Blues-Lers know if it's been released by > Blacktop Records yet and does anyone know James touring schedule for the > summer? Cheers! His new one (titled Black and White) was released on the 18th. I saw him on Friday night at the Syracuse Blues Festival and thought that he put on a hell of a show. I thought that his performance was much stronger than Little Charlie & the Nightcats, who followed James. Bill Forrester ========================================================================= Date: Tue, 25 Jul 1995 19:07:05 +0000 From: Ian Angus Subject: A good reason to split the list As you all know, I don't want Blues-L split. But today I received two copies of every message, and three or four copies of some. Made for a long mail-reading session! I would like to propose that we split the list into ... -- messages I haven't read yet, and -- messages I have already read. Then I would only subscribe to the first list. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 25 Jul 1995 19:28:08 -0400 From: "Roy W. Forgy" Subject: Re: James Harman Steve Wrote >Just a plea for information on one of my favorite harp players and blues >singers, James Harman. I understand he has a new release scheduled for this >summer. Do any of you fellow Blues-Lers know if it's been released by >Blacktop Records yet and does anyone know James touring schedule for the >summer? Cheers! I don't know about the release date but here is his next few tour dates; 7/27 the Decade, Pittsburgh, PA 7/28 Wilbert's Cleveland, OH 7/29 Legends Chicago, IL 8/4 Cantina La Vida, Brea, CA 8/5 The Banx San Deigo, CA These dates from Southland Blues Magazine and he has an ad listing dates but they are only for the current month. The 8/4 date advertises "introducing his latest release 'Black & White'" in the ad so it must be coming out soon. ========================================================================= Date: Wed, 26 Jul 1995 00:56:02 GMT From: Tadg Galleran Subject: Albert King Photo(oops) The correct URL for the Albert King foto is http://dragon.acadiau.ca/~rob/blues/pics/tadg/king.html sorry if any of you went down a blind alley P.S. if any of you are interested in "Even white boys get the blues" T shirts I still have some xtra larges left...they're 15 bucks send it to Central Juvenile Music 438 S. Venice Blvd.#1 Venice CA 90291 ========================================================================= Date: Wed, 26 Jul 1995 10:33:00 +0930 From: sue freeman Subject: Re: Bobby Bland Please advise info on Goldmine magazine. Sounds like a good read. Thanks, Sue ========================================================================= Date: Wed, 26 Jul 1995 00:48:08 GMT From: Tadg Galleran Subject: Albert King Photo You can get a look at the last known photograph of Albert king on the WWW at http://dragon.acadiau.ca/~rob/blues/pics/king/king.html Meanwhile I wonder if anyone on this list has seen an album in the record stores by an act called the King Brothers entitled "Turnin up the heat". The label is called Hard Attack records and I'm wondering if it has made it into the stores anywhere else but L.A. which is where I live. I would really appreciate to hear from anyone who has seen it in the market as I wrote one of the songs and am interested in the scope of distribution. let me know what state and town you're from and what store you saw it in. You can email me at tadg@primenet.com ========================================================================= Date: Tue, 25 Jul 1995 21:24:03 EDT From: Peter Welch Subject: Blues/R&B CDs & LPs for Sale I have the following Blues and R&B CDs and LPs for sale. The CDs have been played maybe 3 times tops, the Lps have been played maybe 5-6 times, with the exception of the Lee Dorsey, which has probably been played 25-30 times. Prices include postage: CDs: Big Bill Broonzy: Good Time Tonight; Columbia/Roots'n Blues $ 9.00 Big Bill Broonzy: Baby Please Don't Go; Drive Archives (50s Folk-period stuff rec. in Paris) $ 9.00 Slim Gaillard: The Legendary McVouty; Hep CD 6 (All reet!...15 Tracks 1945-46 w/ Slam Stewart, Harry "The Hipster" Gibson, Leo Watson & Scatman Crothers) $ 12.00 Jazz Gillum: 1935-1946; Wolf/Best of Blues (18 Tracks of Blue Bird Harpman) $ 12.00 Buddy Guy: My Time After Awhile; Vanguard (14 Tracks from 1960s Vanguard Lps) $ 9.00 Wynonie Harris/Roy Brown: Battle of the Blues, Vol. 2; King (14 Tracks of R&B, Blues ballads) $ 8.00 Curtis Jones: Complete Rec. Works, Vol. 1 (1937-1938); Document (23 Tracks of Classic pre-war Chicago piano blues) $ 12.00 Jimmy Reed: The Best of Jimmy Reed; GNP Crescendo (20 Classic Vee-Jay tracks) $ 10.00 T-Bone Walker: Low Down Blues; Charly (22 Great Capitol/B&W Tracks including "Stormy Monday" & "T-Bone Shuffle") $ 12.00 Muddy Waters & Otis Spann: Live at Newport; Charly (14 Tracks...1960 Newport Live Session including rare stuff from Otis Spann) $ 11.00 Various: Rhino Blues Masters, Vol. 3 - Texas Blues (18 Tracks) $ 9.00 Various: Irma Records - 1950s Oakland Blues; Wolf (18 Tracks including Juke Boy Bonner, J. McCracklin, Big Mama Thornton) $ 12.00 Various: Precious Stone - In the Studio with Sly Stone 1963-1965; Ace (UK) (28 Tracks - Variety of Sly Stewart-produced R&B & Soul) $ 12.00 Various: R&B Confidential No. 1; Virgin/Flair (22 Tracks of Flair R&B from the 50s) $ 10.00 Vinyl LPs Buster Benton: Bluesbuster; Red Lightnin' (10 Cuts...UK Issue of Ronn "Spider in My Stew") $ 15.00 Lee Dorsey: Holy Cow!, The Best of Lee Dorsey; Arista (12 Cuts of Classic New Orleans R&B, Soul) $ 7.00 Anson Funderburgh & The Rockets w/ Sam Myers: Rack 'Em Up (12 Cuts...3rd one with Sam Myers 1989) $ 6.00 John Lee Hooker: Alone; Specialty (14 Cuts..Classic Detroit Stuff 1948-1950) $ 10.00 Elmore James: The Original Meteor & Flair Sides; Ace (UK) (12 Cuts...50s Modern Stuff) $ 20.000 Elmore James: Got to Move; Ace (UK) (16 Cuts...50s & 60s Trumpet, Fire) $ 20.00 Professor Longhair: New Orleans Piano; Atlantic (13 Cuts...Great Early 50s New Orleans R&B & Boogie) $ 10.00 E-Mail Me if you're interested pw7e@poe.acc.virginia.edu -Peter W. ========================================================================= Date: Wed, 26 Jul 1995 11:00:56 +0930 From: sue freeman Subject: HAWAII VISIT Hello again, A quick message to ask assistance for a friend visiting Hawaii in about three weeks time. Where does he go to hear blues music? and a few suggestions for sightseeing, etc would be greatly appreciated. Cheers, Sue ========================================================================= Date: Tue, 25 Jul 1995 21:32:47 EDT From: Peter Welch Subject: Has anyone heard...? I'm thinking about buying the following CDs, but before I make the purchase, does anyone have any opinions on these discs: Cal Valentine: The Texas Rocker, Black Magic Long John Hunter: Ride with Me, Black Magic Little Smokey Smothers: Bossman, Black Magic Big Rhythm Combo: Too Small to Dance, Black Magic Snuff Johnson: Will the Circle Be Unbroken, Black Magic Lee Shot Williams, Sings Big Time Blues, Black Magic Kid Ramos: Two Hands, One Heart, Black Magic Big Bad Smitty: Mean Disposition, Black Magic Thanks, Peter W. ========================================================================= Date: Tue, 25 Jul 1995 20:43:03 -0500 From: dwhite Subject: James Harman Steve, James keeps a recording with his current tour dates and booking info. at (714) 893-6309. Black and White is out here in Austin. I saw it in a store late last week. His last Cards on the Table was really enjoyable and pure Harman. Thank you babies, Dana ========================================================================= Date: Wed, 26 Jul 1995 02:21:06 GMT From: BOB TRAVERS Subject: Re: help to get off In article <9507191518.aa09868@uk.ac.ed.festival>, T Letis writes: >would someone write me personally and send info on how to get off. >Thanks. > > Wouldn't this be a better topic for one of the alt.sex... newsgroups ;) ========================================================================= Date: Tue, 25 Jul 1995 21:54:02 -0500 From: "Alice E. Brown" Subject: CPA ? I'm involved with a fledgling blues society(Blues Star Blues Society of Northwest Arkansas). We are trying to get our tax exempt status. A lawyer is working on the paperwork for us currently. We have been told that we need some sort of report by a CPA, but we are wondering if that is really necessary. Any help and information on this subject will be greatly appreciated. Thanks, Alice ========================================================================= Date: Tue, 25 Jul 1995 21:53:57 +1000 From: Andy Turner Subject: (Fwd) touchy Aussie in winter Forwarded message: From: Self To: blues-l@brown.vm.brown.edu Subject: touchy Aussie in winter Date: Tue, 25 Jul 1995 15:37:43 To all - I've already written to Dick to say sorry for the 'touchiness' of my response to his post re:Brownie Mcghee. It was a good lesson in the new adage about waiting 24 hours for the affects of a loong day and the 'harsh' Australian winter to wear off before you hit the send button. Sorry to the rest of the list as well! Regards Andy T ********************************************************** "It's a sad and beautiful world" ********************************************************** ========================================================================= Date: Tue, 25 Jul 1995 23:36:23 -0400 From: "Terry L. Odor" Subject: Re: Etta James Every time I've heard her over the last 3 years she has sang "I'd rather be a blind girl". Terry ========================================================================= Date: Wed, 26 Jul 1995 00:28:03 -0400 From: "King, Tony" Subject: Ellen McIlwaine Can anyone supply me with info on a blues/folk-blues artist called Ellen McIlwaine?? I'm after any CDs of hers I can find - she has released 5 albums that I know of, dating from the late '70s, but could be more by now. I've found 1 at CD World, on the Web, but have no other recent info to go on. Anything would be greatly appreciated. You can write to the list, or email me at: kingt@wricrm001.prose.dpi.qld.gov.au Thanks Tony King ========================================================================= Date: Wed, 26 Jul 1995 00:35:11 -0400 From: Jeff Yelton Subject: Kansas city blues/jazz fest review Last weekend, about 100,000 people attended the fifth annual Kansas City Blues and Jazz festival. This is a three-day event in Penn Valley Park, a grass-covered hill top overlooking much of the south part of town. The organizers had seperate blues and jazz stages at opposite ends of the park. In between were numerous food booths (specializing in K.C. barbecue), a youth-heritage tent, and other sponsor tents. Volunteers were everywhere, running many booths, setting up the stages, and cleaning up. The Festival is aggressive about recycling. Bins are everywhere, and volunteers often went through the crowd collecting cans and plastic bottles. Volunteers also were nice enough to let me keep sneaking into the VIP section right in front of the stage to take photos of the performers. Best Buy, one of the sponsors, sold a wide selection of CDs and brought in several of the performers for autograph sessions. Friday night featured Irma Thomas and Pat Metheny. Metheny, who grew up near Kansas City, wowed a huge crowd with a variety of pieces, including a fusion-jazz cover of 'Come Together.' After the show, I went to the Grand Emporium, the granddaddy of Missouri blues bars. The bar, which is nearly 22 years old, has its walls plastered with posters and newspaper clippings. Slide guitarist Dave Hole was the featured performer for the night. Saturday afternoon was sunny and almost too hot (90-plus degrees). Local performers, including Abb Locke who has played sax with many Chicago greats, played until mid-afternoon. Carolyn Wonderland and her band followed. I had never heard them before and was uneasy when Carolyn, who dresses something like Cyndi Lauper and has pink-and-white hair, first stepped up on the stage. To my surprise, Wonderland plays a gritty Texas-style guitar and sings more like Janis Joplin than Lauper. Looks can be deceiving. Following them was 10-year-old harp progidy, Brody Buster. Yes, 10 years old. The crowd really got into him and cheered him on. Maybe I'm just a grouch or the sun baked my brain, but I just did not get excited. It was neat to watch a 10 year old play like a pro, and he is good! And it was cute how he sang 'Heartbreak Hotel' in his 10-year-old voice. But after an hour-long set (which included three songs sung by him), the cuteness wore thin with me. Lee Oskar, harmonica player with War, came on as a special guest towards the end of the set to blow duets. The next performer was Dale Hole, who all but set the stage on fire. Hole, from Australia of all places, plays slide in an overhand grip but picks notes underhand if that makes any sense. He has his guitar slung low and slightly tucked into his stomach. The slide is on his first finger and he rubs it downward over the strings from the top. The sound is fierce and wonderful. He wowed the crowd with several songs, including a great cover of 'Key to the Highway' a la Duane Allman. Following Hole was Otis Rush's band. They warmed up the crowd with a couple of songs before Rush himself came up. I think some of the crowd was confused, thinking one of the two band guitarists was Otis, despite the fact that one was about 10 inches too short and the other had a full beard and shoulder-lenght blond hair. Otis appeared two songs into the set, dressed in black, shades, and carrying his blood-red guitar. He started by tearing through a great version of 'Cross-cut Saw' and just kept ripping thorough the set. Luther Allison wrapped the day up, playing well into night. Sunday afternoon also opened with good local folk, including Kelley Hunt, who is breaking into the big time. Hunt is a soulful keyboard player, who has her own brand of boogie woogie. Her closing number, a gospel-influenced piece, was dedicated to her mom in the audience. She was followed by Beau Jocque and his Zydeco High Rollers. I had no idea who they were and was seriously thinking about wandering over to the jazz area. Dummy me. Jocque, a big man with a big accordian and a tight band, stole the show. The band's hot zydeco grooves had nearly everyone up, dancing, swaying, and partying. That was quite an accomplishment considering the heat. The finale had thousands of people on their feet. Following Jocque was James Cotton. His band warmed up the crowd for a couple of songs before the man came out blowing and hoarsely singing. His set included a long versoin of 'I'm a Man.' Johnny Guitar Watson closed the show that night. Unfortunately, Saffire was playing at the youth-heritage tent at the same time as Cotton. BTW, Sunday's jazz stage featured Bela Fleck and Spyro Gyra. Love, Jeff ========================================================================= Date: Wed, 26 Jul 1995 01:38:09 -0400 From: Alexander Ryan Subject: Re: Willy(ie?) Deville? Willy DeVille used to lead Mink DeVille, a band originally associated with the mid-'70s lower east side New York CBGB's scene. They weren't the most consistent recording-wise, but their self-titled debut and their, I believe, third album, "Le Chat Bleu," are really fine. The version of "Lipstick Traces" on "Chat" is a favorite, while "Cadillac Walk," "Spanish Stroll" and "Venus Of Avenue D" from the debut are great. On his own, Willy DeVille's "Victory Mixture" is a fine mix of R&B meets N'Owrlins. He's a terrific live performer, yes, but he's also made some real good records. The two Mink DeVille albums were made available on CD by K-Tel's Era label in '93; "Victory Mixture" was released on the indie "Orleans" and may be hard to find. If you're interested in Willy and find it, snap it up. ========================================================================= Date: Wed, 26 Jul 1995 06:02:37 GMT From: "John P. Willis" Subject: Texacali Horns Made the O Rush Album for me. In accord with my own ple and recent comments to the same point, I have done my header as a "telegraphic sentence" to indicate content not JUST topic. Yes it should be as a newspaper header NOT an encyclopaedia entry header.... Who know something about the Taxacali Horns? I thionk that the flovor of O Rush's latest is that of the fifties back whebn R&B were not very differentiated[ a good thbing in my book]. Otis or a producer seem to be playing homage to the fifties R&B roots. I like the album a lot, needless to say. One of the manin reasons is thwe way that the Texacali Hrns capture the fifties sound along with Otis. What else have these guys done? Tell me about them. John Willis ========================================================================= Date: Wed, 26 Jul 1995 01:27:49 GMT-5 From: "Ladwig, Boris" Subject: Gary Moore Hi every1! Does anybody know of a Gary Moore internet site? Does anybody know if and when GAry Moore is going to be on tour in the US? All I know is that he's gonna be in Germany in August. Anybody know any tourdates for later this year. Thanks, Boris Ladwig (ladwigb@coral.indstate.edu) ========================================================================= Date: Tue, 25 Jul 1995 23:32:43 -0700 From: Chris Adams Subject: Charlie Rich dead at age 62 CHARLIE RICH DIES AT 62 Nicknamed "the Silver Fox" because of his silver hair, singer Charlie Rich, whose hits included "Behind Closed Doors" and "The Most Beautiful Girl in the World," passed away Tuesday morning in Hammond, Lousiana. Rich died of a blood clot in his lungs at a motel where he and his wife had stopped for the night on their way to Florida, the Associated Press reported. Rich's rock and blues-inflected songs won over both country and pop fans in the mid-'70s, and he was named entertainer of the year by the Country Music Association in 1974. But he was never happy with being pegged as a country star. As a music student and jazz aficionado, he brought a wide range of influences into his work, leading some critics to call it "countrypolitan" and to compare his smooth vocals to those of Frank Sinatra. Rich's career began when his wife, Margaret Ann, took a demo tape of Rich and his jazz group to Sun Records, the home of such future legends as Elvis Presley, Jerry Lee Lewis, and Johnny Cash. Sun hired the sax- and piano-playing Rich as a session musician and songwriter. After recording one hit single, "Lonely Weekends," as a solo performer, Rich left Sun in the early '60s, trying out labels and sounds until he hit pay dirt with Epic Records and several hit songs. Although Rich, who fought alcoholism throughout his career, had lost the spotlight by the late '70s, he remained a favorite in Nashville. "His ability to make each song a unique and personal vehicle for individual expression is something which in a way is lost to the star who . . . is forced by his image to be something he is not," music critic Peter Guralnick is quoted as saying in the Country Music Encyclopedia. "Charlie Rich is free to be whatever he likes. He feels none of the terrible restraints of stardom." Christopher Adams chris@sparkie.osl.state.or.us ========================================================================= Date: Wed, 26 Jul 1995 05:41:54 -0400 From: Barry Silverberg Subject: Re: Has anyone heard...? Peter Welch (pw7e@POE.ACC.VIRGINIA.EDU) wrote: : Snuff Johnson: Will the Circle Be Unbroken, Black Magic Own it, love it, recommend it. Snuff cut this at the age of 80. George Rains on drums, Leighton Hamilton on Acoustic 2nd acous- tic guitar and Kim Wilson on the harmonica. Snuff plays a mix of acoustic and electric downhome Texas blues. CD has several traditional tunes - Will The Circle Be Unbroken, Nobody's Fool But Mine, Blues In The Bottle, Spend My Money and J. Jackson's Blues. Also runs some John Lee Hooker, Little Son Jackson, Big Joe Williams, Frankie Lee Sims and Mr. McKinley Morganfield. Style is back porch, sittin' on a rocker, playin' real person- al. Smooth vocals. Easy and nice man to listen to and when he whoops it - he whoops it. Can not imagine you'd go wrong with owning this one. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 26 Jul 1995 12:43:13 +0100 From: Marybeth Hamilton Subject: AC-DC blues I'm looking for "AC-DC Blues," an LP compilation of gay and lesbian blues recordings, largely (I think) from the 1920s. It's unavailable in, or through, record stores in London (where I live). Can anyone help me find how I might get hold of a copy of it (in any form, LP, tape, or CD)? You can e-mail me at: mhamilt@ihr.sas.ac.uk Thanks, Marybeth Hamilton ========================================================================= Date: Wed, 26 Jul 1995 08:26:52 +0000 From: "P.W. Fenton" Subject: Yet another Blues web page Yet another Blues web page, and a nice one at that: http://www.jazzonln.com/JAZZ/BLUES/ It's the "Blues Room" of the "Jazz Online" pages. It has links to Verve/Gitanes and Blind Pig as well. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Wed, 26 Jul 1995 07:36:04 EDT From: Keith Carlson Subject: Boston clubs Can anyone recommend a good blues or rock club in Boston? My wife and I will have a few days there first week of August. TIA Keith Carlson Mpls, MN ========================================================================= Date: Wed, 26 Jul 1995 07:53:31 -0600 From: James Foster Subject: CHARLIE RICH Thanks to Chris for getting the info on the passing of Charlie Rich out. A couple of years ago I posted these thoughts on his last release and I thought I would re-post them today. Please give this album a listen. Okay, maybe it's not for everyone (what is?), but I must unabashedly recommend a 1992 CD on Sire Records titled "Pictures And Paintings" by CHARLIE RICH. Yes, the Silver Fox provides a full portrait of brilliance only hinted at throughout his previous recording career . Part blues, part jazz, part country, part soul, all Charlie Rich, this album was recorded in Rich's hometown of Memphis (though born in Arkansas, Rich has, as much as anyone carved out a niche for himself in Memphis) with a very cool supporting cast, including Calvin Newborn, the guitar-playing brother of piano player par excellance Phineas Newborn, Jr. (see Stanley Booth's indispensable collection of essays _Rythm Oil_ for an incredible feature on the Newborn's as well as generous comments on Charlie Rich). But back to the CD: it's late night, the party has ended (sorta) and up steps this guy who plays and sings from the light at the end of the tunnel, playing piano that lets you set back _and_ rock; there is no false pretense here...every note, phrase, song comes from the place where all great art comes from: the heart. The songs range from some of his compositions (my favorites include the rockin' "Don't Put No Headstone On My Grave" and the gospel-tinged "Feel Like Going Home" (yes, that's where Guralnick got the title to his now-classic book)) to Ellington's "Mood Indigo" to the great title cut penned by Doc Pomus and Mac Rebennack. Charlie Rich had the blues and he sang the blues...read Guralnick's portraits and liner notes, listen to Rich's albums, particularly the last one as well as the early Sun stuff and his Smash period, and, finally, think a good thought for his friends and family who just lost him. James Foster ========================================================================= Date: Wed, 26 Jul 1995 08:36:40 -0500 From: Jeff Seale Subject: Re: Has anyone heard...? On Tue, 25 Jul 1995, Peter Welch wrote: > I'm thinking about buying the following CDs, but before I make > the purchase, does anyone have any opinions on these discs: > > Long John Hunter: Ride with Me, Black Magic You gotta have this one. The original was on Spindletop, but they went under. LJH played in a Mexican club near El Paso for a lot of his career. This cd is definitely a bar-rockin good time. > Snuff Johnson: Will the Circle Be Unbroken, Black Magic Jus tpicked this one up in Austin yesterday and haven't had a chance to listen all the way through. I suspect that this one may end up as the next Henry Qualls, now that a few of us on the list have it ;-) > Big Bad Smitty: Mean Disposition, Black Magic This is one that you should already have!! Big Bad Smitty plays the rawest mix of Delta and Chicago blues that I've ever heard. (I don't mean raw like CeDell Davis or RL Burnside). Besides, it's got St. Louis' other guitar treasure, BENNIE SMITH on 2nd guitar. RUN, DON'T WALK to get this cd!!!!! -Jeff (everyone needs Big Bad Smitty, right Bill?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Wed, 26 Jul 1995 09:45:02 -0400 From: Mark Ingals GR Subject: Re: Boston clubs Keith, I also will be in Boston in early August, where I grew up, and can tell you that some of the clubs have chnaged. the best recommendation I can make is to find a copy of a magazine called the Pheonix which will list all the clubs in the Boston area. You wont have much trouble finding something that catches your eyes. You might also want to check into the Boston Globe for more info. I believe (dont quote me) that the wednesday edition has a section related to activities in the boston area. Another idea, my sister dates a sax player who's band gigs at all the major clubs in Boston area, so I will call her and have her snag a list from him and get that back to you if you find this before you head east. Off the top of my head, Dan Akroyd has a house of blues, or something like that, in Boston. Also, if you get to Framingham there is a clube called the Blue Buffalo that has some good local blues bands and occassionally visitor participation - good stuff. Let me know. Where are you going to stay in Boston? Later. Mark P. Ingalls On Wed, 26 Jul 1995, Keith Carlson wrote: > Can anyone recommend a good blues or rock club in Boston? > My wife and I will have a few days there first week of August. > > TIA > > Keith Carlson > Mpls, MN > ========================================================================= Date: Wed, 26 Jul 1995 08:27:40 -0500 From: Richard Shurman Subject: Re: Albert Collins' guitar tuning Albert tuned to F minor (F C F A flat C F). If he was playing in C, he'd capo at the 7th fret. His tuning and chord positions are discussed well in Dan Forte's Guitar Player article which is in the book Blues Guitarists: The Men Who Made The Music and in two books Dave Rubin has done for Hal Leonard Publications: 1) The Complete Albert Collins Imperial Sessions and Inside The Blues 1942-92. ========================================================================= Date: Wed, 26 Jul 1995 13:09:00 +0000 From: Martin Adamson Subject: Re: CHARLIE RICH > the rockin' "Don't Put No Headstone On My Grave" and the gospel-tinged > "Feel Like Going Home" (yes, that's where Guralnick got the title to his > now-classic book)) Other way around. Guralnick got the title of his book from the Muddy Waters song. Since the book had a chapter on Charlie Rich which Charlie appreciated, he was inspired to write a song reflecting the feelings of the book. Martin ========================================================================= Date: Wed, 26 Jul 1995 09:02:00 CDT From: L W Subject: Dirty Rivers I think it's amusing that "Dirty Rivers" is playing guitar on the Otis Spann recording "The Blues Never Die"......We all know who "Dirty Rivers" is.... What other examples of people using "peusdo-names" to record for another label while "under contract" to another....\ Guitar Buddy comes to mind... LW ========================================================================= Date: Fri, 26 Jul 1996 03:17:12 PDT From: Michael Suffern Subject: Re: Blues Festivals I'm compiling a list from several sources, including any traffic on blues-l that mentions 'fest'. It will be available on the SoundTravels web site in the Blues Guide. Probably, the first incomplete draft will be up the end of August. On Tue, 25 Jul 1995 11:01:08 -0400 Linden/Powers wrote: >Hi there. > >Wondering if there is a comprehensive list of Blues Festivals???? This >would be invaluable to blues fans and blues musicians alike. Hmmmmmmmm???? > >Colin Linden >Toronto ========================================================================= Date: Wed, 26 Jul 1995 08:01:31 -0700 From: Joe Lempkowski Subject: Re: NEW EVIDENCE RELEASES I have heard some of them. EVIDENCE 26069 : BILLY BRANCH & SONS OF BLUES - WHERE'S MY MONEY? Listened to this yesterday although it was a tape of the Red Beans LP. It is pretty good stuff. I'll buy it, since my Red Beans LP is sounding kind of worn out. I especially dig their version of Sex Machine, Son of Juke and an instrumental with Billy blowing acoustic harp. Good stuff. I am going to see Billy tonight at Barley & Hops in San Mateo. EVIDENCE 26070 : MAGIC SAM'S BLUES BAND - THE LATE GREAT MAGIC SAM I think this was previously released on L+R. It is pretty good. I found it enjoyable, but not as required as his Delmark LPs. Required for those of us who want everything Sam recorded. EVIDENCE 26066 : SUNNYLAND SLIM - SUNNYLAND TRAIN EVIDENCE 26067 : SUNNYLAND SLIM BLUES BAND - CHICAGO JUMP I know I have heard these and I own the LP version of one or both. I will probably buy these four and possibly the SBW CD. I have a hard time keeping up with the stuff that comes out of Evidence, Wolf and lately Delmark. Life was simpler 10 or 15 years ago when less stuff came out. It was easier to afford it all, but I really dig the selection. Cheers, Joe ========================================================================= Date: Wed, 26 Jul 1995 08:02:57 -0700 From: Joe Lempkowski Subject: Re: NEW EVIDENCE RELEASES Now I just need them to re-issue The Golden Voice Of Robert Covington from the Red Beans label. Joe ========================================================================= Date: Wed, 26 Jul 1995 11:02:55 -0400 From: Dick Waterman Subject: Re: Dirty Rivers Junior Wells' "Hoodoo Man" on Delmark in mid-1960s had a guitar player named "Friendly Chap." Sounds like a guy liked that would be a real buddy . . . And Chubby Checkers' name honors his idol, Fats Domino dick waterman ========================================================================= Date: Wed, 26 Jul 1995 09:29:17 -0500 From: VT Subject: Re: Etta James >DATE: Tue, 25 Jul 1995 23:36:23 -0400 >FROM: Terry L. Odor > >Every time I've heard her over the last 3 years she has sang "I'd rather be a >blind girl". Yes, when she does the version on the VIDEO "BB King & Friends - Night of Red Hot Blues" - Etta does sing "I'd Rather be a Blind girl" and it's doubly confirmed when Dr. John, who joined her, sings "I'd Rather be a Blind Boy" - this is more than 3 years ago. Vincent p00061@psilink.com ========================================================================= Date: Wed, 26 Jul 1995 11:07:37 -0400 From: Steve Levine Subject: Re: Soul Fixin' Man +Luther will be headlining at the Poconos Festival, Sunday July 30 + He'll also be at Tornado Alley, in Wheaton, Maryland this Friday. I'll probably be there, with my blues-l t-shirt on. Anyone in the DC area interested in meeting there? -Steve ========================================================================= Date: Wed, 26 Jul 1995 11:22:57 -0400 From: "Samuel J. Perryman" Subject: Re: help to get off On Wed, 26 Jul 1995, BOB TRAVERS wrote: > In article <9507191518.aa09868@uk.ac.ed.festival>, T Letis writes: > >would someone write me personally and send info on how to get off. > >Thanks. > > > > > Wouldn't this be a better topic for one of the alt.sex... newsgroups ;) > Bob, are you suggesting that you are of the alt.sex...? ========================================================================= Date: Wed, 26 Jul 1995 10:26:20 -0500 From: Geoffrey Subject: My First Guitar My first guitar was(and I still have it)a Fender Telecaster(1973 or 1974 model) custom. It has a double coil pickup in the rythm position and a Bartolini single coil in the lead. I had the Bartolini put in because the original Fender was feeding back something awful. It's cream color with a black pickguard. | Can't catch a turtle | Geoffrey Guynn | In this rat race | guynn@infinity.ccsi.com | Feels like I'm losing time| | At a breakneck pace | SRV and D. Bramhall ========================================================================= Date: Wed, 26 Jul 1995 11:29:24 -0400 From: Steve Levine Subject: Re: Dirty Rivers +I think it's amusing that "Dirty Rivers" is playing guitar on the Otis Spann +recording "The Blues Never Die"......We all know who "Dirty Rivers" is.... + +What other examples of people using "peusdo-names" to record for another label +while "under contract" to another....\ + +Guitar Buddy comes to mind... + +LW On the Muddy Waters Live at Mister Kelly's album there's a harp player called "Joe Denim." John Lee Hooker used various pseudonyms in his early recording career, including "John Lee Booker" and may other I can't think of right now. ========================================================================= Date: Wed, 26 Jul 1995 08:38:24 PDT From: Corinne Subject: Ali Farka Toure Oppps! He plays THE FILLMORE Saturday August 19. ========================================================================= Date: Wed, 26 Jul 1995 10:54:21 CST From: James Bardsley Subject: Re[2]: Victoria Amp Review Close, but no cigar. The Bandmaster was/is a 38 watt amp and the Bassman was/is about 50, and they are voiced quite differently. Jim _______________________________________________________________________________ Subject: Re: Victoria Amp Review From: Andrew Gregg at INTERNET-SH Date: 7/26/95 4:37 AM In article <9506248066.AA806606511@ccgate.acuson.com>, Mike McCourt wrote: > Thanks for the review, it was very interesting. I know the amp probably > wasn't free so... how much? I know, if you have to ask.... etc. > > Also, assuming this was a copy of the original 2-12 Bandmaster it was a > curious choice for the speaker setup. I would be interested in hearing > more about how the 3-10s were chosen. There was a 3-10 bandmaster in the late '50's (theres even a photo of one in the Tube Amp book, by APittman) that was from what I gather a Bassman with one less speaker. They are considerably rarer that 4-10 bassmans though.... ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Wed, 26 Jul 1995 12:14:17 EDT From: Peter Welch Subject: Re: Dirty Rivers Wasn't Buddy Guy's pseudonym on "Hoodoo Man Blues" originally "Friendly Chap"? Another John Lee Hooker aka: "Detroit Slim". -Peter W. ========================================================================= Date: Wed, 26 Jul 1995 10:59:39 CDT From: James Leto Subject: Re: Dirty Rivers > I think it's amusing that "Dirty Rivers" is playing guitar on the Otis Spann > recording "The Blues Never Die"......We all know who "Dirty Rivers" is.... No we all don't. Who is "Dirty Rivers"?? > What other examples of people using "peusdo-names" to record for another label > while "under contract" to another....\ I know that JLH recorded under a number of pseudo names for a variety of labels. Unfortunately I can't recall any of the names off the top of my head. Jim ========================================================================= Date: Wed, 26 Jul 1995 09:32:55 -0800 From: Don Cicchetti Subject: Re: Charlie Rich dead at age 62 I wonder if any of you can remember Charlie's early (pre string sections) stuff? Does anyone remember "Mohair Sam"? Chicks are makin' reservations for his lovin so fine.. Screamin' and a faintin' he's got 'em all waitin' in line.. Fast Talkin' Slow Walkin' Good Lookin' Mohair Sam...... bye Charlie Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 26 Jul 1995 11:43:00 CDT From: Bonnie Kalmbach Subject: Chris Strachwitz/KPFA I've just hear that Chris Strachwitz's show has been cancelled by KPFA. In fact, their management has kicked off a lot of popular veteran programmers. Does anyone have any more info on this sad development? -Bonnie kalmbach@macc.wisc.edu ========================================================================= Date: Wed, 26 Jul 1995 12:33:51 +0000 From: Ian Angus Subject: Re: Dirty Rivers > > What other examples of people using "peusdo-names" to record for another label > while "under contract" to another....\ > > Guitar Buddy comes to mind... > During the early 50s, John Loo Hooker appeared on so many labels under so many different names that no one could keep track. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 26 Jul 1995 12:48:14 EDT From: Peter Welch Subject: Blues families/siblings I brought this up a few months ago, but I've lost the list I kept.... Who are some Blues siblings (or parents-children) who've recorded? Some that come to mind: Jimmy, Syl, & Mac Thompson (Johnson) Brownie & Stick McGhee Buddy & Phil Guy Stevie Ray & Jimmie Vaughan Louis & Dave Myers The Butler Twins Joe & Jimmy Liggins Morris Holt (Magic Slim)) & Nick Holt The Bell-Harrington family Billy Boy & Jerome Arnold Marvin & Turner Foddrell John Lee Hooker & His Daughter (Can't remember her name) Johnny & Shuggie Otis Others? Thanks, Peter W. ========================================================================= Date: Wed, 26 Jul 1995 16:49:44 GMT From: Eric LeBlanc-CISTI Subject: Re: Ellen McIlwaine She often comes around this part of the woods (she lives, I think, in Calgary, Alberta). Her new CD is on STONY PLAIN Records. eRIC ========================================================================= Date: Wed, 26 Jul 1995 12:50:39 EDT From: Peter Welch Subject: Re: Dirty Rivers Correction: I don't know about "Detroit Slim", but now that I remember, JLH used "Texas Slim" on some records. According to Peter Welch: > > Another John Lee Hooker aka: "Detroit Slim". > > > -Peter W. > ========================================================================= Date: Wed, 26 Jul 1995 13:12:05 -0400 From: Dick Waterman Subject: Re: Blues families/siblings Carey & Lurie Bell John & Bonnie Raitt (Flame Awayyyyyyyy!) dick waterman ========================================================================= Date: Wed, 26 Jul 1995 13:12:41 +0000 From: "P.W. Fenton" Subject: psuedonyms O.K. I've read several people's accounts of how John Lee Hooker recorded under many psuedonyms. Not one writer could give us an example of such a recording. Can anyone? I'm beginning to doubt it's a fact. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Wed, 26 Jul 1995 10:32:31 -0800 From: Don Cicchetti Subject: Re: My First Guitar Was a $35.00 Stella by Harmony. Red sunburst cowboy heaven... One of my thoughless relatives started hassling me about how my fingers squeaked on the strings, so I use flatwounds for years. There isn't anything on this planet that sounds worse than a Stella with flatwounds.... Played it for years till I finally managed to crack the side cuz I never had the money for a case. Decided I needed a real guitar, so mom and I found a used Jaguar and bought it on time, and I promptly started modding the crap out of it. 2 years later it sounded just like a Les Paul... So all you vintage guys can bite me! ;-] Don't miss the Stella.. not a bit. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 26 Jul 1995 12:30:41 CDT From: L W Subject: Shoeshine Johnny Didn't Johnny Shines record under Shoeshine Johnny. I don't know if it was for contractual reasons or not, though. LW 'very hot in Alabama' ========================================================================= Date: Wed, 26 Jul 1995 20:39:56 +0300 From: T P Uschanov Subject: Re: psuedonyms > O.K. I've read several people's accounts of how John Lee Hooker > recorded under many psuedonyms. Not one writer could give us an > example of such a recording. Can anyone? Anyone with a copy of Mike Leadbitter and Neil Slaven's _Blues Records, 1943-1970: a Selective Discography: A-K_ at hand can. /tp/ ========================================================================= Date: Wed, 26 Jul 1995 12:31:02 -0500 From: David Silberberg Subject: This Week's Sign - Part II >From Chicago Sun Times, Wednesday, July 26: STAGE SET FOR REVIVAL OF THE BLUES BROTHERS: Dan Aykroyd and John Belushi's widow have taken steps to turn the Blues Brothers into a prime-time animated series. Film Roman, who produces animation for such prime-time shows as "The Simpsons", would produce the show and handle the merchandising. Aykroyd would serve as the voice of his original "Saturday Night Live" character, Elwood Blues, with James Belushi providing the voice of his late brother's persona, "Joliet" Jake Blues. Belushi's widow....will serve as creative consultant along with Aykroyd. --------------------------------------------------------------- No comment - but I'm sure there will be plenty here after it gets on the air. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 26 Jul 1995 12:33:10 CDT From: L W Subject: Re: My First Guitar ----------------------------Original message---------------------------- >Don't miss the Stella.. not a bit. I still own a Stella (aka The Mudbox) and even if my wife would let me, I would not get rid of it.....My favorite slide guitar, although it may have to be retired and live out it's years hanging in the living room. Although I'm considering ordering some parts (new bridge,tuners) and I've done some neck work on it recently. It's a natchul finish acoustic arch top that has a great Muddy tone....I have an old Kay archtop electric with one DeArmond and it has become the "Fredbox"......... LW ========================================================================= Date: Wed, 26 Jul 1995 13:42:00 -0400 From: Marcia Grodsky Subject: Blues L T Shirt News The t shirt biz is winding down and I have several things to report. First of all, LW has suggested to me that we present the check to the Delta Blues Museum during the festival. I think that's a good idea and since neither Bob Unger nor I will be able to make it there, I've asked LW to do the honors and he has agreed. I still don't know exactly how much it will be, but I'll post the figure as soon as I've determined it. If all of the money isn't in, we'll still go ahead and give them the bulk of it. The rest can be sent later. Second thing --- I've had a complaint from a list member about the 3X t shirts. He said that they ran smaller than his other t shirts of the same size. Has anybody else noticed any problems? I have no plans right now to place another order, but if I should decide to do another one later on I'd like to know if there are any problems before I talk to the vendor. Third ---at this point I doubt if there will be any more t shirts available. It's possible that some may not get paid for and will be re-offered, but I have every reason to think that most of the checks are on their way. The only thing that is still not promised to anybody is one 2X gray sweatshirt --- I know, nobody wants to think about sweatshirts in July, but if anybody wants this, now's the time to speak up. ---Marcia ========================================================================= Date: Wed, 26 Jul 1995 13:06:17 CST6CDT From: Sara Oxton Subject: Re: Has anyone heard...? The "Big Rhythm Combo" is actually Kid Ramos and Lynwood Slim. And though I haven't heard the new Kid Ramos, my hunch is that it features Slim on vocals as well. Slim is your basic itinerant harmonica blues guy: he's played and recorded with Junior Watson, as well as Ramos. His last solo release, Soul Feet, includes sides recorded with Baby Doo Caston before his death. Most of the material is jump covers, along with originals performed in the same spirit. "Too Small to Dance" was panned in Living Blues (I think) as being too slick. I like it though. Ramos is a great guitarist, and Slim can really sing. Hope this helps. Sara ========================================================================= Date: Wed, 26 Jul 1995 13:11:01 -0500 From: David Silberberg Subject: Re: Shoeshine Johnny At 12:30 PM 7/26/95 CDT, L W wrote: >Didn't Johnny Shines record under Shoeshine Johnny. I don't know if it was >for contractual reasons or not, though. > Chess, when he recorded for them, called him Shoe Shine Johnny, but not to "hide" his true identity - only to give him a "catchy" (if racist) name, as far as I know. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 26 Jul 1995 13:16:24 CDT From: James Leto Subject: Re: Blues families/siblings > Who are some Blues siblings (or parents-children) who've > recorded? What about Lonnie Brooks and his son (who's name escapes me)? My memory for names really sucks! Jim ========================================================================= Date: Wed, 26 Jul 1995 13:36:51 GMT-5 From: "Ladwig, Boris" Subject: Gary Moore Hi every1, last time I sent this message I guess not everybody received it so I'm sending it again. Sorry to everyone who's already read it. If anybody knows anything about a Gary Moore internet site or release/tour dates of his upcoming album, please e-mail me: Ladwigb@coral.indstate.edu Thanks a lot, Boris Ladwig ========================================================================= Date: Wed, 26 Jul 1995 13:46:00 CST From: Greg Pasenko Subject: Re: Blues families/siblings >Date: 26-Jul-95 11:12 >From: JINXBLUE @ MAILGATE (Jinxblues) {Jinxblues@AOL.COM} >To: PASENKO @is (Greg Pasenko) >Subject: Re: Blues families/siblings > > From: Dick Waterman > >Carey & Lurie Bell > >John & Bonnie Raitt (Flame Awayyyyyyyy!) > >dick waterman Wes & Monk Montgomery Winter Bros. Greg Pasenko ========================================================================= Date: Wed, 26 Jul 1995 14:57:47 +0000 From: "P.W. Fenton" Subject: Re: Blues families/siblings > > Who are some Blues siblings (or parents-children) who've > > recorded? > > What about Lonnie Brooks and his son (who's name escapes me)? > My memory for names really sucks! > > Jim Oh... in that case I have some too. You know... that guy and that other guy. My memory's worse than.... um.... whatsisname's. ;-) P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Wed, 26 Jul 1995 13:55:55 CDT From: L W Subject: THE ULTIMATE BLUES FAMILY THE NEALS, of course. Raful Neal has SEVEN sons and THREE daughters. All of them play an instrument. His daughter (forget her name for the moment) has a new CD out. Fredrick (who bought the cadillac from the movie "Crossroads" from Little Milton) and Darnell play in Kenny's band.... On Sunday's (when Kenny is off the road) the WHOLE Neal family plays at the Diamond Starlight (Raful's club)....I betcha that's a happening place on Sundays... Stay tuned for the enitre Kenny & Raful Neal interview... LW ========================================================================= Date: Wed, 26 Jul 1995 11:49:10 MST From: Bill Breen Subject: Re: Blues families/siblings Raful (sp?) and Kenny Neal Lucky Peterson and Father?? --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Blues families/siblings Date: Wednesday, July 26, 1995 11:18AM DATE: Jul 26 11:16:02 1995 -07:00 relative to GMT IPMessageID: ?199507261648.MAA48968(a)poe.acc.Virginia.EDU? FROM: BLUES-L AUTHORIZED: pw7e TO: BLUES-L BCC: bbreen SUBJECT: Blues families/siblings REPLY TO: pw7e IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- I brought this up a few months ago, but I've lost the list I kept.... Who are some Blues siblings (or parents-children) who've recorded? Some that come to mind: Jimmy, Syl, & Mac Thompson (Johnson) Brownie & Stick McGhee Buddy & Phil Guy Stevie Ray & Jimmie Vaughan Louis & Dave Myers The Butler Twins Joe & Jimmy Liggins Morris Holt (Magic Slim)) & Nick Holt The Bell-Harrington family Billy Boy & Jerome Arnold Marvin & Turner Foddrell John Lee Hooker & His Daughter (Can't remember her name) Johnny & Shuggie Otis Others? Thanks, Peter W. ========================================================================= Date: Wed, 26 Jul 1995 14:11:58 CST6CDT From: Sara Oxton Subject: Re: Blues families/siblings Don't forget about Rufus & Carla Thomas! Sara ========================================================================= Date: Wed, 26 Jul 1995 14:18:47 CDT From: L W Subject: Kenny Neal Interview This is rough and not 100% edited.....Sorry it's interesting anyway LW Kenny Neal Interview Copyright 1995 Leonard Watkins.....All rights reserved Kenny Neal is as friendly and gracious as anyone you'll ever meet not to mention, muli-talented. He was kind of enough to speak with me, while he and his family were together on The Fourth of July. He then gave the phone to his father, legendary bluesman, Raful Neal. I got the feeling he would pass the phone to every family member if I wanted him to. I could hear the goings on in the backgound and they were having a blast. I seriously considered taking advantage of the ""Fun Fares" that some airlines offer, so I could join them. As long as Kenny Neal is around the future of the blues is in very capable hands. LW: You played a big show last night? KN: Yeah, we played at The Dome (Superdome). It went real well, 100,000 people, it was crazy. LW: Do you prefer the smaller club atmosphere? KN: I love small Clubs. I thlnk it's much more personal and cozy, as far playing and qetting right there with the people. Last night I was a long way away, you needed binoculars. It was good, I had fun. Tonight we're going to be at our own club. My dad has club here in town. LW:Does the Neal family play there a lot? KN: My dad usually plays Sundays, even before he got the club. He was working there for a few years, then he bought it. Sunday has always been the big day for the Neals. LW: Is everyone in your family musically talented? KN: Yeah, I'm the eldest of ten and all ten of us play. I have the youngest two in my family working on the road with me now. LW: Who influenced you most? KN : Well, I would have to say my dad, Slim Harpo and the local guys around here. My dad always had Little Walter, Muddy Waters , Howlin ' Wolf and all them on the juke box around here. LW: Do you get to play with your father much? KN: Oh Yeah. When we're home that's what we do. We flew in from Canada Sunday and I played with him Sunday night. That was after a long hard tour. LW: Didn't you play bass with Buddy Guy for awhile? KN: I played with him back in 1976 to about 1980. LW: Did you start out playing bass? KN: I started out playiny bass with my dad, way before I started playing with Buddy. Playing with my dad is where I got my schooling. LW: I know you play bass, harmonica and guitar. What other instruments do you play? KN: I mess around on the keys and drums. Sometimes I get really happy on stage and start kickin' guys off their instruments. It comes in handy in the studio. LW: Who do you usually listen to besides, the Neals? KN: I spend most of my time playing, so I don't get a chance to listen much. I usually listen to friends who bring their tapes or new comers who want me to listen to them. I'm always listening to people's demo tapes while golng downn the highway. You never know. A lot of them don't get heard and that's a shame, because they are good! LW: Your music sounds like a mixture of different styles. KN: It's just a variety of music I was brought up with. The music and the food go hand in hand. We cook the same way, it's all mixed up. My sister, Jackie, has a CD coming out. She's my baby sister. She's golng to tour with me soon. LW: Is she also on Alligator? KN: We're not sure who we're going to go with, but Alligator is very interested. LW: Someone told me that Malaco targets the black audience and Alligator targets the white audiences. Do you see it that way? KN: Well, Malaco were well known for makinq a 45 a hit. They mostly catered to the black AM stations and they'd get a hit record off the 45. They aren't as broad and cross over like Alllgator artists. What I'm seeing now is everybody coming together on it, which is great. I'm seeing more mixed shows when I play. It's going to take a while but I've seen a big improvement over the last ten years. LW: I think people like yourself are responsible for that. KN: I'm very happy to see that. There are a lot of black blues players who don't even think about the other side. They just cater to the circuit that they're in and stay there. We're pretty open and I think the music is for everybody. I'm not one of those people, that believes if you're not black you don't know anything about the blues. Most of my partners are whlte and they got more blues than me! It's just what you got in your heart, it's what you feel. LW: You've done some theatre work haven't you? KN: I did a Broadway show called "Mulebone." I had the lead role in that. I'm going back to Broadway this fall. Paul Simon is producing a play from the fifties. It's a toss up between me and Taj Mahal and I don't think Taj is going to take it. LW : I think you would be perfect for the lead part in "Love In Vain" the play about Robert Jonhson. Oh yeah, I'd love that! Do you remember the movie Crossroads? We bought the old Caddilac they had in the movie. My little brother bought it. He bought it from Little Milton, who I played with at the Dome last night. LW: Do you play overseas a lot? KN: I play about twenty countries a year. Do you think they appreciate the blues more than the people in the U. S ? KN: I don't think so. I do very well in the U.S. I know a lot of guys say that because they don't work as much as I do in the States. When they do get work, it's usually in Europe and they get a following there. We have developed a following ln the U.S. Everywhere I play here, people come out and have a great time and sometimes you get guys who don't work that often and they do get jobs in Europe . Then they have an attitude toward the American audience because they don't get enough work and they don't draw as well. They do draw well in Europe. So they say it's better in Europe, but it's only better for them. We love playing in this country ! LW: It sounds like you keep busy! KN: I'm real busy. I've been thinking about paying up my house note for a year and taking off for a while. LW : If you take too long a break would you lose your following? KN: I don't think they'd forget. I wouldn't stay away that long. I would like to take a break for 5 or 6 months. I'd go crazy. I went to Jamica on vacation and told my girlfriend we were going to take a break. The second night I was there I had a gig with a reggae band. They rented me a guitar, amplifier, and everything. I was like kissing her on the cheek saying "I'll see You later" and she's thinking it ain't no different . LW: When do you go back on tour? KN; I start back up in about ten days. So that will give just enough time to rebuild my street rod, a 1951 panel wagon. I 've owned it for about 18 years, this is the second time I've rebuilt it. LW: You 've mentioned cars twice, do yoy collect them? KN: Oh yeah, we just collect antiiques. I drive a 1947 Buick, it ' s a really neat car. I drive it all the time when I'm, at home , I mean it's my car,It's not something I got that you just pull out on Sundays . LW Do you collect guitars also? KN: I got a bunch of them around, from the 50's on up. As a matter of of fact I got a white kid down here from North Carolina and this kid is playing blues like you wouldn't believe. He doesn't much have the blues, they flew their private plane down here. They stayed at my house last night and the kid saw one of my 1957 Telecasters. His dad bought him a two seater Mercedes and he wants to trade me his car for the guitar. I'm about to give it to him. I took him with me to the Dome last night and let him sit in at my dad's club. LW: It sounds like you are always willing to help out new comers KN: We get visiters all the time, we're a blg family. People are people and everybody is somebody to us. They are welcomed. LW: It's refreshing to talk to someone with that kind of attitude. KN: I'm glad I was brought up the way I was, It's going to carry me and my family a long way In the "business" and as well as making friends. LW: You've gained a much bigger following than your father has. has there ever been any resentment? KN: No, he's very proud of that. He says it makes him feel at ease, because he tried real hard and for me to get it is even better. He was telliing me the other day, he said "Remember when you was a little kid and I'd get ready to leave the house?, you'd say 'dad can I go wlth you?' Now it's reversed, son, can I go on this next tour with you? That's the way we joke about it." LW: That's great, I don't hear that a lot. KN: He's over here right now. You want to speak to him for a second? Raful Neal LW: Sounds llke ya'll are having a great time. RN: Oh yea, we fixing to really have a good time. We're out there barbequeing on the patio. LW: Kenny said you and Lightin' Slim were buddies. RN: Oh yeah, I knowed him. At one time Ligthin' played at Club Streamline on Friday. I played there on Saturday and Slim Harpo on Sunday. That was in the early sixties. LW: You play at your own club on Sundays now, right? RN: Right, every Sunday at the Starlight Diamond. LW: I bet it's really fun when you have your whole family there? . RN: That's how it was Sunday, everyhody was there. We had a whale of a time! LW: What is your favorite Raful Neal recordings? RN: I'd recommend "Down and Out." It's the nicest blues you want to listen to. LW: Did you teach all you kids to play? RN: Oh yeah, I started them all out. I started Kenny out onbass , started Noel on bass, Little Ray Jr. on guitar Mary Neal on drums, and started Darnell and Cedric too. LW: You have ten children, is that right? RN : Seven boys and three girls. LW: I don't know how you ever had time to teach them! RN: It took a lot of time. I had a side job to make ends meet, but every evening I would get in there and work with them. LW: How did you get started playing? RN: I was influenced by a guy named Ike Brown. He'd come by my mother's house and he'd play harmonica . I got interested in it. Then I heard Little Walter in Nashville and that's when I really got in to it. LW: Little Walter got a lot of folks into it. RN: Yes indeed, I think he's the greatest harmonica player that ever lived. LW: I've heard a lot of people say the same aboutSonny Boy. RN: Sonny Boy was great too, there were a lot of great harmonica players, but Little Walter would make it sound like a saxophone! LW: Have you played on any of Kenny's recordings? RN: No I haven't played on any of them. LW: I'll let you get back to the barbeque, I appreciate you talking with me. While the phone was making it's way back to Kenny, I could hear Raful teasing Kenny saying ''He wants to know why I ain't played on any of your albums '' Kenny Neal LW: I asked Raful why he has'n't played on any of your recordings. I told him to get on to you about that. KN: Oh yeah, Well we usually fly down to Florida, but the next one we're recording right here in Baton Rouge. LW: Will there ever be one with the entire family on it? KN: That's what our plans are, to do a Neal family album. LW: I know you want to be with your family, so I'll let you go. Thanks for talking to me. yeah, we're fixin' to throw down! LW: It's been nice talking to you. Take care. ========================================================================= Date: Wed, 26 Jul 1995 13:26:11 -0700 From: Ron Wack Subject: GUITARS: Dobro Info Item Subject: Message text Hey Folks: I looked at a couple of Dobro's at lunch today. One was a wood body, serial # d3 088 95, $1100 Can. ($770 US), and the other one a Doulian metal body, serial # r10 900 94b, $1725 Can ($1200 US). Both are new. We've no vintage dealers around here. The store doesn't have any info on these guitars. I'd sure like to take the Doulian home!! Is anybody familiar with either of these? Thanks RW Wack_Ron/rfh@sask.aecl.ca ========================================================================= Date: Wed, 26 Jul 1995 14:40:18 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Nightbeat Well, the winners (I say winners because I've decided to give away both my copies) of the fabulous Nightbeat contest have been chosen. #1 promised to buy a copy if he liked it and give this new copy to someone else, hence another winner #2 is on a CD moratorium since he is trying to save up enough money for an engagement ring. I'm a sucker for a romantic story. Thanks for all the entries. When #1 comes through, I will try to convince him to send it to one of you non-winners (as opposed to losers) Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Wed, 26 Jul 1995 14:51:12 -0500 From: Jeff Seale Subject: Terry Clarke & Michael Messer I picked up a cd by a band called Rhyhtm Oil. It features Jesse Guitar Taylor. The other 2 guys in the band are Michael Messer and Terry Clarke. So, who are these other 2 guys? -Jeff (Jesse Taylor, another homeboy) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Wed, 26 Jul 1995 14:48:04 -0600 From: Ranko Vujosevic Subject: Re: Shoeshine Johnny > At 12:30 PM 7/26/95 CDT, L W wrote: > >Didn't Johnny Shines record under Shoeshine Johnny. I don't know if it was > >for contractual reasons or not, though. > > > > > Chess, when he recorded for them, called him Shoe Shine Johnny, but not to > "hide" his true identity - only to give him a "catchy" (if racist) name, as > far as I know. > > > David Silberberg Woman I love has two teeth > davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines > Chess compilation "Drop Down Mama" has two Shoe Shine Johnny (Shines) songs: "So Glad I Found You," and "Joliet Blues." He recorded only those two for Chess (from liner notes). Ranko ps. It has also 4 Robert Nighthawk's songs, and Honeyboy Edwards' "Drop Down Mama," among others. ========================================================================= Date: Wed, 26 Jul 1995 15:50:16 -0400 From: Hugh Hardy Subject: My First Guitar Well, my first was a 1957 Strat - body natural refin. I was 16. I took it to a violin maker to fix the neck and he planed the board (ouch!). My second guitar was an SG copy which I took the nameplate off so that I could say it was a Gibson. To me , it was much cooler than the Strat, at the time (double ouch!). Although I liked the sound of the Strat better - it had an extra hot bridge pickup. Hugh H. near Toronto ========================================================================= Date: Wed, 26 Jul 1995 14:53:35 EDT From: Keith Carlson Subject: Boston Clubs -We know where now! Thanks a heap to everyone who responded with suggestions for clubs and blues artists to see in Boston. I just posted the question this morning and I already have plenty to pick from! (Probably will shoot for Luther Allison at House of Blues on Wednesday.) Thanks especially to "Oded" for sending a schedule including the first week of August. Keith Carlson Mpls, MN ========================================================================= Date: Wed, 26 Jul 1995 16:19:41 -0400 From: Steve Levine Subject: Re: Blues families/siblings +Raful (sp?) and Kenny Neal +Lucky Peterson and Father?? Yup (I think it's James Peterson). Don't forget Memphis Minnie and Kansas City Joe McCoy The Chatmon Family Bobby Radcliffe and Bruce Ewan Maria and Jenny Mulduar Percy and Curtis Mayfield ========================================================================= Date: Wed, 26 Jul 1995 16:20:00 -0400 From: "Roy W. Forgy" Subject: Re: Blues L T Shirt News >Second thing --- I've had a complaint from a list member about the 3X t shirts. >He said that they ran smaller than his other t shirts of the same size. Has >anybody else noticed any problems? I have no plans right now to place another >order, but if I should decide to do another one later on I'd like to know if >there are any problems before I talk to the vendor. I got the XXXl t's and a sweatshirt and they seem to be about the same as some others I have. It all depends on the manafacturer as I have some that are bigger and heavier and some smaller and lighter. Thanks again for the great job, I'm sure it was a lot more work than you first expected as most of this type of endevers are. ========================================================================= Date: Wed, 26 Jul 1995 16:32:54 EDT From: Oded Maron Subject: new Tony Z I recently got the new Tony Z, called "Get down with the blues" on Tone-Cool records. As anticipated, this is a great CD, and if you're into slightly funky, slightly jazzy organ blues - you'll be in heaven. Tony Zamagni used to be the keyboard player for Ronnie Earl and the Broadcasters and then for Larry McCray. This is his first solo album, and he managed to get an incredible group of people to play on it: Duke Robillard on guitar, playing the tastiest licks I've ever heard him do on record, Houston Person on sax, Johnny B. Gayden on bass and Bernard Purdie on drums. Sugar Blue plays harp on one track, and does a great job (i.e. doesn't overplay). Tony Z sings on about half the tracks and his voice is surprisingly rich. I guess I expected this to be all instrumentals, but the singing is really on the money. Tony is also very generous with the solos, and the CD has almost as much Duke Robbilard as Tony Z. If you like Jimmy Smith, or the "Relentless" CD that Danny Gatton made with Joey DeFrancesco, or even if you just like good music, get this CD. He'll also be in Boston at Sculler's on 8/16. Purdie and Person are supposed to play with him as well, and I'm hoping that Ronnie Earl will sit in on a few. I've got my tickets already. Oded ========================================================================= Date: Wed, 26 Jul 1995 15:36:19 CDT From: James Leto Subject: Re: Blues families/siblings Oh and how about Edgar and Johnny Winter!! Hey memory is not so bad after all. Jim ========================================================================= Date: Wed, 26 Jul 1995 20:46:05 GMT From: Eric LeBlanc-CISTI Subject: Re: James Europe recordings(query) James Reese Europe was born in 1878, Mobile, AL., and died on May 9, 1919, Boston, MA. Eubie Blake's biography has a few notes on Europe. eRIC ========================================================================= Date: Wed, 26 Jul 1995 17:13:52 +0000 From: "P.W. Fenton" Subject: My First Guitar I was 11 years old. My buddy Ralph, who lived in a big house on the hill where the rich people lived, was taking guitar lessons. So, Ralph, another friend named Billy, and myself, decided to form a band. It was decided, that Ralph, who couldn't sing, would play guitar. I would sing and play guitar, and Billy would sing and play bass. Billy and I didn't live on the hill where most of our schoolmates lived. We lived in the "projects" one block from the proverbial railroad tracks. Ralph's parents bought him a guitar. A Gibson "Johnny Smith Award" model. It cost $900 1959 dollars. Ralph said that Billy and I should buy Fenders because they would be much cheaper. Billy and I both managed to save up about $25 dollars a piece working after school and scrounging up all the deposit bottles in a 10 mile radius. We went together to the music shop. We were devastated. The cheapest Fender guitar I could buy was a telecaster with one pick-up, for about $75.00 (If I had bought that guitar, I could retire off the sale of it today). Billy's news was even worse. So the store owner, Mr. Siani, (who has a bad memory?), showed us these bright red guitars that he called "Japanese Fenders". The brand name on the headstock was "Sekova". I picked out the one with THREE pickups. Not even the great Ralph had THREE pickups. I needed $45 for mine, and Billy needed $60 for his. We put down our money as deposits and went home. Then I did the only thing I could think of to get that guitar. I cried. Eventually my mother gave me twenty dollars to stop crying. The three of us spent the entire summer learning to play one song. Me and Billy plugged into a borrowed Bassman, and Ralph and the vocal mic plugged into his Ampeg. For three solid months, Ralph's mother listened to an unbearably bad version of "Kansas City", over, and over, and over again. She prayed with her Rosary beads that we would not find a drummer. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Wed, 26 Jul 1995 17:20:57 -0500 From: Patti Bowman Subject: Re: gettin' off >On Wed, 26 Jul 1995, BOB TRAVERS wrote: > >> In article <9507191518.aa09868@uk.ac.ed.festival>, T Letis >> writes: >> >would someone write me personally and send info on how to get off. >> >Thanks. >> > >> Wouldn't this be a better topic for one of the alt.sex... newsgroups ;) > > Bob, are you suggesting that you are of the alt.sex...? Are you guys serious?! There's an alternative to sex?! Why? Patti ========================================================================= Date: Wed, 26 Jul 1995 17:21:03 -0500 From: Patti Bowman Subject: Lonnie's son >What about Lonnie Brooks and his son (who's name escapes me)? >My memory for names really sucks! >Jim Isn't it Ronnie? Patti ========================================================================= Date: Wed, 26 Jul 1995 16:43:20 PDT From: "R. J. Bauman" Subject: Re: Blues families/siblings Can we count Pops and Mavis Staples? Sure, why not, I say. RJ Bauman ========================================================================= Date: Wed, 26 Jul 1995 17:37:25 -0400 From: "Munson, Bill" Subject: Re: Terry Clarke & Michael Messer >I picked up a cd by a band called Rhyhtm Oil. It features Jesse Guitar >Taylor. The other 2 guys in the band are Michael Messer and Terry Clarke. >So, who are these other 2 guys? If it's the drumming Terry Clarke, he's a former Vancouverite who played with John Handy then the Fifth Dimension (yes) then moved to Toronto for two highly productive decades as Toronto's top session and jazz skin hitter. Moved to NYC several years ago. Great stuff with Sonny Greenwich (who also played with Handy), Beverly Glenn-Copeland (GRT in Canada) and Dr Music (first LP - probably on Bell in US, GRT in Canada). ========================================================================= Date: Wed, 26 Jul 1995 16:30:27 CDT From: L W Subject: Re: gettin' off ----------------------------Original message---------------------------- >On Wed, 26 Jul 1995, BOB TRAVERS wrote: > >> In article <9507191518.aa09868@uk.ac.ed.festival>, T Letis >> writes: >> >would someone write me personally and send info on how to get off. >> >Thanks. >> > >> Wouldn't this be a better topic for one of the alt.sex... newsgroups ;) > > Bob, are you suggesting that you are of the alt.sex...? >Are you guys serious?! There's an alternative to sex?! 'Honey put the guitar down and come to bed"..... 'I just can't get that riff right'...... "PUT DOWN THE GUITAR AND COME TO BED" "I will in a minute.....I'm real close" 'honey, wake up....I'm through' 'about time you came to bed' 'sorry I took so long, check out this riff, I'm working on' 'noooooooooooooo' nuff said LW ========================================================================= Date: Wed, 26 Jul 1995 17:54:24 +0000 From: Ian Angus Subject: Re: My First Guitar My first guitar was a private label Harmony Archtop I ordered from the Sears catalog when I was 14 or so. It looked good -- red sunburst, f-holes -- but sounded awful and the action was high enough to slice meat. It cost $34.95 in 1959 dollars. Fortunately, I had no musical talent. IMagine how bad I would feel if I'd bought a good guitar. :) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 26 Jul 1995 17:54:25 +0000 From: Ian Angus Subject: Re: My First Guitar > > There isn't anything on this planet that sounds worse than a Stella with > flatwounds.... > Oh yeah? My harmony archtop had such high action that I played it for a while with nylon strings. Now THAT's a bad sound. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 26 Jul 1995 17:54:25 +0000 From: Ian Angus Subject: Re: psuedonyms Paul Fenton wrote > O.K. I've read several people's accounts of how John Lee Hooker > recorded under many psuedonyms. Not one writer could give us an > example of such a recording. Can anyone? I'm beginning to doubt > it's a fact. > Okay. John Lee Hooker recorded as: Johnny Williams on Gotham Birmingham Sam and his Magic Guitar on Savoy John Lee Booker on Chess Delta John on Regent The Boogie Man on Acorn Johnny Lee on Deluxe Texas Slim andf John Lee Cooker on King. I have some of the King records. Pretty bad quality, but still JLH! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 26 Jul 1995 17:25:33 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Blues families/siblings Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Blues families/siblings Message-ID: <1995Jul26.172519.55202@msuvx2.memphis.edu> From: Denise Tapp Date: 26 Jul 95 17:25:10 -0500 References: <199507261648.MAA48968@poe.acc.Virginia.EDU> Nntp-Posting-Host: wok-49.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 8 The Thomas Family of Memphis, including Rufus (Dad), Carla and Marvel (kids.) Also the Hodges Family of Memphis, who formed the backbone of the HI Rhythm Section, and the Mitchell brothers--Willie (a bandleader long before he became the force behind HI) and James (sax player beyond compare, of the original Memphis Horns.) Denise ========================================================================= Date: Wed, 26 Jul 1995 17:31:37 -0600 From: Boudini Subject: blues families/siblings Clifton and Cleveland Chenier Tabby and Chris Thomas ========================================================================= Date: Wed, 26 Jul 1995 16:36:05 -0700 From: Jeff Birk Subject: Snowbird Blues/Jazz Festival Just wanted to share this with everyone. For those of you in the Salt Lake area, don't miss it. I've got my tickets and I'm counting the hours!! (Disclaimer: I am in no way connected with the festival, festival proceeds, blah blah blah.......) ------------------------------------------------------------------------ HONEST BLUES Robert Cray Will Bring His Band to Snowbird Festival By Martin Renzhofer The Salt Lake Tribune Robert Cray has grown a great deal musically since his 1986 breakthrough single, "Smoking Gun." That single and the Grammy-winning album it came from, "Strong Persuader," made a young Cray into a household name, a rare feat considering the usual late recognition for blues guitarists. Guitar legends such as B.B. King and the late Albert King played their best stuff for years before they finally imprinted their genius into non-blues public's brain. While Cray, now in his 40s, has yet to produce a single matching the success of "Smoking Gun," his albums have continued to mark his devlopment as a writer and musician. The three-time Grammy winner (and seven-time nominee) showcases his talent under the big tent July 28t as headliner during blues night of the two-day eighth annual Utah Jazz and Blues festival at Snowbird Resort. Tito Puente closes the next day's jazz performances. "I just play," said Cray. "You hope, down the line, that it continues to sound like you, which is hard to do considering the fact that there are a lot of influences out there. A lot of people are looking for their own style." Those who desire to either share the stage or recording studio with Cray is a testament to the guitarist's talent. Not counting the nine albums Cray has made with his own band, his discography reads like a blues who's who: Albert Collins, Eric Clapton, John Lee Hooker, B.B. King, Tina Turner, Chuck Berry, Katie Webster and the Rolling Stones. Cray's latest album of originals and cover songs, "Some Rainy Morning," continues the guitarist's blending of blues, rock and soul. Cray's guitar solos wrap themselves around songs, while his plaintive vocals have the depth to bring out the pain of his ballads, while remaining strong and fiery when the pain turns to anger. "I'm a fool for ballads," said Cray. "I just look into stories or situations that have happened in the field, observational things and personal." However, those expecting a re-creation of the album during performances are in for a surprise. "After it's done I don't listen to it again," he said. "I'm so critical of everything. Even after it's done I think of how I could have done it this way or that way. "The songs will be different by the time I take them on the road. The tempo, guitar and vocal style will change on a nightly basis. It evolves." Cray, reared in the Pacific Northwest, was in the fifth grade when he bought his first guitar. By his early 20s, the Robert CrayBand was a fixture in Portland, Seattle and San Francisco clubs. Young and shy--he sometimes played with his back to the audience--Cray caught on with the blues establishment. Soon after, his band was opening for Albert Collins. The group's debut, "Who's Been Talking," was released in 1980, and by 1983 Cray's band was playing with John Lee Hooker and Willie Dixon. Chicago guitarist Muddy Waters took Cray under his wing, calling him his "adopted son." "I would sit backstage before the show, drinking Muddy's champagne and listen to him talk about Young Muddy Waters,'" said Cray. Cray's first Grammy came in 1985 with "Showdown," featuring Collins and Johnny Copeland. That album set the stage for "Strong Persuader" and 1988 Grammy winner "Don't Be Afraid of the Dark." "I want honesty in music," said Cray. "People do have time for emotion." Cray's appearance at Snowbird continues a growing trend of playing summer festivals, mainly in Europe which has become the most popular place for blues performers. "It's been that way for a long, long time," he said. "It's a great thing to play Europe in the summer. Sometimes you see the line-up for all the shows and wonder who's left in America. "There are a lot of expatriates in blues and jazz. America is saturated with so much music and the turnover in popularity is so quick here." With a string of gold and platinum albums behind him -- and probably more in the future -- Cray's popularity seems assured. "I want to stay good and make good music," said Cray. "It's an ongoing challenge, but I enjoy this and have fun doing it." ==================== Mountain Music The eighth annual Utah Blues and Jazz Festival returns to Snowbird Resort July 28 and 29. The Robert Cray Band headlines Friday, July 28, following a lineup that includes Nick Gravanites, John Hammond and Utah's group Ray Band. ========================================================================= Date: Wed, 26 Jul 1995 17:44:43 -0600 From: Boudini Subject: blues families/siblings Eddie "Guitar Slim" Jones and Rodney "Guitar Slim Jr." Armstrong ========================================================================= Date: Wed, 26 Jul 1995 17:13:16 GMT From: Doug Watson Subject: Ry Cooder Hi, I'm new here so if this has been discussed recently, pardon me. I am in love with the soundtrack to _Paris, Texas_. But, other than that, I know next to nothing about the genre. Can anyone suggest other recording artists that sound like this - particularly with a lot of atmosphere and reverb? Thanks for any responses. -Ken ========================================================================= Date: Wed, 26 Jul 1995 18:49:16 -0400 From: "William E. Forrester" Subject: Alligator lp deal I saw an ad in the new issue of Living Blues that might be of interest to some blue zellers. Alligator Records will send 15 lp's (of their choice) for $25 plus $5 shipping. They list examples such as Koko Taylor's Jump For Joy, Lil' Ed's Chicken, Gravy, & Biscuits, etc. Note that these are lp, not cd. Their phone number is 1-800-344-5609. Bill Forrester ========================================================================= Date: Wed, 26 Jul 1995 18:53:19 -0400 From: Don O Subject: JL hooker pseudonyms > From: "P.W. Fenton" > > O.K. I've read several people's accounts of how John Lee Hooker > recorded under many psuedonyms. Not one writer could give us an > example of such a recording. Can anyone? I'm beginning to doubt > it's a fact. Check out the excellent Hooker discography by Les Fancourt that is being offered dirt cheap by Blues and Rhythm. There are many listings and even label photos of John Lee Booker, Texas Slim, Eddie Burns, Delta John, John Lee Cooker, and lots more. A must for any Hooker freak. Don O. A Hooker freak ========================================================================= Date: Wed, 26 Jul 1995 16:03:42 -0700 From: Jennifer Meserve Subject: Re: *very* little blues content/neil schon I believe I just read an article about how Neil Schon had convinced Steve Perry to do an instrumental Journey album in Musician or Spin. I'll check my sources and get back to you. (It's that sleepy time in the afternoon, and my brain is way fuzzy!) On Mon, 24 Jul 1995, PAN D'MONIUM wrote: > This is about _Santana_ and if you don't include this in your definition of the > blues, it would be good for you to quit here. > > In looking over the notes from _Sacred Fire_ recently, we got to wondering what > a couple of the members were up to these days. You guys always seem to know > everything about everybody, so what's up with Greg Rollie and Neil Schon? > > Personal e-mail is great, but I'd be just as happy if you posted to the list if > you felt the group would benefit. Thanks much! > > Paul > > p_franzmann@wmc34c.wmc.edu > > > > > > > > > > > > > > > > ========================================================================= Date: Wed, 26 Jul 1995 16:09:03 -0800 From: Don Cicchetti Subject: Re: My First Guitar I said: >> There isn't anything on this planet that sounds worse than a Stella with >> flatwounds.... Ian said: >Oh yeah? My harmony archtop had such high action that I played it for >a while with nylon strings. Now THAT's a bad sound. YIKES! You win! ouch oooo-mama! that sound bad... Where should I send the prize Cheezbugga?? :-0 Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 26 Jul 1995 19:26:13 -0400 From: Bob vanArsdall Subject: Re: Blues families/siblings Peter asked: >I brought this up a few months ago, but I've lost the list I >kept.... > >Who are some Blues siblings (or parents-children) who've >recorded? All the Chapmons from Stovall All the Neals from Baton Rouge (Raful, Kenny, etc.) Tabby and Chris Thomas, father & son from Baton Rouge (can we talk about the Nevilles, all gabillion of them? Even Allen Toussaint recorded as Naomi Neville - his mother, I think) Bob ========================================================================= Date: Wed, 26 Jul 1995 19:28:56 -0500 From: Patti Bowman Subject: Re: kids, fowl & nat'l birds >> around. Aren't eagles an endangered species, not to mention our >> national symbol? How can we eat them? Of course this is all tongue in >> cheek. Or is that meat stuck in my teeth? ;) > >bald eagles, if i remeber right, are no longer endangered species but are >still protected by the government as some sort of neat word animal. yes >they are our national symbol, sort of cool our forefathers choose the >majestic bald eagle which is a scavenger over the one tone gold eagle >which is a predator. hell i can eat just about anything as long as it >tastes good and fills me up. > >jon Funny, so can the eagle. Cool huh? -Patti ========================================================================= Date: Wed, 26 Jul 1995 16:45:44 GMT From: Eric LeBlanc-CISTI Subject: Re: Charlie Rich dead at age 62 CHARLIE RICH (b. 12/DEC/1932, COLT, AR - d. 25/JUL/1995, HAMMOND, LA) Thanks Chris for the obit. Some of his best records were covered by other artists, including "WHO WILL THE NEXT FOOL BE?" (by Bobby Blue Bland), "BEHIND CLOSED DOORS" (by Little Milton), (Dallas Frazier's) "MOHAIR SAM", "BOSS MAN", etc. He was at his best on songs like "LIFE HAS IT'S UPS AND DOWNS" and "SITTIN' AND THINKIN'". Next to Bobby Blue Bland's version, the best version I heard of "WHO WILL THE NEXT FOOL BE" was the version by The Amazing Rhythm Aces (featuring one of (Howard) Russell Smith's best leads). CD DISCOGRAPHY ============== DIABLO 810 : CHARLIE RICH - SINGS HANK WILLIAMS PLUS KOCK 340482 : CHARLIE RICH - SET ME FREE KOCH 340492 : CHARLIE RICH - FABULOUS KOCH 340502 : CHARLIE RICH - BOSS MAN PROARTE 5003 : CHARLIE RICH - UNCHAINED MELODY SONY 32247 : CHARLIE RICH - BEHIND CLOSED DOORDS SONY 34240 : CHARLIE RICH - GREATEST HITS SONY 45073 : CHARLIE RICH - AMERICAN ORIGINALS WARNER 26730 : CHARLIE RICH - PICTURES & PAINTINGS eRIC ========================================================================= Date: Thu, 27 Jul 1995 09:26:49 +1000 From: Daniel Bruce Subject: Re: Lonnie's son > > >What about Lonnie Brooks and his son (who's name escapes me)? > >My memory for names really sucks! > > >Jim > > Isn't it Ronnie? > > Patti > Ronnie Baker Brooks -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Wed, 26 Jul 1995 19:10:00 CDT From: "" Subject: Re: New Freddie King release 'This Is The Blues!' Announcing the release of 'This Is The Blues' by Freddie King. Previously unreleased performance and 2 rare acoustic tunes. Please contact me PRIVATELY at blueman@computek.net if you have further interest or want to order. Thank you. Richard Chalk TopCat Records blueman@computek.net ========================================================================= Date: Wed, 26 Jul 1995 19:45:50 -0500 From: dwhite Subject: blues extended family How about Lightnin Hopkins and his brothers John Henry, Joel, Abbie, Dailey sister Alice Mae his cousins Texas Alexander, Albert Collins, Frankie Lee Sims, and Milton Hopkins his cousin by marriage Clifton Chenier (his last wife was Clifton's cousin Antoinette Chaules) Dana ========================================================================= Date: Wed, 26 Jul 1995 21:47:13 -0400 From: Art Schuna Subject: The High Sheriff of Hell I have been reading the Memphis Minnie biography, "Woman With Guitar" by Paul & Beth Garon, which BTW is a great read so far. There is an interesting quote from Studs Terkel buying all kinds of 'race records'. He mentioned they were "hooked on Big Bill, Tampa Red, Memphis Minnie, Big Maceo, Peetie Wheatstraw, the High Sheriff of Hell... Who was the High Sheriff of Hell? Are there any recordings out by this artist? Is the reason I don't know who this artist because he is more familiar by another name? Anyway, thought it was a great name for a recording artist. Art Schuna ========================================================================= Date: Wed, 26 Jul 1995 21:55:05 -0400 From: Mary Katherine Aldin Subject: other than blues-l.......... For the next "Blues News" column in Living Blues Magazine I want to compile a list of interesting places on the net for blues fans to visit (or other blues-related lists to subscribe to). Please email me privately with your suggestions for inclusion; make sure you send complete instructions for subscribing, if it's a list, or the exact site address, if it's a www site, etc. Needless to say, the blues-l list will be included! I need this info no later than August 2 to make my deadline. Thanks, Mary Katherine ========================================================================= Date: Wed, 26 Jul 1995 21:57:34 -0400 From: Mary Katherine Aldin Subject: Re: The High Sheriff of Hell Peetie Wheatstraw *is* (or actually was) the High Sheriff from Hell. Or at least he claimed to be; it was just a recording nickname that he used. He was also The Devil's Son In Law. Or so he said. Mary Katherine ========================================================================= Date: Wed, 26 Jul 1995 21:06:23 -0600 From: David Silberberg Subject: Re: Shoeshine Johnny At 2:48 PM 7/26/95, Ranko Vujosevic wrote: >Chess compilation "Drop Down Mama" has two Shoe Shine Johnny (Shines) > songs: "So Glad I Found You," and "Joliet Blues." > He recorded only those two for Chess (from liner notes). > > Ranko > > ps. It has also 4 Robert Nighthawk's songs, and Honeyboy Edwards' > "Drop Down Mama," among others. The Nighthawks, in particular, are outstanding - "Sweet Black Angel" and "Anna Lee" among them. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Wed, 26 Jul 1995 21:04:22 -0500 From: Larry Kirchmer Subject: Where Can I Purchase These CD's? If anyone knows where I can purchase these 2 CD's, I would really appreciate the info. Thanks much. >Big Rhythm Combo: Too Small to Dance, Black Magic >Kid Ramos: Two Hands, One Heart, Black Magic ========================================================================= Date: Wed, 26 Jul 1995 22:08:47 -0400 From: Jacquelin Katz Subject: Re: First Guitar (was Blues Amps & Distortion) How many other people learned their first chords on a plastic guitar? Next came my sister's classical, then a Yamaha FG180 acoustic. First electric was by Harmony (what else) model unknown, which I traded for an Epiphone semi-acoustic bass (with action higher than the Empire State Bldg) so guys would let me play something other than unamplified keyboards (these are also known as pianos) ...meanies. Finally graduated to the wonderful world of Fenders: ain't no stoppin' me now ;> Jackie Katz jkatz@mcls.rochester.lib.ny.us ========================================================================= Date: Wed, 26 Jul 1995 22:12:52 -0400 From: Art Schuna Subject: Re: Has anyone heard...? In article <199507260132.VAA87794@poe.acc.Virginia.EDU> Peter Welch writes: >Date: Tue, 25 Jul 1995 21:32:47 EDT >From: Peter Welch >Subject: Has anyone heard...? >I'm thinking about buying the following CDs, but before I make >the purchase, does anyone have any opinions on these discs: >Cal Valentine: The Texas Rocker, Black Magic Cal does some tasty guitar playing on this disc. The only drawback is the choice of material. He does a number of covers of well worn standards. He's at his best when he covers songs he wrote and performed in the past. >Little Smokey Smothers: Bossman, Black Magic This is a great disc. Includes vocals by Lee "Shot" Williams on 4 tracks. Elvin Bishop on guitar on 4 tracks and vocals on 2. >Lee Shot Williams, Sings Big Time Blues, Black Magic I'm listening to this as I type this. I've been meaning to review it in detail but just haven't had the time to do it. Lee is a great soul blues singer. This disc includes Little Smokey Smothers on guitar and the Chicago Playboy Horns. The band really is tight. I would give this my "Pick of the Month" award. That says a lot as I buy a lot of music and so there's a lot of competition. I would say it's seen more time on my CD player than anything I've bought for quite some time. Art Schuna ========================================================================= Date: Wed, 26 Jul 1995 22:25:12 -0400 From: Art Schuna Subject: Re: Blues families/siblings In article <199507261648.MAA48968@poe.acc.Virginia.EDU> Peter Welch writes: >Date: Wed, 26 Jul 1995 12:48:14 EDT >From: Peter Welch >Subject: Blues families/siblings >I brought this up a few months ago, but I've lost the list I >kept.... >Who are some Blues siblings (or parents-children) who've >recorded? How about RL Burnside and sons - Dwayne on bass, and another son played drums at the Mississippi Valley Blues Festival (sorry forgot his name) Jimmy Rogers and his son, Jimmy Lane The Sparks Brothers (they were twins) Art Schuna ========================================================================= Date: Thu, 27 Jul 1995 00:21:36 -0400 From: M McCracken Subject: Shoeshine Johnny Johnny told me on several occasions that he HATED that name! Mike McCracken ========================================================================= Date: Fri, 28 Jul 1995 00:30:31 GMT From: Andrew Gregg Subject: James Peterson Hi, I just got myself (Thanks to MALACO) of James Petersons latest album and am thrilled with it. Anyone know much about this guy?? He's Smoking! ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Fri, 28 Jul 1995 00:37:33 GMT From: Andrew Gregg Subject: Re: My First Guitar My first guitar was a '70's Telecaster that I worked for a while to get from my Grandma's next door neighbour. Her husband ran off with a younger woman, and she sold it to me (complete with old pignose amp) for $200. I loved that dirty old sunburst thing!! I never really understood at that stage what I had, but new that I had gotten it cheaply. I sold it about 6 years ago and have missed it since..... ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Thu, 27 Jul 1995 00:50:09 -0400 From: James Leftwich Subject: Re: blues families/siblings Elmore and Homesidk James Jim On Wed, 26 Jul 1995, Boudini wrote: > Eddie "Guitar Slim" Jones and Rodney "Guitar Slim Jr." Armstrong > ========================================================================= Date: Thu, 27 Jul 1995 01:13:37 -0400 From: James Leftwich Subject: Re: Ry Cooder Doug, I'm a huge Ry Cooder fan. _Paris Texas_ is about as good as it gets however. Cooder just released a double CD of his best soundtrack work. It's pretty solid and varied. A lot of it has that spooky quality of _Paris Texas_. Cooder's best stuff, IMHO, is his early acoustic-oriented material. His first LP just came out on CD and has his orginal version of _Dark Was the Night_. The CD is terribly short but still worthwhile. His next, _Boomer's Story_ is wonderful and as usual covers a wide variety of artists. Check out his version of _Dark End of the Street_ or _Maria Elena_ both instrumental masterpieces. Cooder teams up with Sleepy Joh Estes on a song about the death of JFK to close out the CD. _Into the Purple Valley_ concentrates on Dust Bowl era songs. An earth-shaking rendition of _Vigilante Man_ will leave that slide ringing in your ears. Solid CD but not his best. _Paradise and Lunch_ is the critic's darling. It seems to always get four stars wherever rated. I tend to agree. Each song is effective in its own way. He covers a lot of ground here from work songs to blues to Tex-Mex to a duet with Earl Hines. If you're looking for pure blues check out the previously mentioned CDs. If you want kick ass music snap up this one. _Borderline_ has a few good songs. Mostly Tex-Mex. He's getting into electric mode. _Slide Area_ is pretty mediocre. It has a great rendition of _I need a woman_ which was also recorded by Bob Dylan. _Get Rhythm_ is weak compared to the rest of Cooder's work. He gives an electric workout to a lot of Rockabilly on it. Lately, he's been doing a lot of work with International musicians (Indian (as in India), Mali, Irish) and a few soundtracks (Trespass and Geronimo, which is awash in symphonic strings). IMHO, Cooder is pretty inconsistent since his early work. If you want the bluesiest CD get _Boomer's Story_. If you liked _Paris, Texas_ you'd probably dig the soundtrack compilation (which I saw--take note NYC bluezellers--at Sounds in St. Mark's Place for $17.99). Also, IMHO, [Here come the flames] Cooder is the greatest slide player of all time. Perhaps not the best *BLUES* slide player, but he has done more with the slide than anyone EVER! Put that in your pipe and smoke it. Hope I've been of help! Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) check out my brother's page: http://www.cloud9.net/~swtpete On Wed, 26 Jul 1995, Doug Watson wrote: > Hi, I'm new here so if this has been discussed recently, pardon me. > > I am in love with the soundtrack to _Paris, Texas_. But, other than that, > I know next to nothing about the genre. Can anyone suggest other recording > artists that sound like this - particularly with a lot of atmosphere and > reverb? > Thanks for any responses. > -Ken > ========================================================================= Date: Thu, 27 Jul 1995 01:15:45 -0400 From: James Leftwich Subject: Re: The High Sheriff of Hell On Wed, 26 Jul 1995, Art Schuna wrote: > interesting quote from Studs Terkel buying all kinds of 'race records'. He > mentioned they were "hooked on Big Bill, Tampa Red, Memphis Minnie, Big ^^^^^^^^ As I remember, Studs intervies Big Bill Broonzy in his oral history of World War II, _The Good War_ Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 27 Jul 1995 01:18:55 -0400 From: James Leftwich Subject: practice amp Hello, Can anyone recommend a good practice amp that sounds pretty bluesy and sounds good at low-volume? I play a Fender Strat. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Thu, 27 Jul 1995 01:48:45 -0400 From: Garry Segal Subject: Re: My First Guitar /Stella I still have an old Stella six string acoustic, bad action but great for funky slide ! Garry email BlueSngr@aol.com homepage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Thu, 27 Jul 1995 16:03:45 +1000 From: Daniel Bruce Subject: Re: blues families/siblings > > Elmore and Homesidk James > > Jim > > > On Wed, 26 Jul 1995, Boudini wrote: > > > Eddie "Guitar Slim" Jones and Rodney "Guitar Slim Jr." Armstrong > > > I understood that Homesick claimed to be a relative of Elmore but that they were not in fact related. Similar to Albert & BB King See ya! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Thu, 27 Jul 1995 06:33:17 GMT From: Onduma Faloon Subject: Re: Ry Cooder James Leftwich (leftwich@CLOUD9.NET) wrote: : Also, IMHO, [Here come the flames] Cooder is the greatest slide player of : all time. Perhaps not the best *BLUES* slide player, but he has done : more with the slide than anyone EVER! Put that in your pipe and smoke it. I'm not a smoker, and never fool around with flames, but I'm wondering whether you've noticed Bob Brozmann's work with the slide. From Hawaiian to ragtime and early jazz to blues, I think his range surpasses Cooder's -- in terms of having "done more" with the slide. Nevertheless, I love Cooder's music, and second the recommendation for the two-CD compilation of his film music. ========================================================================= Date: Thu, 27 Jul 1995 03:32:29 EDT From: Wouter_Lueling@HLD-AMS-P1.CCMAIL.COMPUSERVE.COM Subject: subribe subject? ========================================================================= Date: Wed, 26 Jul 1995 17:24:39 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Blues families/siblings Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Blues families/siblings Message-ID: <1995Jul26.172435.55201@msuvx2.memphis.edu> From: Denise Tapp Date: 26 Jul 95 17:24:35 -0500 References: <199507261648.MAA48968@poe.acc.Virginia.EDU> Nntp-Posting-Host: wok-49.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 To: bit.listserv.blues-l Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 8 The Thomas Family of Memphis, including Rufus (Dad), Carla and Marvel (kids.) Also the Hodges Family of Memphis, who formed the backbone of the HI Rhythm Section, and the Mitchell brothers--Willie (a bandleader long before he became the force behind HI) and James (sax player beyond compare, of the original Memphis Horns.) Denise ========================================================================= Date: Sat, 27 Jul 1996 03:28:32 PDT From: Michael Suffern Subject: Re: First Guitar (was Blues Amps & Distortion) The Early Years: 1964 - Sears Silvertone Sunburst acoustic. 'cause of the Beatles. Learned chords and folk songs. 1967 - Harmony electric Red Sunburst 2 pickups w/ gold screen under a chrome bezel, a small Firebird III shape. Taught myself "Mississippi Queen". Burned onstage in 1976, smashed, and otherwise sacrificed (wouldn't play past the 5th fret anymore). 1967 - Epiphone 15 watt 1-10 amp w/ reverb, tremolo, gray tolex. Smoked playing "Mississippi Queen" w/ an ElectroHarmonix LPB-1 preamp. Awaiting repair. 1973 - 96 lb. swamp ash Fender Statocaster, clear finish, maple neck. Movable neck (loose neck pocket), microphonic pickups, dead and lifeless, unique tone. Best vibrato setup ever. 1973 - Traynor 100 watt head, 2 x 4-12 cabs. Loud, too loud and way too loud. 1976 - SG Standard, cherry finish. Nice. Mods: 2 DiMarzio Super Distortion pickuups and self adhesive diffraction grating plastic on pick guard. Mike -------------------------------------------------------- Name : Michael A. Suffern Mated : Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html He does : Code by day... Blow, pick, and sing Chicago Blues by night Totally shot by morning She does: SoundTravels/B&B Travel E.C. @ R.A.H., BluesFests, European vacations Learn bass, listen to E.C. & Freddie King "Uhhh.... if you see my little red rooster, Please.... a drive him home. Well.... if you see my little red rooster, Please.... a drive him home. 'Der no peace in thE barn yard, Since the little red rooster been gone." Willie Dixon (Howlin' Wolf) -------------------------------------------------------- ========================================================================= Date: Thu, 27 Jul 1995 13:04:31 +0300 From: T P Uschanov Subject: Re: Blues families/siblings > Don't forget about Rufus & Carla Thomas! Plus Marvell and Vaneese Thomas! /tp/ ========================================================================= Date: Thu, 27 Jul 1995 06:15:07 -0500 From: Roger Struve Subject: Re: My First Guitar -Reply Guess nobody can flame me much for telling my story... When i was about 4 years old, i was next door at Rodney Strauss' house (it was the only remaining farm house within the city limits of Davenport, IA. at the time--they had a pump driven outdoor well tapped into an underground spring--i remember truckers stopping there on a daily basis to "load" up with drinking water for themselves). Anyway, Rodney said "You'll never guess what my big brother Sonny got!", so i bit, and said, "Nope, can't guess, whad' he get?" So, Rodney ran upstairs, brought down this oblong thing, set it on the floor and told me we can't take it out, but we can play with it...it was a beautiful archtop red electric guitar, a Gibson, i think it was...so we played on it by hitting on the strings, you know, in kind of an up and down motion, since the guitar was laying flat on the floor still in its case. Anyway, i ran home and said "i want one of those!", and my mother said, "well what was it?", and I said "I don't remember what he called it, but it had strings, and you play on it like this---and i proceeded to make up and down motions with my hands---much i suspect, in the manner of a Liberace!" Well, a week later, they bought me a piano...and i said "that's not it!", you play on it like this---and i proceeded to make some motions possibly reminiscent of Pete Townsend's famous windmill stroke". Mother said, "well, that's what we thought you meant, but we decided that this would be better for you!" so, i was a frustrated guitar player attempting to make the piano sound like a guitar for 38 years, and i finally broke down, and bought a real one, a 1935 National 14 fret Duolian... and that's the story of my "first" guitar! regards, delta doc roger ========================================================================= Date: Thu, 27 Jul 1995 07:20:06 +0000 From: "P.W. Fenton" Subject: Web space appeal After monday the 31st my web pages will be homeless. The outfit that rents me space now will be closing it's doors. (The owner got a real job). I can't afford most of what the web space providers call commercial accounts, and I don't need the services that most of those accounts provide because I create and maintain the pages myself. So I'm looking for a home. I need about 1.5 megs of space and FTP access to maintain the site. I can't afford much more than the $10.00 a month I'm spending now. Please, any Blues-Ler that knows of a place for my pages to live at, let me know. Obligatory Blues content: Did you know that I was the first Blues band on the World Wide Web? P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Thu, 27 Jul 1995 11:22:41 +0000 From: Pat Hertel Subject: "My First Guitar" by Pat Hertel 'Twas back in 1973(4?). A friend of mine said he would help me get a guitar. He knew someone that was selling a Vox. As he described it, it was some kind of tear shaped deal. I wasn't all that keen on the idea but he said it was cheap at the price and a "good" guitar. Well, somewhere along the line it became unavailable and in the mean time he was looking at Gibson SGs, so he decided to sell me HIS guitar .... a circa 1956 Gibson 330T for $250. Well, there is not another guitar in existance that has the touch of that 330. I had it appraised for insurance last year - $1300!. And the guy is STILL my friend (my best friend in fact) ....go figure. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/7/95 7:11 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 27 Jul 1995 12:37:00 BST From: Mr P R Munro Subject: Terry Clarke and Michael Messer Terry Clarke and Michael Messer of the Rhythm Oil Band are both guitarists and both Brits(I think).Michael Messer is one the most acclaimed acoustic slide guitarists in the UK and Terry Clarke more of a singer songwriter. I went to see them live as the Rhythm Oil Band on the strength of Jessie Taylor and a good album review. It turned out to be one of the worst gigs I've been to partly 'cos I'm not greatly into acoustic blues(I'd assumed with Jessie in the band they'd be electric) and partly 'cos the rhythm section turned out to be some drunk with a washboard, iron bar and a hammer! Pete ========================================================================= Date: Thu, 27 Jul 1995 08:59:33 -0300 From: Rob Hutten Subject: Re: Blues families/siblings Tommy, LeDell & Mager Johnson Roosevelt & Uaroy Graves Arthur "Big Boy" Spires & his son Bud (Jack Owen's harp playin' pal) Sid Hemphill & daughter (grand-daughter?) Jesse Mae If cousins count, there's Johnny Shines & Calvin Frasier... -Rob ========================================================================= Date: Thu, 27 Jul 1995 13:04:18 +0100 From: James Berriman Subject: Blues Brothers (was: This Week's Sign - Part II) >From: David Silberberg >Subject: This Week's Sign - Part II > >From Chicago Sun Times, Wednesday, July 26: > >STAGE SET FOR REVIVAL OF THE BLUES BROTHERS: > >Dan Aykroyd and John Belushi's widow have taken steps to turn the Blues >Brothers into a prime-time animated series. > There's a stage show *based on* the Blues Brothers which has apparently been touring worldwide for a couple of years. Can't comment on the accuracy of this information, but the local paper ran a feature on it. Currently at the Theatre Royal, Stoke on Trent, UK. They threw a publicity stunt by staging a fake car smash outside the Theatre last week. (Rear half of a police car apparently embedded in the box office wall). It's all about getting the exploitation right, right? Wonder if Dan knows about this one... ========================================================================= Date: Thu, 27 Jul 1995 08:15:27 -0400 From: Kathe Grant Subject: Sue Foley I had the pleasure of catching Sue Foley for a couple of sets last night. All I know about about her is that she hails from Austin TX and plays some s-w-e-e-t and rockin' blues guitar. Does anyone know anything about her? thanks. Kathe "There comes a time when you must let yourself go and feel the music run into your veins. While the drums beat and the guitar wails, a feeling of fury takes control of your mind and body, and soon there is nothing but soul. So as I see it, control is just a formality that limits our boundries of flow." _ Anonymous ========================================================================= Date: Thu, 27 Jul 1995 08:19:31 -0400 From: Ian Angus Subject: Pick of the Week Since hearing of Floyd McDaniel's death on Sunday, 3 days after his 80th birthday, I've been playing his Delmark CD over and over again. This is a fine recording -- some of the best jump blues recorded by anyone in recent years. Every guitar player who thinks that good equals loud and fast should listen to this -- Floyd's T Bone Walker style playing is restrained and precise, every note counting. I'm sorry he has to have a monument already, but this CD, his first as leader, recorded in his 79th year, is a good one. Last night I did a tribute to Floyd on the Blue Soul show here in Toronto. I described my one encounter with him in the back room at the Jazz Record Mart last month, when he did a set for a small but rapt group sitting on the floor around him. Apart from that, the tribute was almost entirely based on Dick Shurman's excellent notes to this CD. Thanks Dick. Floyd McDaniel and the Blues Swingers. LET YOUR HAIR DOWN. Delmark DE 671 Ian Angus ========================================================================= Date: Thu, 27 Jul 1995 08:24:17 -0400 From: Ian Angus Subject: Radio play in Toronto Last night on Blue Soul, we played a cut from Garry & the Moodswingers new "Go Fever" CD. This is a good solid CD, a mix of soul and blues. I especially like the soul material, and so does regular host David Barnard -- he chose to play "I've Seen What Loneliness Can Do." Garry is a bluezeller, of course, so it was particularly pleasing to play this one. Speaking of bluezellers, next week, our guest on the show will be Colin Linden. If you're in the area, tune us in -- Blue Soul, on CKLN, 88.1 FM, Toronto Ian Angus ========================================================================= Date: Thu, 27 Jul 1995 07:26:47 CST From: William Shute Subject: Lee 'Shot' Williams CD From: Bill Shute LEE SHOT WILLIAMS "Sings Big Time Blues--COLD SHOT!" Black Magic (Holland) CD 9029 I'm not gonna attempt a full "review" of this album, because after Dick Shurman's fine liner notes to the album, any further comment would be superfluous. When I was discussing Jitterbug Webb a few weeks ago and mentioned the concept of a "show band" and of the artist as "entertainer," had I at that time had this CD, I would have mentioned it as a perfect example of what I meant. As Dick S. says in the liners, Lee "Shot" is one of the "great 'standup' vocalists (who are usually also dynamic entertainers)" who "have perservered amid years of rented halls with white tablecloths, folding chairs and setups and miles of jobspromoted by posters of phone poles." (and, by the way, the section of such posters in the new Living Blues has 2 of 'em with Lee Shot Williams' name on them!) This CD, beautifully produced by Mr. Shurman and beautifully and TASTEFULLY packaged by Black Magic (if Capitol wants to keep doing the digi-pak packaging, they ought to get a copy of this and see how it SHOULD be done!), captures a typical well-paced and diverse "set" (even though it's a studio recording--don't know if Dick S. or Black Magic was responsible for deciding the running order of the CD, but it's incredibly well programmed/sequenced (I notice that!), just like the set of such a veteran performer would be) of this "soul blues" master. You'll laugh out loud at some tunes, say to yourself ("hell, that sounds like MY life") on others, get into the'party-down the working-week is over' spirit on others, sit quietly and be moved by the beautiful "Neither One of Us (Wants to Be the First To Say Goodbye)", get horny during the classic "Drop Your Laundry", and start salivating about the "encore show" at home after this show with your main squeeze while listening to "How Do You Want Your Thrill." The horn section is funky, the playing tight but loose (if ya know what I mean), and the lead guitar of Little Smokey Smothers is like the spice that makes the whole meal a SAVORY experience. As for Lee Shot, he has that ingratiating, witty, downhome, SINCERE style that so many of "today's" performers will never achieve for a moment once in their life. While I've always enjoyed our own Dick Shurman's productions, this one is REALLY SPECIAL and at least this listener would like to tell him "yes, you really DID achieve completely what you set out to do." in spades...to the n-th degree, etc. My favorite "new/recent" album in June was the new Memphis Horns on Telarc. This is, as Art S. said yesterday, to me the best of the month of July for me, and undoubtedly will be one of the five finest NEW recordings of the year. I laughed, I cried, I got down, I got turned on, I got my money's worth AND MORE>> It took a few months for this disc to finally hit Austin--if it isn't available where you live, mail order it (along with Black Magic's reissue of the Long John Hunter and T.D.Bell/Erbie Bowseralbums-- I'll be seeing T.D.tomorrow night in Austin, BTW). Bill Shute (whose latest...soon-to-be-ex ...squeeze could have been the inspiration for the song "High Steppin' Mama!!!) ========================================================================= Date: Thu, 27 Jul 1995 08:33:07 -0500 From: Richard Flohil Subject: Re: Ellen McIlwaine At 12:28 AM 7/26/95, King, Tony wrote: >Can anyone supply me with info on a blues/folk-blues artist called >Ellen McIlwaine?? Yes, Ellen McIlwaine is alive and well and based in Calgary (former homes have included Montreal and Toronto, not to mention Georgia, Japan and New York). In recent years she has had one album on Stony Plain, the roots label based in Edmonton (403 468-6423), has recorded some cuts that are generally unavailable to the public on albums made from radio shows for the Canadian Broadcasting Corporation. Stony Plain is currently working on the reissue of two of her earlier albums on a single CD. The Real Ellen McIlwaine is from 1973 and was recorded in Montreal; Everybody Needs It was on Blind Pig and originally released in 1977. Ellen still plays fabulous slide, is loud and proud and sings like an exuberant angel. But, hell, I'm biased-I'm a publicist and I do work for Stony Plain (among myriad others!)... Richard ========================================================================= Date: Thu, 27 Jul 1995 09:33:40 -0300 From: Rob Hutten Subject: Blues dreams Anyone ever have any blues dreams? Had one last night where I was playin a 12-string (something I've never been able to do well in real life) and sounding *just* like Blind Willie McTell. It was heaven. As soon as I woke up I grabbed my little 6-string but just couldn't get the same sound as in my dream. Other blues dreams I've had: - Jamming with Muddy Waters and my friend Ravi up in the haymow of my Mom's farm. That's all I can remember of this one, unfortunately. - Jamming with B.B. King - he was playing a great old non-cutaway sunburst archtop with deep scratches in the finish. I'm a detail freak in my dreams, apparently. I distinctly remember watching his left hand as he soloed, mesmerized (as in real life) by his perfect vibrato. - Talking with Son and Eva House at my kitchen table. I knew he was dead in my dream, but I didn't have any trouble reconciling that with the fact that he was there in front of me, talking away in his great old warm voice. I was dying to ask him lots of questions, but I remember saying to him "I suppose you've been interviewed to death." I immediately felt like I had stuck my foot in my mouth because he was probably quite sensitive about being dead. That last one was by far the most surreal blues dream I've ever had. Am I the only one who dreams about the blues? -Rob Rob Hutten UNIX guy Achtentachtig rob@acadiau.ca Acadia University, Wolfville NS drachtige 902 542 2200 x 1158 http://dragon.acadiau.ca/~rob/ varkens ========================================================================= Date: Thu, 27 Jul 1995 08:38:51 -0500 From: Richard Flohil Subject: Re: Ellen McIlwaine At 11:49 AM 7/26/95, Eric LeBlanc-CISTI wrote: >She often comes around this part of the woods (she lives, I think, in Calgary, >Alberta). Her new CD is on STONY PLAIN Records. No, Eric, the Stony Plain CD is about five years old now, but still worth finding, andwas reissued on CD about a year ago. It's called Looking for Trouble (SPCD-1110). And the reissue of The Real Ellen McIlwaine/Everybody Needs It (which I mentioned in a post to Tony King) is due October 1/1995, and will be on Stony Plain SPCD-1213. Note: Yes, I do publicity for Stony Plain! -Richard ========================================================================= Date: Thu, 27 Jul 1995 07:32:00 CDT From: Paul Garon Subject: Re: The High Sheriff of Hell Who was the High >Sheriff of Hell? Are there any recordings out by this artist? Is the >reason I don't know who this artist because he is more familiar by another >name? Anyway, thought it was a great name for a recording artist. > >Art Schuna > Thanks for the compliment! I hope you enjoy the rest of the book (not everyone does). Peetie Wheatstraw was one of the most popular blues artists of the thirties, playing piano (and occasionally guitar) and singing in a very distinctive manner that influenced dozens of singers, Robert Johnson among them. Document has a 7 CD set of his works available! I wrote a biography of him in 1970, THE DEVIL'S SON IN LAW: THE STORY OF PEETIE WHEATSTRAW AND HIS SONGS. It's long out of print but occasionally turns up in the out of print/rare market. (Sneaky plug:) As we do sell rare and out of print jazz and blues books, we see copies come through from time to time. Anyone interested in such matters may write us with requests or to get on our mailing list; we do issue catalogs. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Thu, 27 Jul 1995 07:58:41 CST From: William Shute Subject: attention non-US Lazy Lester fans From: Bill Shute While I have had great response to the offer of free Lazy Lester photos from people in the US, I said I'd hold a total of SEVEN photos for people outside the US (that includes our NAFTA neighbors, Canada and Mexico)--however, as of Thursday morning, I've only had one overseas inquiry. This offer closes in two days, so if no more overseas requests come in, I will go ahead and give the other six "foreign quota" ones to Americans whom I passed up the first time around. US people may still make their offer as I'm still looking at posts coming in and haven't yet assigned all of the 18 US ones, but OVERSEAS fans are ESPECIALLY encouraged. Thanks to all who have participated so far... Bill Shute San Antonio, TX(just 2-wks/2-days 'till Texas Johnny Brown's back in town!) ========================================================================= Date: Thu, 27 Jul 1995 08:17:01 -0500 From: Jeff Seale Subject: Re: Sue Foley On Thu, 27 Jul 1995, Kathe Grant wrote: > I had the pleasure of catching Sue Foley for a couple of sets last night. > All I know about about her is that she hails from Austin TX and plays some > s-w-e-e-t and rockin' blues guitar. Well, you must have seen a different show than we saw in San Antonio a few weeks ago. She was so bad, that I won't walk next door to see her for free (and I was a fan). For the record, she's from Canada - not Austin (although she lives in Austin now). -Jeff (Sue needs to take some lessons from Toni Price on set length) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Thu, 27 Jul 1995 08:18:26 -0500 From: Jeff Seale Subject: review: Toni Price gig I didn't see this go through the first time. If it did, my apologies for reposting. -J. ------- Everything you've heard about Toni Price's happy hour gig at the Continental Club in Austin is true! Blues-L'er and friend Bill Shute and I went up to Austin yesterday afternoon for some cd shopping (San Antonio sucks when it comes to blues) and Toni Price at the Continental Club. As luck would have it, she was having a cd release party! Some Butch Hancock/Joe Ely/Terry Allen wannabe opened up the gig with the longest 45 minute set that I've ever had the misfortune to have to endure! However, these happy hour gigs by Toni are legendary and the place was packed before this awful guy was finished. Finally, Toni came to the stage accompanied by 2 acoustic guitarists and a fiddle player. I'm not good at recalling which songs were played and in what order. She did play a nice mix of stuff from the first cd and the new one. She is a genuinely nice person as well. It seems that the place is more like a huge family than just a bunch of people on the way home from work. She spent at least an hour before her set mingling with the crowd, talking and signing autographs (I know, I couldn't keep my eyes off of her!). If you don't have her first cd, SWIM AWAY, on an Antone's subsidiary, go get it right now; then pick up the new one (which I believe is just called Toni Price, but don't hold me to that). The angels in Heaven just wish they had a voice like Toni Price! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Thu, 27 Jul 1995 09:34:51 EDT From: Peter Welch Subject: Black Magic buying binge... Thanks to those folks who gave their opinions on the Black Magic discs I was interested in buying....Sounds to me like they all range from very good to outstanding, with the best being the Lee "Shot" Williams and Long John Hunter CDs....Well, it's time to bust the budget again, I'll go ahead and order all of them. -Peter W. ========================================================================= Date: Thu, 27 Jul 1995 16:41:34 +0300 From: T P Uschanov Subject: Re: Blues dreams > Am I the only one who dreams about the blues? I must have told about this before -- once I had a thrilling, vehement dream in which I learned of the release of the Mosaic Records box sets 'The Complete Duke/Peacock R&B Sessions', 'The Complete Modern/RPM/Flair/Kent R&B Sessions' and 'The Complete King/Federal/DeLuxe R&B Sessions'... /tp/ ========================================================================= Date: Thu, 27 Jul 1995 08:30:49 CDT From: L W Subject: James Peterson/Siblings Hob bout them Kinsey's......Donald Kinsey is probally my favorite living BLUES guitar palayer (when Big Daddy is there to keep him "focused")... The Malaco James Peterson CD is called "Don't Let The Devil Ride"...Big Mike Griffin plays guitar on many cuts and I think James only plays on one cut. James is not happy with the recording at all. I interviewed him (no it won't make blues-l) and he and Lucky's relationship is not like Kenny and Raful There is much resentment and trash talking. Some of the thing James told me I didn't want to hear. He really said some absurd things, that I won't repeat He will be in B'ham at a free celebration, with BOB MARGOLIN headlining I have no doubt AT ALL that James Peterson is a great entertainer, he just talked trash too much for me.. LW btw: Don't mean to "tease", I was just giving an indication of what he was like. I see no reason to repeat his "badmouthing"...it would serve no purpose in my mind....Sorry I hope you understand ========================================================================= Date: Thu, 27 Jul 1995 08:21:48 -0500 From: Richard Shurman Subject: Re: The High Sheriff of Hell The High Sheriff From Hell was another name for Peetie Wheatstraw, aka The Devil's Son-In-Law. ========================================================================= Date: Thu, 27 Jul 1995 13:49:41 +0000 From: Pat Hertel Subject: Re: Ellen McIlwaine On Thu, 27 Jul 1995, Richard Flohil wrote: > At 11:49 AM 7/26/95, Eric LeBlanc-CISTI wrote: > >She often comes around this part of the woods (she lives, I think, in Calgary, > >Alberta). Her new CD is on STONY PLAIN Records. > > No, Eric, the Stony Plain CD is about five years old now, but still worth > finding, andwas reissued on CD about a year ago. It's called Looking for > CD Connection lists a 1994 album: STS1110 MCILWAINE*ELLEN LOOKING FOR TROUBLE 3/1 $14.19 STONY PLAIN 9/94 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/7/95 9:40 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 27 Jul 1995 09:52:32 -0500 From: VT Subject: Re: More guitar gear talk >DATE: Mon, 24 Jul 1995 18:59:00 EDT >FROM: edward c liu > > VT wrote: >>And g*d only know WHAT Hound Dog Taylor used to play...... like he used >>to say he may not know sh*t, but it sure sounds good. > > I think he took great pride in telling folks that he played a cheap >guitar from Sears through some crappy amp. My remark was kind of rhetorical and tongue in cheek - but thanks for the attempt in answering this. It seems in the Blues that it's a "stock" answer to say a a cheap guitar is from Sears Roebuck. I would be grateful if you can please give me the reference for your information. I would like to thank my friend Eric Shoaf - who told me this in his e-mail: >Date: Fri, 21 Jul 95 13:17:53 EDT >From: "Eric C. Shoaf" >Subject: Re: Pauls & P90s > >Hound Dog Taylor played a Japanese "Teisco" make which was one of the cheapest >guitars you could buy, usually at Western Auto, Woolworths, or Roses, back >when every store in town used to sell guitars. Even fancy Teiscos have now >become collectible and it seems the Japanese pay more for them than anyone. >Apparently most of the ones made were sold here and they aren't common in >Japan. Does anyone know who now owns Hound Dog Taylor's guitar(s)? Does anyone on this list actually PLAY a Teisco as their main instrument? and are they really cheaper than a jaw's harp??? :-) Vincent p00061@psilink.com ========================================================================= Date: Thu, 27 Jul 1995 08:52:07 -0500 From: Roger Struve Subject: Blues dreams -Reply Yeah, i had one once...it was one of the rarer type dreams that really REALLY seemed real...and when i woke up from this one, i remembered very much of the detail of the dream... Dreamt that me and John Hammond were hangin' out, doing gigs, i was playing like you mentioned, extremely well, much better than i really can, in the dream i was doing songs i don't know how to do, and, gulp, even singin' along with my guitar playin'. John was great, but when it came time for his tv show, he chose this good lookin' babe to appear on it with him, and i woke up! Silly dream, but it was fun while it lasted. d.d.r. ========================================================================= Date: Thu, 27 Jul 1995 09:57:27 -0400 From: "David L. Prychitko" Subject: Re: Blues families/siblings Lonnie Brooks and Ronnie Baker Brooks James and Lucky Peterson Carrie and sons Lurrie and Tyson and James Bell (all on Lefty Dizz' "Ain't it Nice to Be Loved" JSP) Eddy Clearwater and Joe Harrington (cousins; Eddy and Carey Bell also cousins) J.B. Hutto and nephew Li'l Ed Williams Robert Johnson and stepson Robert Jr. Lockwood Junior Kimbrough and son David Malone R.L. Burnside and son Duwayne and grandson Cedric (drums on recent tour) Jimmie and SRV Big Daddy Kinsey and sons Donald, Ralph, and Kenneth Brothers Louis and Dave Myers Eddie Shaw and son Vann Shaw Willie Dixon and son Freddie Dixon (of Sons of Blues) Rockin Dopsie and Rockin Dopsie Jr. (on washboard or whatever it's called) John Lee Hooker and cousin Earl ... Dave Prychitko ========================================================================= Date: Thu, 27 Jul 1995 14:58:37 GMT From: Dennis Miele Subject: Re: *very* little blues content In article <95072413515261@wmc34c.wmc.edu> "PAN D'MONIUM" writes: >This is about _Santana_ and if you don't include this in your definition of the >blues, it would be good for you to quit here. >In looking over the notes from _Sacred Fire_ recently, we got to wondering what >a couple of the members were up to these days. You guys always seem to know >everything about everybody, so what's up with Greg Rollie and Neil Schon? I believe they are both members of Abraxas, the original Santana band minus Carlos. ========================================================================= Date: Thu, 27 Jul 1995 09:45:01 -0400 From: Gerald Leddy Subject: First Guitar Now if we all had stock in `Harmony' we could all have one like Mr. Neal's '57 WITHOUT trading a Benz! [we could keep our Benz ] First guitar (after the obligatory 3/4 student acoustic): Red Harmony `Rocket'; one soap bar p/u, and a really high action, played through a non-descript used amp. Still have it. After a very juvenile attempt a working the neck, it's remains suitable for trying to play slide. The problem isn't with the guitar, the problem is with the guy with the glass thing on his fingers. Jerry. ========================================================================= Date: Thu, 27 Jul 1995 09:01:21 -0500 From: David Silberberg Subject: Jimmy Keyes (Chords) NY Times Article In today's NY Times is a front page article on Jimmy Keyes, leader of the Chords and composer of their biggest hit, "Sh-Boom", who died on Saturday. The article celebrates the singer, the group, and the song as the first crossover R & B hit. Nice to see this music make the front page of the Times, even if under sad circumstances. I'm old enough to remember the song when it was a hit in 1954. Of course, at my age then (9 years old), in a middle-class white household, I probably remember the Crew Cuts pallid cover more the the Chords sexier, more energetic, more fun original. Actually, more than either, I remember Snooky Lanson or Russell Arms singing it every Saturday nite for several weeks on "Your Hit Parade", the TV version. But that's another story.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 27 Jul 1995 10:17:05 -0400 From: "David S. Goldstein" Subject: Blues-l overloading mailboxes on AOL The alternative to receiving all your blues-l mail directly through AOL e-mail is: use keyword "newsgroups" expert add newsgroup "bit.listserv.blues-l" use "read my newsgroups" to read the blues-l list set your membership to blues-l to nomail Now you get to read blues-l through AOL and your mailbox will stay empty! ========================================================================= Date: Thu, 27 Jul 1995 08:21:57 -0700 From: Jeff Birk Subject: Blues dreams -Reply Rob Hutten wrote: >>Am I the only one who dreams about the blues? You're not alone, Rob. I had one a while back where I was sitting underneath a large canopy next to Stevie Ray Vaughan and maybe 5000 other people at some type of big awards event. Stevie was dressed up in his usual garb (hat, scarf, overcoat), all of it tan in color. They announced Stevie as the winner of some major award in the music industry. As he stood up to receive his award amidst a standing ovation, he had tears in his eyes. Unfortunately, that's where my dream ended. It was a cool dream. Jeff ========================================================================= Date: Thu, 27 Jul 1995 09:33:44 -0500 From: David Silberberg Subject: Re: Blues dreams At 04:41 PM 7/27/95 +0300, T P Uschanov wrote: >I must have told about this before -- once I had a thrilling, >vehement dream in which I learned of the release of the Mosaic >Records box sets 'The Complete Duke/Peacock R&B Sessions', 'The >Complete Modern/RPM/Flair/Kent R&B Sessions' and 'The Complete >King/Federal/DeLuxe R&B Sessions'... > >/tp/ > > And in your dream, did you have enough money to buy all of those comlete sets? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 27 Jul 1995 09:43:47 CST From: William Shute Subject: blues dreams From: Bill Shute I have had two blues-related dreams that I can remember. Interestingly, both involve labels, not "playing" music per se, which can probably be explained by the fact that I'm not a musician and my involvement with music has always been as listener/supporter/behind-the-scenes person (no Freudian analyses, please!). #1. I was living in Shreveport, working as a shipping clerk or something in a paint or hardwore store, handling invoices from the warehouse etc. I would go over to Paula Records' offices during my lunch hour and listen to Stan "The Record Man" Lewis tell me about the "early years" and the people that he had worked with. Paula herself, Mrs. Lewis, would come in with iced tea for us and add a few details to whatever anecdote Mr. Lewis was telling. #2. I was a custodian or something at the Stax studios, and when I wasn't working, Jim Stewart or Al Bell or Steve Cropper or whoever was handling that session (I remember 6 or 7 different sessions) would let me sit in the control booth if I kept quiet. I remember a Frederick Knight session where he sang a song that I heard clearly but which is on no record of his! I also got to see/hear my hero, Rufus Thomas, do "part two" of one of his singles where he was free-associating and coming up with his patented jive-talk poetry raps. I remember that Rufus was a nice guy who even treated me the janitor like a friend and didn't talk down to anybody. Jim Stewart was very formal, but once you had been around him for awhile he would open up and in my dream he struck me as a very CONSCIENTIOUS man. Once, when I went to clean "Miz" Axton's office (this must have been earlier--did she even still HAVE an office when F. Knight was recording?), she offered me part of her lunch because she was "watching her figure" and I remember asking her about the early "on a shoestring" days and she spoke affectionately about how they improvised and everything was spontaneously figured-out-while-they-were-doing-it. She had a sparkle in her eye as she was remembering. She did tell me in my dream that she felt that Rufus Thomas and William Bell were the cornerstones of the Stax organization and that she felt the newcomers were getting too much attention and having too much of the resources devoted to promoting them. Remember that picture of Estelle Axton in her office that was in the first Stax-Volt box? That's the room I was in while talking with her. I remember talking with CArla Thomas about college, as I in my dream was taking a night class or two at college, and Carla was giving me advice on certain subject areas and telling me about her own college experience. I've had this Stax dream two or three times...and after the way the images are rushing back to me now as I'm remembering this, I'll probably have the dream again tonight. I hope so...I was wanting to ask Duck Dunn, Al Jackson, and Eddie Floyd about that trip to Jamaica! Bill Shute San Antonio, TX (who hopes to meet Jay Miller, Quin Ivy, and Sam Phillips in future dreams!) ========================================================================= Date: Thu, 27 Jul 1995 17:55:31 +0300 From: T P Uschanov Subject: Re: Blues dreams >>I must have told about this before -- once I had a thrilling, >>vehement dream in which I learned of the release of the Mosaic >>Records box sets 'The Complete Duke/Peacock R&B Sessions', 'The >>Complete Modern/RPM/Flair/Kent R&B Sessions' and 'The Complete >>King/Federal/DeLuxe R&B Sessions'... >> >And in your dream, did you have enough money to buy all of those comlete sets? No, but I decided to start saving! BTW, in the dream I was in Digelius Music in Helsinki, one of the very best roots music stores here and the main Finnish source for Mosaic. /t "no affiliation" p/ ========================================================================= Date: Thu, 27 Jul 1995 09:25:13 CDT From: James Leto Subject: JLH pseudonyms Well you beat me to the punch on this one, I had to check liner notes from a best of CD. But I can add to your list and also question some of them. Tony Burke has listed some of the same pseudonames but under different record companies. Eric, any clarifications or explanations you may be able to add would be most welcome. > Okay. John Lee Hooker recorded as: > > Johnny Williams on Gotham on Prize? > > Birmingham Sam and his Magic Guitar on Savoy > > John Lee Booker on Chess on Chart? > > Delta John on Regent > > The Boogie Man on Acorn > > Johnny Lee on Deluxe > > Texas Slim and John Lee Cooker on King. John Lee Cooker on Chance? Plus: Little Pork Chops for Danceland Records of Detroit Sir John Lee Hooker for Fortune Records Cheers, Jim ========================================================================= Date: Thu, 27 Jul 1995 11:03:08 -0500 From: Patti Bowman Subject: > subribe subject? Hmm.. is that a bribe that you're not really aware of? ========================================================================= Date: Thu, 27 Jul 1995 11:03:14 -0500 From: Patti Bowman Subject: Solution (?) to sad blues story Someone (forgive me, but I forgot who) wrote: >There is an independent record (CD) company in Sacramento called Have >>Mercy Records. They have put out some fantastic stuff by the Soul Prophets, >>the WD Gospel Singers, Glen Lane and Omar Shariff. All of this stuff >>is just excellent. All have gotten very good reviews in Living Blues and >>Blues Revue. Unfortunately, nobody wants to buy them. The Soul Prophets >>is their biggest seller at 900 copies; Shariff's album sold only around >>100 and Ms.BealSt. wrote: >It seems like the smaller independent record labels have trouble getting >into the main distribution channels, resulting in the low sales fiqures. >Maybe Have Mercy Records should look into direct mail channels or >advertise their products on the Net .There is a free newsgroup for this. >Search newsgroups (AOL) for Information and promo material from record >companies. Anyway, if people can't find 'em, they can't buy 'em. It is exactly this type of problem that lead me to start In DeepEndAnts. http://www.elwood.com/ants I worked for an independant record label and we had trouble getting good distribution on our first release ("too risky - no track record", distributors said) We -after spending thousands of $$ on phone calls- got airplay on 150 stations across the country (USA) but _still_ couldn't get decent distribution. The artist toured regionally and even played on Delbert McClinton's Sandy Beaches Cruise. We had Gavin "chartbound listings". Unfortunately, we ran out of money for the project before we had any real success - only about 300 sales. I knew that if people had had access to the music tho', the release would have been much more successful. The public would have bought it and who knows a major label might have picked it up. Figuring this couldn't be happening _only_ to us, I decided to start InDeepEndAnts. A magazine, catalog, and website for indie labels only. On the Ants site, we have 8 different categories of music including blues/jazz. Compact discs sent to us are put on the site with three 30 sec. sound clips allowing for "national access to regional releases". We also act as a distribution centre for these releases and are setting up to sell them over the net. We'll get reviews from radio and musically-related sources and try to get the word out to retailers and radio that the release exists. Once there are a few releases in each category we will start a quarterly print magazine/catalog to sent to retailers. It may not solve all the problems of artists like Omar or labels like Have Mercy but I believe that it's a start. -Patti p.s. to anyone checking out the site- we are still under _major_ construction and only have one release featured so far (a jazz/blues release by HM Johnson). Anyone interested in getting music on the site or reviewing the music -or if you just have comments or suggestions- can contact me at patti@elwood.com ========================================================================= Date: Thu, 27 Jul 1995 15:04:18 +0000 From: Kevin R Shook Subject: Re: Ellen McIlwaine For anyone in or near the western part of the Great White North, Ellen McIlwaine will be playing at Bud's on Broadway (our local Blues watering hole) in Saskatoon, SK the week after next. Kevin Shook krs350@engr.usask.ca ========================================================================= Date: Thu, 27 Jul 1995 09:04:43 -0600 From: PAN D'MONIUM Subject: Re: Blues families/siblings Do EC and JC qualify? :) ========================================================================= Date: Thu, 27 Jul 1995 15:31:09 +0000 From: Pat Hertel Subject: Freddie King & elusive Antibes Well, I took the advise of a 'zeller and tried German Music Express (telnet 199.35.15.200) I think the word "Express" renders it oxymoronic (like Rapid Reaction Force). Anyways after about t three weeks the results are in: Order: H053247 of: 7/10/95 In Process --------------------------- WOTR860111 KING*FREDD FREDDYLIVE, ANTIBES 1974 : Out of Stock .... the search continues phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/7/95 11:26 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 27 Jul 1995 11:38:28 -0400 From: Clint Pulley Subject: Re: My First Guitar Well, since everyone else is pitching in ... My first guitar was an old flat-top (make unknown) which I found behind my grandmother's piano when I was about 10. After making rude noises for several years my mother sprang for lessons and eventually bought me a single pickup arch-top Harmony cheese slicer (ie. VERY high action). I struggled with this brute until 1960 when I acquired one of my prized possessions - a Hoboken-built Guild CE-100 arch-top with an action to die for! I played a lot through my undergraduate days but then the pressures of job and family resulted in the Guild languishing in it's case for many years. Fortunately it aged well so that when I decided to get back to the really important things of life a couple of years ago all that was needed was a fret dress, setup and new strings. My major problem, which I suspect I share with other middle-aged, enthusiastic but (in my case) mediocre amateur musicians is finding anyone else to get together with and play. Any suggestions? Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Thu, 27 Jul 1995 10:29:27 CDT From: L W Subject: DBM - Check Presentation Some of you may have read Marcia's post about ME presenting the BLUES-L T Shirt "proceeds" to the DBM.............WHAT AN HONOR FOR ME. Anyway I plan on doing this during the festival saturday (if possible) I know at least THREE of you will be there, but who else is going.... Would it be appropiate to ask the 'ELLERS in attendance to stand or heck all of us come up to the stage....or whatever.....WE should all be proud of the donation , regardless of the amount....MARCIA GRODSKY has my vote for the 1995 'ELLER of THE YEAR (I hope I spelt her name right) LW ========================================================================= Date: Thu, 27 Jul 1995 16:46:42 GMT From: Dennis Miele Subject: Re: First Guitar (was Blues Amps & Distortion) In article <9506248066.AA806627514@ccgate.acuson.com> Mike McCourt writes: > A good start for a new thread, your first (hopefully really cheezy) > guitar or amp. My first guitar (in 1965) was a Framus acoustic, you know, the kind with the strings at a death-defying altitude over the fretboard! :-) My first electric, two years later, was a Harmony Rocket. And in the category of "I wish I still had it" was my Fender Princeton amp. ========================================================================= Date: Thu, 27 Jul 1995 10:42:14 CDT From: L W Subject: Re: My First Guitar ----------------------------Original message---------------------------- >My major problem, which I suspect I share with other middle-aged, enthusiastic >but (in my case) mediocre amateur musicians is finding anyone else to get >together with and play. Any suggestions? I too am a medicore amateur musician and I played with a band who is now getting plenty of gigs. I quit them and started playing delta slide. I'm happy about my situation and their situation... Now I don't need anyone else (except a vocalist). I'm content with playing by myself. LW ========================================================================= Date: Thu, 27 Jul 1995 11:49:15 -0400 From: Steve Levine Subject: Re: Blues dreams I once had one where I was hanging out with John Lee Hooker at a party. We talked for awhile, but when it got time to jam with him I woke up. :( I aslo used to have dreams that Sonny Boy Williamson was giving me harp lessons. ========================================================================= Date: Thu, 27 Jul 1995 11:58:39 -0400 From: "Munson, Bill" Subject: Re[2]: Blues families/siblings JC certainly rates, as his father gets a mention is tons and tons of blues songs. >Do EC and JC qualify? :) ========================================================================= Date: Thu, 27 Jul 1995 16:34:17 GMT From: Highi Subject: Re: Blues Festivals msg. from Colin Linden (wow) Thanks for doing such an awesome concert with Bruce Cockburn at the Grand Theatre in Kingston, also. ========================================================================= Date: Thu, 27 Jul 1995 12:43:30 EDT From: Peter Welch Subject: Guitar Crusher / Hash Brown Guitar Crusher and Hash Brown? Does anyone know anything about these two guys? What are their CDs like? Thanks, Peter W. ========================================================================= Date: Thu, 27 Jul 1995 12:45:50 +0000 From: "P.W. Fenton" Subject: Re: DBM - Check Presentation > ..MARCIA GRODSKY has my vote for the > 1995 'ELLER of THE YEAR (I hope I spelt her name right) Let's make that unanimous. Maybe we can announce that at the festival as well. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Thu, 27 Jul 1995 09:55:28 -0700 From: Jeffrey Taylor Subject: Re: Blues dreams On Thu, 27 Jul 1995, Rob Hutten wrote: > Anyone ever have any blues dreams? > * I'm sitting in a hallway, playing my guitar. Someone asks me where I learned that lick. I look up and it's BB King. I grin and say it's one of yours. * I'm at the side of the stage, Jimi Hendrix finishes playing and leaves the stage. The concert is over, so I go up on stage and play his guitar and amp. I know nothing has been changed on the settings. We all marvel that without Jimi playing, it sounds limp and small. * I'm walking along thru a field, playing my guitar (the solidbody electric and can hear it fine with no amp). I have on the marching band jacket that Jimi Hendrix often wore and am crying with the music. Several dreams with mention of Stevie Ray VAughn. ===================================== Jeff T "Blues with a feeling... ===================================== ========================================================================= Date: Thu, 27 Jul 1995 13:00:14 -0400 From: craig o'donnell Subject: Re: BLUES-lers in Boston ...Can anyone recommend a good blues or rock club in Boston? ...My wife and I will have a few days there first week of August. ... ...TIA Johnny D's in Somerville (right at the Red Line/Davis Sq ubway stop). Blues, R&B, roots music. Harper's Ferry, over at the other end of town. Blues & R&B. House of Blues in Harvard Square (well, it's HOB), also on the Red Line. There are others but that's a start. Don't forget Mai Cramer's excellent Blues show on the public radio station WGBH: Friday and Sat nights from 9-midnight. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Thu, 27 Jul 1995 13:00:20 -0400 From: craig o'donnell Subject: Boston Area Blues Shows ...Can anyone recommend a good blues or rock club in Boston? Here's the Blues After Hours concert calendar. Sorry about the formatting; this is pretty much how it arrives in email. I cleaned it up a little -- --COD/compulsive about cleanly formatted ASCII-- 89.7 FM WGBH BLUES AFTER HOURS CALENDAR Updated July 24 --------------- Internet distribution of the WGBH Blues Calendar is made possible by MV Communications (mv.com), an internet service provider in Litchfield, New Hampshire. FYI --- The Blues Audience P.O. Box 91-West Peterborough, NH 03468 (603)-827-3952 BluesWire P.O. Box 657 Bedford, MA 01730 (617) 271-0300 Boston Blues Society P.O. Box 850-345 Braintree, MA 02184-0004 (617) 843-5403 SHOWS ----- MON - 24 JUL + Jam-Silas Jr. & Hot Ribs-Boston Beach Club-Faneuil Hall + blue Monday All Star Showcase-House of Blues-Cambridge-George Lewis + Rick Russell Band-Dad's Diner-Boylston St.-Boston + Mucho Mojo Combo-Toad-Cambridge + Ed Vadas & Fabulous Heavyweights-Bay State Hotel-Northampton + Blues Jam-Mole's Eye-Brattleboro, VT 8:00-12:00 (mon's in June) - Shooshan's Big Band-Yard Rock-Quincy 7:30 from Haiti-Boukan Ginen-(mon & tue)-House of Blues-Cambridge TUE - 25 JUL + blues and barbecue-Acme Barbecue-Hadley + Tall Richard & the Night Owls-Handlebar Harry's-Plymouth + Jam-Charles Locke & Framework-T.T. the Bear's-Cambridge + All Star Blues Revue-Local 186-Harvard Ave.-Allston + Jimmy Allen's Jam-Vogue Club-Saugus + Delta Roadhouse Jam-Second Hand Smoke-Sticky Mike's-Boston + Jam-Silas Junior & Hot Ribs-Marketplace Cafe-Faneuil Hall-Boston + Jam with Choo Choo Charlie & Jam Train-Winsor Cafe-Cambridge + New Orleans Blues-Amsterdam's-E. Providence (tue's in June)-Bellevue Cadillac-Harper's Ferry-Allston WED - 26 JUL + Rick Russell Band with Cadillac Horns-House of Blues-Cambridge + Easy Ray & West Brothers-Bill Ash's-Revere + Jam-Brother Blue-Club 77-Milford + Fabulous Heavyweights-Brewery-Portsmouth + Jazz Series-Bookstore Cafe-Providence + K. D. & Dimensions-host open mic night-O'Toole's-Haverhill + Clutch Grabwell & Leadfoot Horns-Yard Rock-Quincy + Jam w Frankie T. Blues Hounds-Union St. Restaurant-Newton + Jam-Monponsett Ballroom-Halifax w Tall Richard + Little Joe Cooke Jam-Club 3-Somerville + British Yankees-Western Front-Cambridge + open mic night-Custom House-Providence + Jam w Midnight Blues Band-Mr. Tipp's-Billerica + open mic night-Downtown-Haverhill-with KD &the Dimensions + Jam w Jimmy Allen-Vogue Club-Saugus + Tarbox Ramblers (country blues)-Claddagh-Dartmouth St.-Boston (wed's-sun's)-Old Vienna Kaffeehause-Westboro-folk, jazz, blues (wed's-sun's)-Folkway-Peterboro, NH-folk, jazz, blues (wed's-sun's)-Little Joe Cook & Thrillers-Cantab Lounge-Cambridge (third Weds. of month)-Ladies Sing the Blues with Vikki Vox-Sticky Mike's-Boston Fat City-Outdoor concert-Norwood Town Green 7:00-9:00 Hellhounds-Gilrein's-Worcester Debra Mann-Westin Hotel-Providence THU - 27 JUL (first thurs of month)-Cajun dance-Krewe de Roux-Press Room-Portsmouth, NH + Jam-Jose Ramos & Special Blend-Day's Inn-Soldier's Field Road + Chris McDermott & Black River Snakes-Cricket's-Fanueil Hall-Boston + Rick Russell-Foundry-Walpole + Madeline Hall & Rhythm Hounds-Plough & Stars-Cambridge + Big River Blues-Rio Grande Cafe-Marblehead + Love Dogs featuring Alizon-Green Briar-Brighton + Jam with Otis & Elevators-Rynborn-Antrim, NH + Debra Mann-Boston Harbor Hotel (thu's in June)-Blues Express Jam-Zoot's-Billerica + Vykki Vox & Soul Searchers-Silhouette Lounge-Allston Backyard Strut-Gilrein's-Worcester Blues Express Jam-Zoot's-Billerica Burning Sensations-Midway Cafe-Jamaica Plain Eight to the Bar-Hatch Shell-Boston 7:30-9:30 Little Ronnie & Sloan Sharks-Coonamessett-Falmouth Sherman Robertson-House of Blues-Cambridge Toni Lynn Washington-Onset Harbor Inn FRI - 28 JUL Barbeque Bob & Rhythm Aces-Gilrein's-Worcester Brother Soul-Midway Cafe-Jamaica Plain Busdriver-Curly's Pub-Taunton Duke Robillard w John Putnam & Used Blues-Harper's Ferry-Allston Eight to the Bar-Outdoors near the Towers-Narragansett, RI 6:30-10:00 Electric Blue Flames-Chap's Country & Blues Club-Avon Honest Ed's Used Blues-Lake Lodge-Lunenburg Little Ronnie & Sloan Sharks-Matt Garrett's-Sudbury Loaded Dice-Mole's Eye-Brattleboro, VT Megawatt Blues Crushers-Dockside-Gloucester Queen Ida & her Zydeco Band-(fri & sat)-Regatta Bar-Cambridge Radio Kings-Yard Rock-Quincy Roomful of Blues-Mikara's-Northampton Shirley Lewis-Old Vienna Kaffeehause-Westboro Steve Hurl + Tall Richard-Back Bay Beanery-Hanover Susan Tedeschi-House of Blues-Cambridge Toni Lynn Washington-Grog-Newburyport Young Neal & Vipers-Johnny D's-Somerville SAT - 29 JUL FOURTH ANNUAL POCONO BLUES FESTIVAL-Smokey Wilson + Joe Louis Walker + Little Charlie & the Nightcats + Little Milton Bus leaves from Boston Friday afternoon July 28 information- (617) 843-5403 NEWPORT, RI RHYTHM & BLUES FESTIVAL-Charles Brown + Ruth Brown + Bonnie Raitt + Steve Cropper + Solomon Burke + Sam Moore (Sam & Dave) + Clarence Carter + Allen Toussaint & his Orchestra + Irma Thomas + Narada Michael Walden + Clarence Fountain & Blind Boys of Alabama - Noon, Fort Adams State Park - Benefit for the Rhythm & Blues Foundation Blue Hornets-Grog-Newburyport British Yankees-Chicken Bone-Framingham Busdriver-Yard Roxk-Quincy 1:00-6:00 + Nasty J. + Barbeque Bob Child Support Blues Band-Sea Note-Lynn Clarence Spady-House of Blues-Cambridge George Leh & Rockin' Shoes-Midway Cafe-Jamaica Plain Grand Larceny-Jack's Saloon-Uxbridge Honest Ed's Used Blues + Pat Murphy-Gilrein's-Worcester Kat in the Hat-Theodore's-Springfield Little Ronnie & Sloan Sharks-Century Irish Pub-Falmouth Luther "Guitar Junior" Johnson-Chan's-Woonsocket, RI RPM's-Kirkland Cafe-Cambridge Radio Kings-Zoot's-Billerica Steve Hurl & Loiterers-Olde Irish Ale House-Dedham Sue Foley-Harper's Ferry-Allston The Movers-Shadows-Concord, NH Toni Lynn Washington-Joe's Yard Rock Cafe-Quincy SUN - 30 JULY (sun's in June)-Murphy's Blues Jam-Yard Rock-Quincy 7:00 (some sun's)-Jazz Jam-Worcester Artists group-Harlow St. 2:00-5:00 + Al Arsenault-Blues brunch-O'Flaherty's Piano Bar-Dorchester + Arthur King-Kirkland Cafe-Cambridge 4:30-8:30 + Blues night-Brandy Barrell-Market St.-Lynn 8:00 + Busdriver-Jam-Tsing Tao-Pembroke + Fabulous Heavyweights-Eight Ball Lounge-Easthampton 4:00-8:00 + Gospel brunch-House of Blues-Cambridge + Hot Tamale Brass Band-Redbones-Somerville 5:00-8:00 + Jam-Blue Note-Washington St.-Lynn + Jam-Gilrein's-Worcester-Barbeque Bob & Rhythm Aces + Dan Bunge + Jam-Honest Ed's Used Blues-Chicken Bone-Framingham + Jam-Johnny D's-Somerville 4:00-8:00 + Jam-Midway Cafe-Jamaica Plain + Jam-Mr. Mike's-Haverhill-Phil Doucette & the Bluesmen 9:00-12:00 + Jam-Stovall Brown-Harper's Ferry-Allston + Jam-Workingman's Jazz Band-Forge Lounge-Lincoln 5:00-8:00 + KD & Dimensions-VFW-Suncook, NH-Marc Young Dawg & Co.4:00-8:00 + Little Joe Cooke Jam-Club 3-Somerville + Little Ronnie & Sloan Sharks-Jam-Blue Buffalo-Framingham + Lowdown Towne & Hipshakers-Dick's Last Resort-Pru Center-Boston 7:00 + McKinley Daniels Blues Band-or-Stormin' Norman-The Rock-Newport, RI 7:00 + Parker Wheeler & Fly Amero -Grog-Newburyport 6:00-11:00 Guests 7/30-Cliff Goodwin 8/13-James Montgomery 8/27-Rick Russell + Cheryl Renee + Peter Giftos & Blues Party-Lukas Greenhouse-Hampton, NH 6:00-11:00 + R&B Jam-Landlords of Soul-T.T. the Bear's-Cambridge + Silas Junior & Hot Ribs-Marketplace Cafe-Faneuil Hall-Boston + blues-Smuggler's Den-New Bedford FOURTH ANNUAL POCONO BLUES FESTIVAL ----------------------------------- Bus leaves from Boston Friday afternoon July 28 information- (617) 843-5403 Lavelle White + Big Daddy Kinsey & Kinsey Report + Johnnie Johnson + Rod Piazza & Mighty Flyers + Luther Allison Charles Brown-House of Blues-Cambridge 6:00 + 9:00 BLUES WEEK ---------- July 30-Aug 5 Folk Arts Workshops at Warren Wilson College- Ashville, NC-(704)-298-3325 Philadelphia Jerry Ricks + Gary Primich + Gaye Adegbalola + Steve James + Walter Liniger + Lightnin' Wells + Judy Luis-Watson + guest masters-Etta Baker + Algia Mae Hinton Lynne Harrison & Hardliners-Chap's Country & Blues Club-Avon D.D. & the Road Kings-Amsterdam's-E. Providence The Movers-outdoor concert-Lynch Park-Beverly Charles Brown-House of Blues-Cambridge 6:00 supper show + 9:00 MON - 31 JUL Rod Piazza & Mighty Flyers-House of Blues-Cambridge TUE - 1 AUG Sue Foley-Theodore's-Springfield WED - 2 AUG Luther Allison-House of Blues-Cambridge Honest Ed's Used Blues-Joe's American Bar & Grille-Hanover THU - 3 AUG Rockin' Blues Masters-Johnny D's-Somerville Shirley Lewis Trio-Folkway-Peterboro Ruth Brown-(thu-sat)-Regatta Bar-Cambridge FRI - 4 AUG Miss Lavelle White-Johnny D's-Somerville Toni Lynn Washington-Gilrein's-Worcester Ronnie Earl-House of Blues-Cambridge Roomful of Blues-Boston Harbor Cruise Honest Ed's Used Blues-Blue Buffalo-Framingham Art Steele Blues Band-Brattleboro, VT Ben & Jerry's Newport Folk Festival-(fri-sun) SAT - 5 AUG Susan Tedeschi Band + Orville Giddings Band-Castle Hill Concert Barn-Ipswich Music at the Millyard-Amesbury-T.J. Wheeler & Smokers Radio Kings-Burke's-Boston Coupe de Ville-Brattleboro, VT Roomful of Blues-Chan's-Woonsocket, RI SUN - 6 AUG Chris Smither-Folkway-Peterboro Radio Kings-Amsterdam's-East Providence Steve Hurl & Loiterers-Rio Grande-Marblehead THU - 10 AUG Barrence Whitfield-Johnny D's-Somerville FRI - 11 AUG JVC NEWPORT JAZZ FESTIVAL-(fri-sun)-Ray Charles-Newport Casino 8:00 Fri. Radio Kings-Mole's Eye-Brattleboro, VT Persuasions-(fri & sat)-Sculler's Jazz Club-Boston Honest Ed's Used Blues-Longfellow's-Brewster "Monster" Mike Welch-Johnny D's-Somerville SAT - 12 AUG Steve Hurl & Tall Richard-Driftwood Coffeehouse-Hyannis WED - 16 AUG Tony Z with Barnard Purdie & Houston Person-Sculler's Jazz Club-Boston Radio Kings-Yard Rock-Quincy Boneheads-outdoor concert-Downtown Crossing-Boston noon-1:30 FRI - 18 AUG Radio Kings-(fri & sat)-Razzoo's-Bar Harbor, ME Megawatt Blues Crushers-Crackers-Beverly SAT - 19 AUG Blue Streak-Brattleboro, VT Swinging Steaks-Old Vienna Kaffeehause-Westboro Honest Ed's Used Blues-Lake Lodge-Lunenburg Music at the Millyard-Amesbury-Barrence Whitfield & Savages Grand Larceny-Green Acres-Ashland Megawatt Blues Crushers-Cafe Seven Seas-Gloucester House SUN - 20 AUG Radio Kings-Chap's Country & Blues Club-Avon TUE - 22 AUG Debbie Davies-Veteran's Park-Manchester, NH WED - 23 AUG Mighty Sam McClain-Regatta Bar-Cambridge FRI - 25 AUG Radio Kings-Bank Street-New London, CT Grand Larceny-Tammany Hall-Worcester Steve Hurl & Loiterers-Rio Grande-Marblehead SAT - 26 AUG Vykki Vax & Soul Searchers-Brattleboro, VT BLUES AT LOON, MT-Robert Cray Band + Taj Mahal + Charlie Musselwhite & John Hammond Tickets-(603) 626-5000, (617) 931-2000, (207) 775-3331 Grand Larceny-Chicken Bone-Framingham Megawatt Blues Crushers-Rhumbline-Gloucester THU - 31 AUG Rick Russell, Weepin' Willie, Bruce Katz-Sculler's-Boston SAT - 2 SEP Megawatt Blues Crushers-Cafe Seven Seas-Gloucester House --- THE ULTIMATE RHYTHM & BLUES CRUISE - January 7-14, 1996 Taj Mahal + War + Koko Taylor + Magic Dick & J Geils Bluestime + Latimore + Lonnie Brooks + James Harman + Jimmy Thackery + Chubby Carrier + Debbie Davies cruise to St. Croix, San Juan, Lucaya, Cape Canaveral - 800 886-6132 --- MANCHESTER, NH BLUES FEST-Sat, Sep 9-Brown Sugar & Company-Blooz Connection with Sweet Roy Jones & K.D. Bell + Monster Mike Welch Band + Lucille & Stremers + Roomful of Blues-Stark Landing, Commercial St. 11:00-4:30 $$ --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Thu, 27 Jul 1995 13:00:30 -0400 From: craig o'donnell Subject: EG: Open Chord Tunings ...Albert tuned to F minor (F C F A flat C F). If he was playing in C, he'd ...capo at the 7th fret. Yep, this is such a hip tuning, and the capo-ing contributed so much to his sound. Here's a tuning I like to use: F B D G B F. I usually tune the entire guitar down a half step but it's essentially a tuning somewhere between F and G open tuning. I am not a good slide player but I find I like this for "utility slide". --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Thu, 27 Jul 1995 13:00:35 -0400 From: craig o'donnell Subject: Ouch... ...>What about Lonnie Brooks and his son (who's name escapes me)? ... ...Isn't it Ronnie? ...Patti I thought it was Lonnie Mack. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Thu, 27 Jul 1995 12:03:42 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Kansas City I believe there was a discussion recently about the song Kansas City. Well according to the Roots and Rhythm catalog, the first version of this song was done by Little Willie Littlefield and was called Kansas City Lovin. Lee Lee Spector Department of Economics Ball State University ========================================================================= Date: Thu, 27 Jul 1995 12:08:44 -0500 From: John Jefferson Subject: Re: First Guitar (was Blues Amps & Distortion) My first guitar was a 1992 Ibanez......Just thought I'd add that.. On Thu, 27 Jul 1995, Dennis Miele wrote: > In article <9506248066.AA806627514@ccgate.acuson.com> Mike McCourt writes: > > > A good start for a new thread, your first (hopefully really cheezy) > > guitar or amp. > > My first guitar (in 1965) was a Framus acoustic, you know, the kind with the > strings at a death-defying altitude over the fretboard! :-) > > My first electric, two years later, was a Harmony Rocket. And in the category > of "I wish I still had it" was my Fender Princeton amp. > ========================================================================= Date: Thu, 27 Jul 1995 10:10:55 PDT From: Eric LeBlanc-CISTI Subject: BOOGIE CHILLEN : A GUIDE TO JOHN LEE HOOKER ON DISC > From: "P.W. Fenton" > > O.K. I've read several people's accounts of how John Lee Hooker > recorded under many psuedonyms. Not one writer could give us an > example of such a recording. Can anyone? I'm beginning to doubt > it's a fact. From: Don O. Check out the excellent Hooker discography by Les Fancourt that is being offered dirt cheap by Blues and Rhythm. There are many listings and even label photos of John Lee Booker, Texas Slim, Eddie Burns, Delta John, John Lee Cooker, and lots more. A must for any Hooker freak. I SECOND THAT EMOTION! I'm also an old time Hooker fan. I'll confess, I was even a member of his fan club in the mid60s! I even had Hooker sign the old ADVENT (UK) 2801 : JOHN LEE HOOKER & HIS GUITAR album! "BOOGIE CHILDREN : A GUIDE TO JOHN LEE HOOKER ON DISC (1948-1992)" by Les Fancourt is the single best source for all Hooker fans. I can't image anyone who's a fan of The Boogie Man not wanting this discography. Take it with you next time you're looking to buying a new Hooker CD - and we all know how many of them are out there. I'll post a CD list on his birthdate (August 22). This 62 page discography is available from BLUES & RHYTHM PUBLICATION, 13 Ingleborough Drive, Morley, Leeds LS27 9DT, United Kingdom for just U.S.$5.00. or email Tony Burke . This discography also has a wonderful introduction by Paul Oliver, about when he & Larry Cohn (of Legacy's Roots 'N Blues series) were at a party, and Hooker .... you gotta read it. By the way, if you're looking for a MUST CD, may I suggest the following CD of his early MODERN Recordings. A quick look at this discography will let you know the recording dates, the sides Eddie Kirkland appears on, and really how many of the sides (quite a few!) on this CD are new to the reissue market. I hope ACE/VIRGIN is planning a boxset around these MODERN sides but until that happens, this is the CD to get. Dave Sax's notes are excellent & if anyone knows Hooker's music, it's Sax. ACE (UK) CD 315 JOHN LEE HOOKER - LEGENDARY MODERN RECORDINGS VIRGIN CD 39658 JOHN LEE HOOKER - LEGENDARY MODERN RECORDINGS This has been a public service announcement by a long time Hooker Fan. "UNCLE" eRIC P.S.: EMI's "THE CAPITOL BLUES COLLECTION" series is planning a 3CD collection of his 1948-1954 recordings sometime this September. Again, U.S.$5.00 will tell you what to expect! ========================================================================= Date: Thu, 27 Jul 1995 10:42:15 PST From: Mike McCourt Subject: First guitar: a summary Well, we didn't get any cigar boxes strung with rubber bands but there were some interesting ones. Some of my favorites : Worst sound, runner-up There isn't anything on this planet that sounds worse than a Stella with flatwounds.... Don Cicchetti Worst sound, first place... Oh yeah? My harmony archtop had such high action that I played it for a while with nylon strings. Now THAT's a bad sound. Ian Angus "Built for comfort, not for speed" Best guitar... Ralph's parents bought him a guitar. A Gibson "Johnny Smith Award" model. It cost $900 1959 dollars P.W. Fenton Best guitar, close runner-up... .... a circa 1956 Gibson 330T for $250. phertel@cmc.doe.ca Most determined beginner... How many other people learned their first chords on a plastic guitar? Jackie Katz Worst action (best description).... but sounded awful and the action was high enough to slice meat. Ian Angus "Built for comfort, not for speed" Best collector guitar... Well, my first was a 1957 Strat - body natural refin. I was 16 Hugh H. near Toronto Saddest story... Her husband ran off with a younger woman, and she sold it to me (complete with old pignose amp) for $200. Andrew Gregg Cutest (what's cuter than a 4-year old trying to play a guitar?)... ..so we played on it by hitting on the strings, you know, in kind of an up and down motion, since the guitar was laying flat on the floor still in its case. delta doc roger Most detailed history... The Early Years: Michael A. Suffern Best improvised amp... I played it through the phono input on my portable stereo. Eventually nothing would work when connected through the RCA jacks. It had a pretty nice overdriven sound, actually. RJ Bauman Best guitar to drive... The first was a classical that buzzed at the seventh fret. I used my brothers Univox hollow body a lot. Then it was christmas time and I wake up and you can guess......A MUSTANG WITH THE RACING STRIPES......Man was I in hawg heaven. LW 'don't start me talkin'' Highest tech... My first guitar was(and I still have it)a Fender Telecaster(1973 or 1974 model) custom. It has a double coil pickup in the rythm position and a Bartolini single coil in the lead. I had the Bartolini put in because the original Fender was feeding back something awful. It's cream color with a black pickguard. Geoffrey Guynn ___________ Mike McCourt mmccourt@acuson.com ========================================================================= Date: Thu, 27 Jul 1995 12:07:35 CDT From: L W Subject: Guitars and wives :-) We (my wife and I) were at lunch and I was near the pawnshop that has what I THOUGHT was a 1954 ES125-C....I said what the heck you wanna see that guitar Sure....Well you remember the scene in When Harry Met Sally where "sally" faked an O while eating.....That's what my wife sounded like.."Oh Leonard, Oh Leonard, ...etc".....It does not have a cut away and the tail piece is defintely a 175 tp....So now it's a 1954 ES175...... I think she's going to insist I buy it...She kept saying we got to get that...etc. It's wierd, have YOU ever had to talk your wife out of buying a guitar I'm on the phone with her now...seriously , she just called.... LW 'I be's troubled' ========================================================================= Date: Thu, 27 Jul 1995 17:33:47 +0000 From: Pat Hertel Subject: Re: DBM - Check Presentation On Thu, 27 Jul 1995, L W wrote: > Some of you may have read Marcia's post about ME presenting the BLUES-L T > Shirt "proceeds" to the DBM.............WHAT AN HONOR FOR ME. > > Anyway I plan on doing this during the festival saturday (if possible) > > I know at least THREE of you will be there, but who else is going.... > > Would it be appropiate to ask the 'ELLERS in attendance to stand or heck all > of us come up to the stage....or whatever.....WE should all be proud of the > donation , regardless of the amount....MARCIA GRODSKY has my vote for the > 1995 'ELLER of THE YEAR (I hope I spelt her name right) > > LW > Apropos the proceeds from the T-shirt ... Many of you (now all of you) know that the design is available in GIF format from the BLUES-L "Shed". Could we set up a mechanism whereby a voluntary contribution goes to some holder (Marcia?) for a kind of "right of use"? An example might be if you make your own T-shirt using the "official" design or plaster it on the side of a mug etc. Just a thought. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/7/95 13:21 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 27 Jul 1995 13:31:15 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Cincinnati, Friday Night, Two Blues Shows For folks in the Cincinnati area, there are two good concerts on the schedule for tomorrow (Friday, July 28). At Bogart's in Corryville, Jeff Healey. Tickets available at Bogart's or from TicketMaster. At Moonlite Gardens, Coney Island; Debbie Davies, Jimmy Thackery & the Drivers, and local power trio Blue Lou & the Accusations. Call Coney Island for ticket information. Tickets are still available for both shows. (I'm going to see Jeff Healey!) Shannon P.S. I have no professional or financial involvement of any sort in either show (except the money I've already spent for a Jeff Healey ticket). ========================================================================= Date: Thu, 27 Jul 1995 12:35:20 CDT From: L W Subject: Re: DBM - Check Presentation ----------------------------Original message---------------------------- >Many of you (now all of you) know that the design is >available in GIF format from the BLUES-L "Shed". >Could we set up a mechanism whereby a voluntary >contribution goes to some holder (Marcia?) for >a kind of "right of use"? An example might be >if you make your own T-shirt using the "official" >design or plaster it on the side of a mug etc. I think Bob Unger owns the design, so he would have to be "consulted" on this Correct LW ========================================================================= Date: Thu, 27 Jul 1995 12:38:39 -0500 From: "Ronald W. Fitch" Subject: Stormy Monday/Lee Michaels question A few months ago, there was some discussion on this list about the song "Stormy Monday." A few people mentioned a version by Lee Michaels that was recorded live by him with only Frosty Smith-Frost backing him that was released on vinyl and hadn't yet made it to disc. Through an online service, I've come across an album titled "Lee Michaels Live" (ATM 3518), a two-LP set that does include "Stormy Monday" but doesn't list musicians or other information. Can anybody supply any information about this album? TIA, Ron Fitch University of Northern Iowa ========================================================================= Date: Thu, 27 Jul 1995 10:47:21 PDT From: Eric LeBlanc-CISTI Subject: FLOYD MCDANIEL (re; Pick of the Week) I SECOND THAT EMOTION. One pf my favorite CDs of 1994! "Since hearing of Floyd McDaniel's death on Sunday, 3 days after his 80th birthday, I've been playing his Delmark CD over and over again. This is a fine recording -- some of the best jump blues recorded by anyone in recent years. Every guitar player who thinks that good equals loud and fast should listen to this -- Floyd's T Bone Walker style playing is restrained and precise, every note counting. I'm sorry he has to have a monument already, but this CD, his first as leader, recorded in his 79th year, is a good one. Last night I did a tribute to Floyd on the Blue Soul show here in Toronto. I described my one encounter with him in the back room at the Jazz Record Mart last month, when he did a set for a small but rapt group sitting on the floor around him. Apart from that, the tribute was almost entirely based on Dick Shurman's excellent notes to this CD. Thanks Dick. Floyd McDaniel and the Blues Swingers. LET YOUR HAIR DOWN. Delmark DE 671 Ian Angus" ========================================================================= Date: Thu, 27 Jul 1995 13:45:00 EDT From: Robert Page Subject: Blues happenings in central Iowa August 5-11 I'll be in central Iowa from August 5 thru the 11. I was hoping someone in the area could send me info on blues happenings that may be scheduled for that time in the Des Moines - Ames areas. Thanks Bob Page ========================================================================= Date: Thu, 27 Jul 1995 10:56:06 PDT From: Corinne Subject: LA blues I have a few days off next week and am going down to LA to see....my MOTHER! Can members recommend BLUES clubs in the LA area? (For me this means San Bernardino on out to Topanga Canyon...) Thanks! Corinne ========================================================================= Date: Thu, 27 Jul 1995 10:55:07 -0700 From: Ron Daschmans Subject: Re: Guitars and wives :-) Buddy, I really wish I had your problem there :) Ron Daschmans On Thu, 27 Jul 1995, L W wrote: > It's wierd, have YOU ever had to talk your wife out of buying a guitar > I'm on the phone with her now...seriously , she just called.... ========================================================================= Date: Thu, 27 Jul 1995 11:01:32 PDT From: Eric LeBlanc-CISTI Subject: REV. ROBERT WILKINS : " ... you best not be doin' what ..." Since not everyone on BLUES-L has access to a Web browser, and Dick Waterman did mention Robert Wilkins, here's Arne Brogger's account of meeting Wilkins. eRIC >From THE BLUE HIGHWAY The Memphis Blues Caravan by Arne Brogger The birth of the Memphis Blues Caravan occurred late one night in Steve LaVere's music store in Memphis. LaVere and I had become acquainted through some dates I had booked for Furry Lewis. I had arranged these dates after finding LaVere's number in the Billboard performance publication as the contact for personal appearances for Furry. Steve and I had hit it off as fellow "old souls" supported by our mutual love of the blues. What Do You Think He Looks Like...? In June of 1973, I was in Memphis and we were sitting in his shop at about 1:00 a.m., listening to some old 78's in his collection. In the course of the conversation, Steve asked me if I had ever seen a picture of Robert Johnson. I, of course, told him "no," as a picture of the legend of the blues did not exist. He asked me what I pictured Johnson looking like in my mind's eye. I described what I thought he might look like. LaVere then reached for a manila envelope, about 6" by 5" inches in size. He pulled out a black and white photo of a very dapper black man in a suit and tie, wearing a snappy looking hat and holding a guitar. "That's Robert Johnson," he said. I was dumbstruck. There he was, lost for all these years, looking exactly as I had pictured him. "Are your sure this is him?" I asked. "Without a doubt," Steve told me. "I found his sister in Washington DC. She gave this to me." We both sat in silence for a long time. Blind Lemon Jefferson scratched on the old 78. We stared at the picture. "People have to see this, Steve," I finally said. He said he had plans to copyright the image in conjunction with Robert's sister. As soon as that was done, he would release it. "Who else has seen this," I asked. "You, me and a couple of folks here in Memphis. I just got it last week." To Be Seen -- And Heard... The discussion then turned to the need for people to see the guys who invented this uniquely American art form. Steve had made contact with virtually every blues musician of consequence in Memphis, the "home of the blues in the known universe." It was decided that we would try to put the whole crew who lived in Memphis on the road. It had never been done before. Personal appearances by local blues musicians had been, for the most part, solo date affairs. While most of the musicians knew each other, they had never toured or performed together as a group. Kill The Fatted Calf... We began our exploration of potential members with a visit to the home of Revered Robert Wilkins. Wilkins had recorded some powerful sides in the late 20's and early 30's for "race labels" and had enjoyed great success. Unfortunately for the blues world, Wilkins "heard the call" and became an ordained minister in the mid-30's. He vowed never to play the blues again. It was a vow that he would not break. Sitting in Rev. Wilkins' living room in Memphis, Steve and I described to him what we were interested in doing. Rev. Wilkins explained to us his vow to give up the "Devil's music," though we sensed that his resolve might not be totally unshakeable. The blues he performed on those early recordings were done primarily in the key of A. All of his religious material was done largely in the key of E. He sat with this guitar on his lap and, after much coaching by Steve, he tuned up to A. We sat on the edge of our seats. As he struck the strings after finally tuning up, and that A chord rang though his house, his wife, who was in the kitchen, suddenly appeared. "Robert, you best not be doin' what I think you're doin'." The guitar was quickly tuned down to E and the air went out of our balloon. Rev. Wilkins told us that he would be unable to join us in this adventure, but wished us well. He then proceeded to play a few tunes he had written. One of these was a song which, he announced proudly, had just been done by "some English boys," a group called The Rolling Stones. He then launched into "Prodigal Son," one of the many choice cuts off the "Beggars Banquet" LP. The tune closed with the chorus verse, "that's the way for us to get along...." And indeed it was. He was still contributing through his music, but on his own terms. He seemed a genuinely happy man. Hit The Road... Other visits to various artists followed over the next few days (enumerated in the pieces on Furry, Bukka, Red, et. al). By the end of the week, we had commitments from virtually all of the musicians who would later comprise the last, and only, great touring ensemble of classic country blues, The Memphis Blues Caravan. It was now my job to get on the phone and start spreading the gospel and exciting commercial interest in the entourage. The first and most logical place to start, I thought, was in contacting college campuses around the country. The reaction was almost uniformly positive and, God bless them, the offers started rolling in. Once the initial tour dates were booked, the job of logistics became daunting. We had to move twelve performers, a road manager and various pieces of equipment from Memphis to each date. In addition to salaries, we had the expense of transportation, per diems, lodging, "incidentals" (i.e. beverages) and the like to deal with. Hotel rooms had to be booked, stage and lighting plots had to be arranged, set orders and lengths had to a determined, egos had to be considered. The job became more complex by the day. And all of this had to be done before we ever played our first date. Tour logistics fell to me, with Steve concentrating on set order, billing and "artist relations." Flying to the dates was out of the question, as our budget was tight at best. We were not dealing with "pop star" money, but we had the same problems and requirements as a major rock tour. I decided that the best way to move the group was by chartered bus, and I struck a deal with Greyhound to provide equipment and drivers. Our first few tours were done in leased commercial coaches. This proved to be both unwieldy and expensive. It also did not provide the "comfort factor" needed for a prolonged stint on the road. By the third tour, we had wised up and found a company in Nashville that specialized in tour bus leasing and provided equipment with lounges, bunks, a galley and a head. The real deal. They also provided a driver who would be with us for the duration of the tour and who became, usually by the second night of the tour, a "member of the family." In the space at the front of the bus, facing oncoming traffic, was a sign that usually read "Chartered." We made a sign which simply said "Heaven," put it on the front of the bus and hit the road. Welcome To Chicago... Our first date was at Northwestern University in the Chicago suburb of Evanston, Illinois. When Furry Lewis and I first met, I introduced him to a friend of mine, David Calvit, who quickly became one of Furry's biggest fans. David owned a large travel agency in Minneapolis named Corporate Travel. His company specialized in just that, corporate travel. Blues performers were about as far from his usual clientele as you could get. As I attempted to secure reasonable lodging in the Chicago area, I ran into problems. Eight rooms at bargain rates were not to be found. I called David and explained the situation. He listened quietly. "Furry is going to on these dates, right?" he asked. "Of course," I told him. He said he would call me back. The next day he called and told me we had nine rooms at the Lake Shore Holiday Inn on Lake Shore Drive in Chicago. I knew from travels to Chicago that this was one of Holiday Inn's premier properties in the Midwest. "That's great, David, but we can't afford the wood," I told him, as I knew that the rack rate for rooms at that property were in the low $100's. In 1973, this was a lot of money. "Your rate," he said, "is $35.00 per night." I told him it was great to know a man who could pull the right strings. Little did I know. When we arrived at the hotel from Memphis, the night before the show, the marquee facing Lake Shore Drive was ablaze with the words "Welcome, Memphis Blues Caravan." We checked in to find real "rock star" service. A complimentary fruit basket (with a handwritten note to each artist) was in each room. Furry Lewis had his own room. The penthouse suite at the top of the hotel with panoramic views of Lake Michigan and the Chicago skyline. Life was good. I will never forget the looks on the faces of these musicians at what they beheld. As I got Joe Willie Wilkins settled in his room, his bass player, Melvin Lee, turned to me and asked in a whisper, "Is all this for us?" "Yeah," I said, as casually as I could. "You're a member of the Memphis Blues Caravan, aren't you?" So we began ... spreading the gospel, knocking audiences on their collective asses, and having a hell of a time. Arne Brogger, us002838@interramp.com ========================================================================= Date: Thu, 27 Jul 1995 18:01:41 GMT From: Rennie Selkirk Subject: Re: Blues Amps & Blues Distortion Someone wrote: > >Every time I've seen B.B. play live over the last 10 years, he's played >Lucille through a Lab series 2x10 which is similar to the older Fender >Twins. In the last few inteviews I've read in Guitar Player and >elsewhere B. B. said he only uses the Lab. He is pictured playing >through a Bassman in the 50's, but not recently. > A friend of mine talked with BB years ago about his equipment. He ALWAYS rents his amps. And of course the piano. His philosophy is let the pros take care of that stuff. (Which is one way of admitting it's hard enough getting to the gig on time as it is! Sometimes you need to get on stage very FAST. Like one occasion in Buffalo back in '68 where he got delayed and very restless audience had to be subdued with the Tactical Squad just as the band was hurriedly running through the warm up tune.) Besides there's no room on the bus for that stuff anyway. And of course he usually rented a Lab series, at least 15-20 years ago when they were plentiful. Now I would guess he's using Twins fairly regularly. Whatever's out there that's the SAME in every town I suppose. I've heard that there is a fairly detailed equipment interview with BB and Jimmie Vaughn who apparently are touring together this summer. May be in Guitar World, I'm not sure. ========================================================================= Date: Thu, 27 Jul 1995 13:59:55 -0400 From: Dick Waterman Subject: Re: Kansas City I met Mike Stoller (of Leiber & _) a few months ago and he told me the whole story of writing "Kansas City" and who it was written for and where and where, etc. Long, complicated and very funny . . . I promise to post it . . . really honest, I promise. dick waterman ========================================================================= Date: Thu, 27 Jul 1995 11:07:51 -0800 From: Don Cicchetti Subject: Re: Guitar Crusher / Hash Brown >Guitar Crusher and Hash Brown? Does anyone know anything >about these two guys? What are their CDs like? Welll... one guy kind of sounds like wood breaking and snapping, and a bunch of squeals and squeaks and a big ka-bong at the end. And the other guy just kind of sounds like something frying on the griddle... I don't get it. (groan groan) Don ========================================================================= Date: Thu, 27 Jul 1995 13:07:27 -0500 From: David Silberberg Subject: Re: Blues dreams >On Thu, 27 Jul 1995, Rob Hutten wrote: > >> Anyone ever have any blues dreams? >> > What? And miss my turn at bat? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 27 Jul 1995 12:15:58 -0700 From: Ron Wack Subject: Charlie (the Finger) Sexton Item Subject: Message text Decided to go see Charlie Sexton last night (got in free). After the first song, someone in the audience suggested to Charlie buddy that the bass was a bit too loud (It was). Charlie gave him the finger and told him to go down the street to a sports bar if he didn't like it. That sort of put an ugly on for the rest of the night. I really enjoyed Mary Karlzen (sp?) who opened for him though. No blues, but a good rock sound and a big voice for a such a small lady. Someone else on blues-l (I deleted their message by mistake - sorry) was quite taken with her too. I wish she'd have done two sets and Charlie none! RW ========================================================================= Date: Thu, 27 Jul 1995 12:25:52 -0700 From: Ron Wack Subject: Re: Guitars and wives :-) Item Subject: Message text My wife and I each submit a set amount of money each month into an account to pay the household expenses. We then do whatever we want with our own money thats left. There's never any resentment about what each other buys. This has worked great for 5 1/2 yrs. It's usually her that talks me into buying new toys for myself. I usually give in too. I feel a new acoustic comin' on soon. RW > > On Thu, 27 Jul 1995, L W wrote: > > > It's wierd, have YOU ever had to talk your wife out of buying a guitar > > I'm on the phone with her now...seriously , she just called.... > ========================================================================= Date: Thu, 27 Jul 1995 14:37:55 -0400 From: Tom Morgan Subject: Re: Kansas City In another time and place, Lee Spector said: > > I believe there was a discussion recently about the song Kansas City. > Well according to the Roots and Rhythm catalog, the first version of this > song was done by Little Willie Littlefield and was called Kansas City > Lovin. Lee Exactly right and written by Leiber and Stoller. Tom ========================================================================= Date: Thu, 27 Jul 1995 12:34:44 PST From: Mike McCourt Subject: Finding other players: (was My First Guitar) Do like thousands of other mediocre amateur musicians, become a mediocre professional musician, you'll have lots of people to play with. :) There a lots of ways to meet other players, here are a few: Take lessons, teachers often have other students also looking for other players. Take music classes at a local college, many have improvisation classes or Jazz bands. Even theory classes can be good places to meet players. Take a class at a local (if available) "Rock" music school, there are some around, though mostly in larger urban areas. Go to jam sessions, even if you don't want to "get up" you can talk to players who do sit in. Music store bulletin boards often have postings for players. Join a local "folk" or "bluegrass" music society, lots of these people play other kinds of music, even blues. Above all, you have to be willing to play with and for people before they will be willing to play with you. If you can ignore all the BS and ego tripping (I know, it's hard to believe that goes on) just play. It took me 20+ years to accept that if some people don't like the way I play, someone else will. Hopefully you can learn that part more quickly. ______________________________ Reply Separator _________________________________ Subject: Re: My First Guitar Author: Clint.Pulley@CCIW.CA at ccUnix Date: 7/27/95 10:36 AM ----------------------------Original message---------------------------- >My major problem, which I suspect I share with other middle-aged, enthusiastic >but (in my case) mediocre amateur musicians is finding anyone else to get >together with and play. Any suggestions? ========================================================================= Date: Thu, 27 Jul 1995 15:03:49 -0400 From: Bill Reiser Subject: Re: Charlie (the Finger) Sexton On Thu, 27 Jul 1995, Ron Wack wrote: > Decided to go see Charlie Sexton last night (got in free). After the > first song, someone in the audience suggested to Charlie buddy that the > bass was a bit too loud (It was). Charlie gave him the finger and told > him to go down the street to a sports bar if he didn't like it. That > sort of put an ugly on for the rest of the night. I really enjoyed Mary > Karlzen (sp?) who opened for him though. No blues, but a good rock sound > and a big voice for a such a small lady. Someone else on blues-l (I > deleted their message by mistake - sorry) was quite taken with her too. > I wish she'd have done two sets and Charlie none! Roger that, Ron. Mary K. is pretty amazing. Sorry about Charlie. Mary Karlzen's record is called Yelling At Mary and is well worth checking out if you're looking for a not-very-bluesy roots rock record with hooks to kill. Great songs, beautiful voice. I'm sure she could sing blues just fine... BR ========================================================================= Date: Thu, 27 Jul 1995 15:18:23 -0400 From: Marcia Grodsky Subject: Re: DBM - Check Presentation I have never seen the GIF because I don't have graphic capabilities ("they" keep *promising* me), so I don't know whether it indicates this has been taken care of or not, but it should definitely indicate that Bob Unger's permission has to be obtained for any use of the design. Bob worked very hard on it, and he has copyrighted it. ---Marcia ========================================================================= Date: Thu, 27 Jul 1995 15:22:54 +0000 From: "P.W. Fenton" Subject: (Fwd) Re: REV. ROBERT WILKINS : " ... you best not be doin' wh Forwarded message: From: Self To: leblanc@DAO.NRC.CA Subject: Re: REV. ROBERT WILKINS : " ... you best not be doin' what ..." Date: Thu, 27 Jul 1995 14:55:19 > What Do You Think He Looks Like...? Speaking of LaVere and pictures of Robert Johnson, has anybody seen this video called "Bluesland" (a companion to the book). In it there is a THIRD picture of Robert that gets shown without fanfare for a few seconds, twice during the film. It's another hat picture. I've not seen it anywhere else. I had heard that LaVere was holding out several more photos for whatever reason. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Thu, 27 Jul 1995 17:45:17 GMT From: Tony Burke Subject: Re: Floyd McDaniel We were sad to learn of the death of Floyd McDaniel from Dick Shurman earlier this week. In case there is any doubt of Floyds talents here is a review of the Delmark set from B&R 101. FLOYD McDANIEL AND THE BLUES SWINGERS Let Your Hair Down! Delmark DE-671 (USA) Raggedy Ride/ Blue Mood/ Mary Jo/ Strange Things Happening/ It Don't Mean A Thing/ I Want A Little Girl/ St. Louis Blues/ God Bless The Child/ Sent For You Yesterday/ R.M. Blues/ Christopher Columbus/ West Side Baby/ Beale Street Baby/ Let Your Hair Down/ Nobody Knows You When You're Down And Out/ Why's Life Got To Be This Way/ Caldonia (66:12) Well, here's an interesting discovery! Floyd McDaniel's name may not spring to recognition immediately, but Dick Shurman's fine notes reveal that Floyd and his guitar were associated six decades ago with the likes of washboard bands, The Rhythm Rascals and The Tramp Band, as well as Swing-era heroes like Cab, Billie and Ben Webster. In 1941, Floyd swapped his acoustic guitar for an electric model and replaced Jimmy Bennett in Chicago's popular jive group The Four Blazes. Electric guitar lessons were provided by his friends John Collins and T-Bone Walker (Floyd's mother-in-law had virtually raised T-Bone in Texas!), and between 1947 and 1953 the now Five Blazes recorded successfully for Aristocrat and United, including "Mary Jo" and "Raggedy Ride" written by the Blazes' bassist and lead vocalist, Thomas Braden - the hottest news is that the forthcoming Delmark CD 678 will contain the complete United recordings of the Blazes (six of the Blazes' 20 United masters were issued in 1982 on P-Vine Special LP 9044 "Black Music In The 50s Volume 12 - Swingin' And Singin'/ Blazes And Dozier Boys"). But enough of the past, Floyd was rediscovered by the blues after his appearance at the 1986 Chicago Blues Festival where he was the guitar-third of the reunited Big Three Trio with original members Willie Dixon and Baby Doo Caston. Dick's notes also inform that Floyd has returned to recording in the last few years with Little Willie Littlefield for CMA and some guest tracks with Austria's Mojo Blues Band, but linking up with saxophonist Dave Clark and his sextet and Delmark, has given Floyd a much greater boost career-wise. Like The Four/ Five Blazes' repertoire, Floyd still draws upon older influences as well as more contemporary ones and breathes fresh life into the hits of his 40s and 50s peers. Due in no small part to Floyd's more mature, mellower voice, the cover of The Blazes' "Mary Jo" is transformed from a fly, hip little ditty into a driving jump blues with excellent solos from guitar, tenor, trumpet and baritone . Having never heard the original of "Raggedy Ride", I can't comment on this versions strengths, but it is quite a fun piece of jive extolling the virtues of the automobile with another nice guitar solo from Floyd. The menu is rounded out by three original compositions; Floyd's own "West Side Baby" (not the T-Bone song) and "Beale Street Baby" penned by Clark are an extension of Floyd's T-Bone-influence, and while still retaining a west-coast feel, Clark's "Why's Life Got To Be This Way" owes more to, say, Wynonie Harris. The Blues Swingers, besides leader Clark, include trumpeter Mike McLaughlin, Paul Munday on alto sax, Martin "Van" Kelly on baritone sax, pianist Donny Nichilo, Bill Yancey on bass and, sharing the drumming duties, Robert "Hindu" Henderson and veteran Carl "Kansas" Fields, a 79-year old who has played with everybody from Jimmie Noone and Cab Calloway to Charlie Parker and Dizzy Gillespie! A fine band, playing fine arrangements.Let's hope Floyd and The Blues Swingers will visit these shores soon, but in the meantime pick up this little gem (or at least give it a listen!) and reserve your copy of Delmark 678. Dave Penny ========================================================================= Date: Thu, 27 Jul 1995 17:53:05 GMT From: Tony Burke Subject: Re: JL hooker pseudonyms OK, So you don't believe it huh? How about John Lee Booker, Birmingham Sam, Little Pork Chops, John lee Cooker, Texas Slim, The Boogie Man, you want more. Do as Don says and get the Hooker discography and check it all out. Everything you wanted to know about Johnny Lee. TB ========================================================================= Date: Thu, 27 Jul 1995 17:49:14 GMT From: Tony Burke Subject: Re: Black Magic buying binge... Peter, A "must buy" from the Black Magic catalogue is the new Percy Strother The Highway Is My Home. Also check out Bossman by Little Smokey Smothers. Both are excellent contemporay blues sets. Also watch out for a new set from Little Cooper on BM called "Baby I'm Back" TB ========================================================================= Date: Thu, 27 Jul 1995 15:46:13 -0400 From: Sandy Quandt Subject: Luther Allison Once again, and true to form, Luther Allison blew Cleveland right off the shores of Lake Erie in his gig for 250 blues lovers at Wilberts on Wednesday night. If you have any opportunity to see this man perform, do so. He is a high-energy, class act who, after a three and a half hour performance, met with fans and talked at length about his music. His new cd, Blue Streak, is due to be released at the end of August. Sandy Quandt <<< gs068@cleveland.freenet.edu >>> <<>> ========================================================================= Date: Thu, 27 Jul 1995 16:03:15 EDT From: Peter Welch Subject: Luther Allison on Motown? I recently saw in a catalogue a Luther Allison LP called "Luther's Blues" on the Gordy label...Is this the same "Gordy" label as the Motown subsidiary? Has anyone heard this album? Thanks, Peter W. ========================================================================= Date: Thu, 27 Jul 1995 16:22:56 -0400 From: bob unger Subject: design copyright LW is right. I drew the design and copyrighted it so I do own the design. The reason for the copyright is, simply, an attempt to prevent anybody from trying to profit from it. I didn't make any money on it, I never in intended to, and I really would not like to see anybody else trying to make a buck from it. Not that I think anybody on this list is gonna go out and try rake in the bucks ;-) the copyroght is merely a preventive measure. I drew the design for the members of blues-l to enjoy. Let this serve as official word - The blues-l design is available for all the members of blues-l to use in any way they want as long as it for personal and/or non-profit use. I guess the only exception to this, is the Delta Blues Museum. If they have the inclination, desire, whatever, to generate a little profit through the use of the design, they are welcome to try. On August 7, I will be returning to my job (after 6 months of leave...with full pay!) so I will once again become an active z-eller. If anybody is unable to download from the shed, or would prefer, I can mail you a xerox copy of the original design as long as you mail me a S.A.S.E. - a regular #10 envelope with one stamp on it will do. If I'm able to, I might be able to use my job's fax machine now and then (as long as the boss isn't looking) If anybody is interested in this, e-mail me privately. Looking forward to being back on the list! BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 27 Jul 1995 13:25:35 -0800 From: Don Cicchetti Subject: Don't bug me when I'm workin' This post (thanks Ron) got me thinking about a new thread. >Decided to go see Charlie Sexton last night (got in free). After the >first song, someone in the audience suggested to Charlie buddy that the >bass was a bit too loud (It was). Charlie gave him the finger and told >him to go down the street to a sports bar if he didn't like it. Since we have lots of both musicians and fans on the list, how do you guys relate to this? How should a musician react when someone from the crowd yells out to the act, that the (whatever) is too loud, or too soft etc? As a musician, I ignore sound levels and stuff and try to get into that place/mood where great music happens. (hint: it's NOT the analytical side of the brain) Yet as an audio engineer I have been to so many concerts where the balance was off, or the level was too loud or whatever that I can understand people's frustration with sound problems. When I am playing, I don't want the crowd yelling out "free sound mix advice" to me, and if someone did, I wouldn't flip them off, but it would be annoying. I would give the bass guy a glance tho... :-0 Which view do you guys hold? 1. The act should always be gracious to the crowd, and even should listen to complaints that are shouted out to them 2. Fans need to understand that musicians are trying to make music, and it is impolite to shout out sound advice to them, as it will be very distracting, and they don't know if that individual is right about the problem or not. or what? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 27 Jul 1995 16:30:53 -0400 From: "William E. Forrester" Subject: Magic Slim unplugged? Has anyone heard Magic Slim's Alone & Unplugged album? It was supposed to be released in June, but I don't know if it actually was. Bill Forrester ========================================================================= Date: Thu, 27 Jul 1995 15:16:41 -0500 From: Richard Shurman Subject: Re: Luther Allison on Motown? It must be the same"Luther's Blues" that was originally on Gordy, which is good news because consensus seems to rank it as his best or close. The first Gordy, "Bad News Is Coming," is also very nice and straight ahead, but "Luther's Blues" (which was appropriately covered by Luther "Guitar Jr. Johnson" for Black & Blue) is more personal. When I visited Motown in '74 they told me they were planning to release Luther's '73 Ann Arbor set (which was a triumphant return; the previous year he'd lamented to the crowd about how he was on food stamps; early in the '73 set he announced his return and said "And I ain't on food stamps no more!"). That obviously never happened, but recently someone told me he was consulting with them on reissues so I passed along the suggestion to check their vaults, so maybe someday... ========================================================================= Date: Thu, 27 Jul 1995 15:39:47 CDT From: L W Subject: Don't bug me when I'm workin' ----------------------------Original message---------------------------- This post (thanks Ron) got me thinking about a new thread. >Decided to go see Charlie Sexton last night (got in free). After the >first song, someone in the audience suggested to Charlie buddy that the >bass was a bit too loud (It was). Charlie gave him the finger and told >him to go down the street to a sports bar if he didn't like it. >How should a musician react when someone from the crowd yells out to the >act, that the (whatever) is too loud, or too soft etc? The last time I played I pulled a later-day Albert King, cause I didn't like the sound......However in the above case IMHO Sexton showed a lack of class DO NOT BITE THE HAND(S) THAT FEED YOU. LW ========================================================================= Date: Thu, 27 Jul 1995 16:42:52 -0400 From: Ed Mezynski Subject: Blues Families/estranged Lonnie and Mel Brooks Hound Dog and Elizabeth Taylor Gary and Mary Tyler Moore Albert and Joan Collins Robin and Gerald Ford Johnny and Shelly Winter Ted and Tina Turner Johhny and Aarron Copeland Dr. and Elton John Sorry to waste your time and bandwidth with this febble attempt at humor. ed ========================================================================= Date: Thu, 27 Jul 1995 13:45:41 PDT From: Eric LeBlanc-CISTI Subject: Re: JLH pseudonyms Eric, any clarifications or explanations you may be able to add would be most welcome. According to Les Fancourt's discography, we have : | | ^ > Okay. John Lee Hooker recorded as: > > Johnny Williams on Gotham ON GOTHAM, STAFF, PRIZE, SWING TIME > > Birmingham Sam and his Magic Guitar on Savoy ON SAVOY only > > John Lee Booker on Chess ON CHESS, GONE, DE LUXE, ROCKIN', CHANCE (CHART as JOHN LEE HOOKER) > > Delta John on Regent > > The Boogie Man on Acorn > > Johnny Lee on Deluxe > > Texas Slim and John Lee Cooker on King. John Lee ON GOTHAM , DE LUXE Little Pork Chops for Danceland Records of Detroit Sir John Lee Hooker for Fortune Records Cheers, Jim ========================================================================= Date: Thu, 27 Jul 1995 16:45:43 -0400 From: Dick Waterman Subject: Re: Luther Allison on Motown? Yes, indeed. After he had done several Delmark albums, Luther was signed to Motown amid great fanfare and publicity that he was the forerunner of their emerging as a major blues label. What did Marvin say? "I heard it through the grapevine." What did Smokey say? "I second that emotion." What did Stevie say? "Signed, Sealed, Delivered I'm Yours" What did blues fans say? "The Tracks of my Tears? dick waterman ========================================================================= Date: Thu, 27 Jul 1995 16:01:06 -0500 From: Craig Edmundson Subject: Siblings ??? Reading the siblings thread caused me to *very* vaguely recall an interview in Guitar Player? with Jimmie Vaughn? where he talked about very early in his career when he toured small clubs as "T-Bone Walker's Son." Or something like that. I'm sorry that I can't remember anything much more specific than it was a white guitarist billed as a black guitarist's relative. That part I am sure of. Also, it is my understanding that the practice of a promoter billing a blues artist as "So-and-So's Son" or "So-and-So Junior," whether or not they were related, was a fairly common practice at one time. Can someone help jog my memory? Thanks. ][ Craig Edmundson ][ cedmunds@unmc.edu ][ ========================================================================= Date: Thu, 27 Jul 1995 17:03:33 -0400 From: Garry Segal Subject: Re: Don't bug me when I'm workin' Don asked in a recent post what musicians on stage should do when audience members yell at them to turn down . 1.First if you are at a show with bad sound, dont make it worse by yelling that fact out to the room. 2.Find the soundboard and sound man in the room. If he is frantically turning knobs and looks busy leave him alone he is probably working on the problem. 3. Maybe you are the only one who thinks its bad and should leave ask for your$$back. 4. If the sound man is reading an Archie Comic and swigging Cuervo Gold you might politely tell him that it sounds too loud or whatever your suggestion.(Offer him a Silver Surfer Comic ) 5. Several spots in a room can sound totally different according to the acoustics etc. Try walking around the room and listen for that "sweet spot" and sit down. 6. If you are really close to the stage you might only be hearing the stage sound, not the "mix" out front for the rest of the room. Move back. 7. Bass carries alot further than you might think. Sometimes what sounds like a reasonable level on stage to the bass player might be projecting out to the room at a much higher level. Small rooms can be a nightmare for bass players. Although I have never given anyone the finger from the stage (Charlie Sexton apparently has) it really is just as rude to yell " sound" advice. Pun intended. Garry(&those darn Moodswingers) homepage http://www.island.net/~blues/BlueSngr.html email BlueSngr@aol.com ========================================================================= Date: Thu, 27 Jul 1995 16:10:45 CST From: John Wells Subject: SMALL THING It ain't no biggie, but still kinda interesting, none-the-less. Just got my issue of Living Blues (Lynn White on the cover). This past Fourth of July, I played at a local festival that featured Lynn White and Bobby Rush. SO, I was reading with interest the Lynn White article. Then I came across the photo spread of "show posters". Now, I really dig those posters ... see them up on utility poles and in local stores around here alot. The photo spread starts on page 50. ON page 51, at the top center of the page, is a rainbow poster for the 1993 Down Home Blues Festival. If you look closely (get out your magnifier!) down the green area of that poster, you'll see the words "& THE BREAKBONE BLUES BAND". That's us! Well, it *was* us. That particular combination of musicians is no longer together. Still, it was a neat little surprise to see the name appear in a slick magazine! BTW, thanks to the several people who sent me messages wishing "The Turner Brothers" good luck at the Beale Street Blues Society contest at the Blues City Cafe in Memphis last week. We placed second out of eight acts, so I felt like we fared pretty well, and we had fun doing it. A tight, three-piece "SRV" type band placed first, and now they get to continue on in the contest series, working their way toward the biggie one this fall. The Boogie Daddy ========================================================================= Date: Thu, 27 Jul 1995 14:23:37 -0700 From: Ron Daschmans Subject: Re: Don't bug me when I'm workin' Wow Don, this is a topic, as a music fan, that is very dear to my heart. I look forward to hearing what all the Blues-L folks have to say. While a concert in which the volume levels are too soft can be frustrating, I personally try to over look it, and am not likely to complain. I just have to concentrate more :) If it is too loud (and yes there is such a thing as being too loud IMHO -- I am in the minority among my friends on this issue) I would be inclined to talk to the soundperson. Yelling at the band? I never really considered that one. If it is a small venue, I might talk to someone during intermission or a similar appropriate time, but I think the nature of yelling combined with thumbs-down signing would set off just about anyone. I can only think of one band that I have seen more than once, that was consistently too loud. Both shows were just a big blur of bass :( Ron Daschmans (aka MrMudPuppy) ========================================================================= Date: Thu, 27 Jul 1995 14:26:14 -0700 From: Ron Daschmans Subject: Re: Blues Families/estranged Thanks for making my day :) Course now I have to clean the coffee off my monitor and my keyboard. There is nothing more embarrassing than laughing out loud in a quiet office when you are the sole source of the laughter. Ron Daschmans On Thu, 27 Jul 1995, Ed Mezynski wrote: > Lonnie and Mel Brooks > Hound Dog and Elizabeth Taylor > Gary and Mary Tyler Moore > Albert and Joan Collins > Robin and Gerald Ford > Johnny and Shelly Winter > Ted and Tina Turner > Johhny and Aarron Copeland > Dr. and Elton John > > Sorry to waste your time and bandwidth with this febble attempt at humor. > ed > ========================================================================= Date: Thu, 27 Jul 1995 17:30:56 EST From: "Steven G. Toney" Subject: Re: Don't bug me when I'm workin' I feel strongly about this one from only one point of view...volume. I've only got a percentage of my hearing (due to natural, not volume induced loss). What I have, I wanna keep, therefore, it is absolutly, IMO, the responsibility of the musicians/sound people to keep the volume at a level that a) ensures people's hearing is not potentially affected by the volume levels, and b) is loud enough to allow some sort of socialization within the establishment. A musician can take the attitude that "if you don't like it, lump it and leave", like Charlie Sexton did, but that is an attitude that will not endear the musician to his live fans...sure he can still sell CDs but eventually his attitude may possibly make or break him. I believe that this is what REALLY sets Buddy Guy and Luther Allison apart from the rest. An "I'm gonna do what I want" attitude by the musicians, if against the desires of the audience, also disregards the fact that most establishments (in the Washington DC area, anyway) require an $8 to $10 cover. To me, that cover is for one thing only, it's my ante to hear some good music, not be flipped off by the bandmember(s). I'll tell you what...if I asked the band to turn it down cause it was too loud, I may or may not leave...but if the guy flips me off in the process and insults me in the process, I'd be gone in exactly one hearbeat...and you better believe that I'd never again contribute one red cent to his future success. High volume is something that warrants a bit more sensitivity on the bands part. I'll get off my soapbox now. Steve Toney ========================================================================= Date: Thu, 27 Jul 1995 16:33:00 CDT From: Bonnie Kalmbach Subject: Re: Luther Allison on Motown? > >I recently saw in a catalogue a Luther Allison LP called >"Luther's Blues" on the Gordy label...Is this the same "Gordy" >label as the Motown subsidiary? Has anyone heard it? Yes - I have it. It's not bad. -Bonnie the ever-forgetful ========================================================================= Date: Thu, 27 Jul 1995 16:36:26 -0500 From: Bruce Roberts Subject: Re: Don't bug me when I'm workin' > Which view do you guys hold? > > 1. The act should always be gracious to the crowd, and even should listen > to complaints that are shouted out to them > > 2. Fans need to understand that musicians are trying to make music, and it > is impolite to shout out sound advice to them, as it will be very > distracting, and they don't know if that individual is right about the > problem or not. I've been to many shows where the someone or many people in the audience will tell the band that someone needs to be turned up. In every instance the band appreciated the advice. At a live show the musicians and audience enter into a relationship. The audience wants to hear the musicians at their best and the musicians want to play at their best. If your not there to please the audience, then you should stay home and play in your living room. If you get up on stage, you have to take into consideration what the audience wants. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 27 Jul 1995 17:38:45 -0500 From: Patti Bowman Subject: Re: Blues families EC/JC >Do EC and JC qualify? :) Eric Clapton & Jesus Christ? Hmmmm... I thought they were the same person. Think about it. You never see them in the same place together. Sort of a Clark Kent/Superman thing, if you know what I mean. ========================================================================= Date: Thu, 27 Jul 1995 17:07:20 -0500 From: Pat Seger Subject: Re: This Week's Sign - Part II In message <199507261731.MAA20563@thymaster.interaccess.com> David Silberberg writes: > >From Chicago Sun Times, Wednesday, July 26: > > STAGE SET FOR REVIVAL OF THE BLUES BROTHERS: > handle the merchandising. ************** I would guess the key word here is merchandising. I agree that Ackroyd can easily be portrayed as a cartoon:), but any guesses as to what famous blues performers will be depicted as cartoons and who will do their voices? Red ========================================================================= Date: Thu, 27 Jul 1995 18:16:50 +0000 From: "P.W. Fenton" Subject: Audience relations > Which view do you guys hold? > > 1. The act should always be gracious to the crowd, and even should listen > to complaints that are shouted out to them > > 2. Fans need to understand that musicians are trying to make music, and it > is impolite to shout out sound advice to them, as it will be very > distracting, and they don't know if that individual is right about the > problem or not. Most definitely you should always be gracious to the crowd. Otherwise, what's the point? You might as well just stay home if the music is just for you. Besides, I always want to sound my best. So I'm likely to solicit comments from the crowd on the sound balance, volume, etc., after the first couple of songs anyway. Think of it this way... if someone tells you they can't hear the keyboard, or the kick drum is too loud, or the vocals are distorted, IT MEANS THEY'RE PAYING ATTENTION. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton ========================================================================= Date: Thu, 27 Jul 1995 15:25:09 -0700 From: Jeffrey Taylor Subject: Re: Don't bug me when I'm workin' As an amateur musician, I have learned that I can't ell if the mix is any good from the stage. As fan, I have seen too many shows lessened by bad sound. Also as a fan, I have seen several shows ruined and the band or frontsman put on my sh*t list by the vocalist bad mouthing the soundman. Usually, the band needs to turn down so the vocalist can hear him/herself in the monitors. A good soundman can do wonders, and he/she can't change the laws of physical reality. If you play loud enough, it's going to feedback. When musician friends ask me tell the break how the sound is,I give them my best opinion. I don't shout it out. My solution is to have some signals worked out with my wife when Iplay to tell how the levels are. I respect her advice, but my bandmates don't always. My personal opinion is that a good soundman has $5K of equipment and a good set of ears so he can tell the X to turn it down. ===================================== Jeff T "Blues with a feeling... ===================================== ========================================================================= Date: Thu, 27 Jul 1995 15:29:54 -0700 From: Jeffrey Taylor Subject: Re: Siblings ??? Jimmie Vaughn toured as Freddy King, Jr. ===================================== Jeff T "Blues with a feeling... ===================================== On Thu, 27 Jul 1995, Craig Edmundson wrote: > Reading the siblings thread caused me to *very* vaguely recall an > interview in Guitar Player? with Jimmie Vaughn? where he talked about very > early in his career when he toured small clubs as "T-Bone Walker's Son." > Or something like that. I'm sorry that I can't remember anything much more > specific than it was a white guitarist billed as a black guitarist's > relative. That part I am sure of. > > Also, it is my understanding that the practice of a promoter > billing a blues artist as "So-and-So's Son" or "So-and-So Junior," > whether or not they were related, was a fairly common practice at one > time. Can someone help jog my memory? Thanks. > > ][ Craig Edmundson ][ cedmunds@unmc.edu ][ > ========================================================================= Date: Thu, 27 Jul 1995 15:45:38 -0700 From: Jennifer Meserve Subject: Re: Don't bug me when I'm workin' I think a musician should always TRY to be polite to the audience, but need not stop what they are doing or pay any attention to what the fan says. My boyfriend plays music predominantly at establishments that serve alcohol (ie clubs, bars, taverns, etc.), and there is nothing more annoying than some drunk asshole yelling at the musicians on stage to turn it up/down, play Led Zeppelin, ACDC, (fill in the blank), etc. Of course sometimes the audience has a legitimate opinion. If a big percentage of the audience is yelling turn it down, or whatever, the musican/band would be smart to turn their monitors around ;-) and get a clue how loud they are to the audience. So I suppose it depends on the fan/critic. It's very rude when an audience member goes up to the musicians and tells them how to do their job, regardless of whether said fan knows anything or not. If the fan thinks they know what they're talking about, it would be polite of them to wait until a break to voice their opinion. The musician may then decide whether they want to be polite or yell obscenities at this person. I go to 99% of my boyfriend's gigs, and as a "girlfriend" I have no problem telling the band if I think they are too loud, nor do other friends of the band. I guess the point is that the band's friends will usually let the band know of any sound problems. So, to answer Don's question, I would say the musician should be gracious, if possible, but SHOULDN'T really listen to the advice given. At least not take it to heart. David (my guy) has had nights where the audience just thought he was the greatest, but he didn't really feel "on," but then there are other nights when he plays great and the audience just kind of looks at him, so never pay too much attention to the audience. As a whole, they may know what they like, but they don't know what they are talking about. :-) Jennifer M. Meserve On Thu, 27 Jul 1995, Don Cicchetti wrote: > This post (thanks Ron) got me thinking about a new thread. > > >Decided to go see Charlie Sexton last night (got in free). After the > >first song, someone in the audience suggested to Charlie buddy that the > >bass was a bit too loud (It was). Charlie gave him the finger and told > >him to go down the street to a sports bar if he didn't like it. > > Since we have lots of both musicians and fans on the list, how do you guys > relate to this? > > How should a musician react when someone from the crowd yells out to the > act, that the (whatever) is too loud, or too soft etc? > > As a musician, I ignore sound levels and stuff and try to get into that > place/mood where great music happens. (hint: it's NOT the analytical side > of the brain) Yet as an audio engineer I have been to so many concerts > where the balance was off, or the level was too loud or whatever that I can > understand people's frustration with sound problems. When I am playing, I > don't want the crowd yelling out "free sound mix advice" to me, and if > someone did, I wouldn't flip them off, but it would be annoying. I > would give the bass guy a glance tho... :-0 > > Which view do you guys hold? > > 1. The act should always be gracious to the crowd, and even should listen > to complaints that are shouted out to them > > 2. Fans need to understand that musicians are trying to make music, and it > is impolite to shout out sound advice to them, as it will be very > distracting, and they don't know if that individual is right about the > problem or not. > > or what? > > Don > > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Event Services & Studio Production > dcicchet@vega.lasierra.edu > > There was a time, within the memory of some of us, > when American popular music was full of exaltation, pain & wit... > The raw intensity of Muddy Waters, > or the virile inventiveness of Duke Ellington.... > > - Robert Hughes > ____________________________________________________ > > ========================================================================= Date: Thu, 27 Jul 1995 16:44:55 -0800 From: Don Cicchetti Subject: Re: Blues Families/estranged >On Thu, 27 Jul 1995, Ed Mezynski wrote: >> Ted and Tina Turner Dang, wasn't that sad wen dey broke up? And I jest miss dat "Ted and Tina Turner Review" too, and dem cute little Teddettes.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 28 Jul 1995 02:06:43 GMT From: Doc Doc Subject: Re: Guitar Crusher / Hash Brown Peter Welch wrote: >Guitar Crusher and Hash Brown? Does anyone know anything >about these two guys? What are their CDs like? ========================================================================= Date: Thu, 27 Jul 1995 20:16:25 -0400 From: Dick Waterman Subject: Re: Guitar Crusher / Hash Brown I think these guys were part of Henry Quall's band at Miss Valley Blues Fest earlier this month. ========================================================================= Date: Thu, 27 Jul 1995 19:18:55 PDT From: "R. J. Bauman" Subject: Re: Luther Allison on Motown? >I recently saw in a catalogue a Luther Allison LP called >"Luther's Blues" on the Gordy label...Is this the same "Gordy" >label as the Motown subsidiary? Has anyone heard this album? > >Thanks, > > >Peter W. > Gerard Herzhaft's "Encyclopedia of The Blues" said this was the best album he had recorded to date. That's awfully impressive considering the 5 albums I have. I've been searching for a copy ever since. I thought I found one on the net at a record page set up for independent dealers, but the e-mail was never answered. I'm almost certain this is out of print. The guy wanted $15.00 for a used LP. I don't have a very good track record with Herzhaft's opinions, so it is quite possible that this isn't Luther's best work. If it's better than the "Live In Paris" import, it's worth way more than $15.00! I'm told it's on Motown records. Iguess I'll try further searches on Gordy, the sub label. RJ Bauman ========================================================================= Date: Thu, 27 Jul 1995 20:18:53 -0400 From: James Leftwich Subject: Poconos performers Hey, Could someone shed light on any or all of these musicians appearing at the Poconos Blues Festival this weekend? Smokey Wilson Jerry McCain Artie "Blues Boy" White Sherman Robertson Juanita Williams Thanks, Jim ========================================================================= Date: Thu, 27 Jul 1995 20:23:46 -0400 From: "Roy W. Forgy" Subject: Re: Don't bug me when I'm workin' >> How should a musician react when someone from the crowd yells out to the >> act, that the (whatever) is too loud, or too soft etc? If someone's mic. is to low or too loud or the whole band is to soft or loud, I wait till they take a break and approach a member of the band and try, in a nice way to relay the problem. After all they may not be aware of the problem, and up til now I have never had anyone be rude to me for the suggestion. Although some have ignored me and in some cases I have made the choice to leave. ========================================================================= Date: Thu, 27 Jul 1995 20:37:14 -0400 From: Jacquelin Katz Subject: Re: blues families/siblings Joe and Chris Beard (Rochestarians) Jackie Katz jkatz@mcls.rochester.lib.ny.us ========================================================================= Date: Thu, 27 Jul 1995 19:55:36 PDT From: "R. J. Bauman" Subject: Re: Don't bug me when I'm workin' ===================== Try walking around the room and listen for that "sweet spot" and sit down.======================= I subscribe to this "sound pressure" theory whole-heartedly. It can make all the difference in the world just to MOVE. RJ Bauman ========================================================================= Date: Thu, 27 Jul 1995 19:56:43 -0600 From: Ranko Vujosevic Subject: Blues happenings in central Iowa August 5-11 > I'll be in central Iowa from August 5 thru the 11. I was hoping someone in > the area could send me info on blues happenings that may be scheduled for > that time in the Des Moines - Ames areas. > > Thanks > > Bob Page > Bob, you are a lucky man! 1. August 6 - Newton, Iowa (about 25 miles east of Des Moines on I-80): 3rd Annual Bowl Full of Blues 9 hours of blues - Featuring: Tinsley Ellis, Chubby Carrier and Bayou Swamp Band, Big Mike Griffin and the Unknown Blues Band, Kevin Gordon, Tom Gary, Rob Lumbard, Lil' V and the Heartstoppers Gates open ay noon. Music starts at 1:00 Place: Fred Maytag Bowl, Maytag Park Tickets: advance $12, day of show $15 (I got some tickets for $10 for our members, so get in touch with me if interested. I WILL BE THERE!!!!!) Sponsored by South Skunk Blues Society 2. August 6 - Cedar Rapids, Iowa BLUESMORE '95 Featuring: Magic Slim and Teardrops Lil V and Heartstoppers Denis McMurrin Music starts at noon. place: grounds of historis Brucemore mansion, 2160 Linden Drive SE Tickets $6 advance, $8 at the door (again, i got $6 tickets and will be there too Sponsored by the Linn County Blues Society Ranko ps. Well, when I am still here to announce that SATAN and ADAM will be playing Iowa City on September 2, at 8:00pm. Sponsored by Johnson County Blues Society. ========================================================================= Date: Fri, 28 Jul 1995 00:59:01 GMT From: Rennie Selkirk Subject: Re: Blues families/siblings Add Buddy and Phil Guy. Robben Ford and sibs HJB ========================================================================= Date: Thu, 27 Jul 1995 21:02:45 -0400 From: "David L. Prychitko" Subject: Blues families/siblings (For some reason my original mailing of this post was returned to me, so I'll try again...) Lonnie Brooks and Ronnie Baker Brooks James and Lucky Peterson Carrie and sons Lurrie and Tyson and James Bell (all on Lefty Dizz' "Ain't it Nice to Be Loved" JSP) Eddy Clearwater and Joe Harrington (cousins; Eddy and Carey Bell also cousins) J.B. Hutto and nephew Li'l Ed Williams Robert Johnson and stepson Robert Jr. Lockwood Junior Kimbrough and son David Malone R.L. Burnside and son Duwayne and grandson Cedric (drums on recent tour) Jimmie and SRV Big Daddy Kinsey and sons Donald, Ralph, and Kenneth Brothers Louis and Dave Myers Eddie Shaw and son Vann Shaw Willie Dixon and son Freddie Dixon (of Sons of Blues) Rockin Dopsie and Rockin Dopsie Jr. (on washboard or whatever it's called) John Lee Hooker and cousin Earl ... Dave Prychitko ========================================================================= Date: Thu, 27 Jul 1995 21:54:05 -0400 From: "Bluzman Ed@Aol.Com." Subject: Another voice lost Fellow Blues-l-ers I only recently learned of the death of Mrs. Van Zula Carter Hunt, a Memphis Blueswoman. I have been a fan of hers for many years. Mrs. Hunt was born Van Zula Carter, Sept 1, 1901, in Somerville TN. and died on May 4, 1995, at home, in Memphis, TN. I came to know her in 1972 when she and Hammie Nixon made a recording in Memphis, and the band included my son Michael. I fell in love with her powerful and commanding voice, and took every opporunity to listen to her. Her first recording was as a vocalist on a Victor release (64738-2-Vi23319) in 1930, issued, I believe, under the name of the Carolina Peanut Boys. The artists on the recording were Noah Lewis, on harmonica; John Estes, guitar; Ham Lewis, jug: Mrs. Van Zula Carter Hunt, vocal. She didn't record again until the seventies, when she did some tracks for Adelphi Records, and a private release on a Memphis Label called Jug Band Records with Hammie Nixon. She worked in family band in the Somerville area as a child and moved to Memphis when she was a teenager. Her early career was as a performer in various minstrel shows such as Rabbit Foot Minstrels, Joe Bailey Minstrels, Silas Green from New Orleans and others from c1917 to early 40's. She appeared in her own Madame Hunt's Traveling Show during the 30's. Van also toured with Bessie Smith in the Rabbit Foot Minstrels / Royal American Shows from 1926 into 30's. She retired from the circuit in 1945, but not from music. She continued to perform locally in and around Memphis, where she was a favorite with such Beale Street artists as Mose Vinson, Furry Lewis, and Booker T. Laury. She often appeared at the various blues festivals held in Memphis, from the early 60's and well into the 80's, when declining health slowed her activities down. She has her picture on the wall at the Center for Southern Culture on Beale Street, and a place of honor and a video of her singing and playing the guitar in the Beale Street Blues Museum at the old Daisy Theater in Memphis. She was vastly under recorded, and never achieved much notice outside her circle off peers, but to those of us who were fortunate enough to know her and hear her, her voice and contribution to the Blues will never be forgotten. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Thu, 27 Jul 1995 21:11:33 -0500 From: Craig Edmundson Subject: Re: Blues Families/estranged Good job Ed! I also laughed out loud in a quiet office. But you forgot... Mississippi John Hurt and grandson - actor John jazz drummer Mel Lewis and wife - puppeteer Shari Kim Wilson and his uncle - comic Flip Junior Wells and wife - c/w queen Kitty ][ Craig Edmundson ][ cedmunds@unmc.edu ][ On Thu, 27 Jul 1995, Ed Mezynski wrote: > Lonnie and Mel Brooks > Hound Dog and Elizabeth Taylor > Gary and Mary Tyler Moore > Albert and Joan Collins > Robin and Gerald Ford > Johnny and Shelly Winter > Ted and Tina Turner > Johhny and Aarron Copeland > Dr. and Elton John ========================================================================= Date: Fri, 28 Jul 1995 15:18:50 +1000 From: Daniel Bruce Subject: Pick of the Week Following on froma recent post about - Resurrection of the Bayou Maharajah by James Booker, I ordered the CD and it is amazing. The man is an incredible pianist. Also, I picked up Joe Louis Walker's latest JLW which I enjoyed at first listen, haven't been back for another listen yet. Also, picked up a four CD set called Still got the blues (from Europe) which was the price of a single CD but contained four CD all over 1 hour each which had some graet music on them. Unlike most compilations there are a good mixture of well known and lesser artist. The sound is good throughout and the performances invarianbly inetresting. Not a set fpor nthe blues beginner but a great chance to widen horizons and listen to many different artists without buying a CD of each. All tracks are from Red Lightnin' See ya!!! -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Fri, 28 Jul 1995 01:56:10 -0400 From: craig o'donnell Subject: EG: practice amp ...Can anyone recommend a good practice amp that sounds pretty bluesy and ...sounds good at low-volume? I play a Fender Strat. ... ...Jim Leftwich Jim, My friend Todd Colburn (blues & jazz gtr) likes the Fender Sidekick 25. He says they can be found used for $50-80. It's 25 watts, solid state. I personally like the Park G10R, a 10 watt amp made by a Marshall subsidiary. Very versatile tone, with just a lick of dirt in it even on clean. Great for Strat. Sounds good quiet or all the ay up ("loud"). (My friend Tom plays a Strat, loves his). These cost about $100 new. There's also a Park G25R, which sells for about $180 new. Ten inch speaker and 25 watts, very good sounding for the money. All of these are small, with the Park 10 the smallest, the Fender in the middle and the Park 25 "biggest". --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Fri, 28 Jul 1995 01:56:21 -0400 From: craig o'donnell Subject: Jeff Healey in Boston ... At Bogart's in Corryville, Jeff Healey. Tickets available at Bogart's ... or from TicketMaster. He should be in Boston in 2 weeks, I believe, 5:30 PM in Copley Square Park (next to the Hancock Bldg, the Public Library, and Copley stop on the Green Line). --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Fri, 28 Jul 1995 01:56:24 -0400 From: craig o'donnell Subject: Fab T Birds Fabulous T Birds in Boston ----------------------------- Did any other blues-l'r see the T Birds this evening in Boston? --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Sat, 29 Jul 1995 01:59:55 GMT From: Andrew Gregg Subject: Re: Blues families/siblings >Willie Dixon and son Freddie Dixon (of Sons of Blues) What aboout Bobby. When I saw him he played with a local band & I thought he was a sellout! ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Fri, 28 Jul 1995 06:27:31 GMT From: Tony Burke Subject: Re: Guitar Crusher / Hash Brown Guitar Crusher? Yeah, we have had his new CD through. Guitar Crusher, rn Sid Selby cut a number of fine 45's in the early 60's and did a great 45 on Blue Horizon called "When My Baby Hit The Numbers" I used to have it, but can't find the bugger now!! Anyway, the new CD was cut in Germany where Crush lives with his German missus. Alvin "Fastfingers - Goin' Home at Woodstock with my CND badge on my guitar" Lee appears as a guest. I played it a coupla times before Keith sent it out for review and Sid was in good form - except that he does a coupla country toons which are dreadful. I suggest you wait and see what our reviewer says although I can put you in touch with Sid if you desperately need a copy. Anyone out there sees my copy of the Blue Horizon 45 tell it to call home! ========================================================================= Date: Fri, 28 Jul 1995 02:41:15 -0400 From: Fred Sokolow Subject: Re: Albert Collins' guitar tuning The Albert Collins tuning was (from the bass 6th string) F, C, F, Ab, C, F. This is the same as the Delta E tuning (EBEG#BE) up a fret, except for the third string, which is a minor third in the Collins tuning...in an Fm chord. He called it a D tuning, and it is, in fact, a Dm7b5 chord without the root. He capoed anywhere to change keys, as high as the 12th fret. I'm quoting from my book called Fender Telecaster, which has two Collins solos & lots of other solos by people who are associated with the Tele (including Muddy). I gotta say...you can E-mail me your snail-mail address for a free catalog of my blues, jazz, country etc. books & tapes & videos...there, I feel better...Fred Sokolow ========================================================================= Date: Fri, 28 Jul 1995 03:16:53 -0400 From: Fred Sokolow Subject: Re: Kansas City I was in Kansas City once with a bunch of musicians & we went looking for the corner of 12th St. & Vine as in the song, and we were on one of those streets but couldn't find the other one (can't remember if we were on 12th st or Vine)...and everyone we asked didn't know what we were talking about...I expected banners on a corner & people selling K.C. bottles of wine or something. I remember there was an Ella Fitzgerald Ave. Anyone know about this corner & where we went wrong? ...Fred Sokolow ========================================================================= Date: Fri, 28 Jul 1995 03:54:29 -0400 From: Don O Subject: hash brown Here are the liner notes I wrote for Hash Brown's latest release, "Rollin Blues". This will give you some brief background material and a little info on his recordings. In June this band played 27 gigs in DFW, which is pretty amazing when you consider how many blues bands are fighting for gigs around here. In addition to his two albums he appeared on Zuzu Bollin's album, Henry Qualls album and a number of compilation albums. Dick Waterman is correct (of course). Hash Brown and band often back up Henry Qualls both in DFW and on the road. .............. In 1983 Brian "Hash Brown" Calway relocated to Dallas from his native Connecticut, in part, to take advantage of the rich blues scene in Texas. He immediately tapped into the motherload, attending gigs and playing at clubs like The Nash Street House and The Prohibition Room. He got to know dozens of local musicians and eventually recorded his first self produced 45. One of the songs from that 45 was "On the Prowl", newly revived for this album. In making the rounds Hash got to know the movers and shakers of the Dallas Blues scene. He became friends with Zuzu Bollin and backed him on numerous shows (including the Chicago Blues Festival), did a weekly blues radio show on KNON FM, contributed tracks to several compilation albums, MC'd special events for the Dallas Blues Society, hosted jam sessions, shared a house with Sam Myers, and played in numerous local bands. In 1990 Hash Brown's friend, Zuzu Bollin, was dying. Chuck Nevitt's Dallas Blues Society records had released a successful comeback album but Hash wanted to get him into the studio one last time. He gathered together his many friends, including Zuzu, and recorded an outstanding, old style, big band blues album. It took two years to finish the project which was finally released in 1993 (Hash Brown and Friends, Double Trouble Records #3032). The result was a beautiful tribute to Zuzu and a style of blues that is rarely heard these days. Unfortunately, it is just about impossible for a eight or nine piece blues band to make it economically. It's hard enough for a three piece to make it. The money just isn't there to pay everyone. It was that economic reality that led to the formation of the Hash Brown Band. Hash knew Terry Groff Montgomery from a stint in a band called The Weebads and from his work with The Cricket Taylor Band. Terry was an accomplished jazz guitarist who made the switch to bass because it meant more work. He's basically over qualified to be a bass player and maybe that's why he sounds so good. Brooklyn born drummer Bobby Baranowski also has some heavy qualifications. He recorded two albums for RCA while in the band The Werewolves and went on to work with Lou Ann Barton, Reverend Horton Heat, Mike Morgan and The Crawl, Killbilly, Jim Suhler, and finally The Weebads before joining the Hash Brown Band in 1992. This tight, professional unit works five or six nights a week, every week. That's a lot of work for a blues band anywhere, but in the Dallas/Fort Worth area, where's there's more than 60 active blues bands scuffling for gigs, it's plumb amazing. The goal of this album was to capture the sound of the hardest working blues band in DFW. I think they succeeded. The songs on this album were recorded and mixed in four sessions between October 24 and December 2, 1994 at Sumet-Bernet Sound Studios in Dallas, Texas. Hash Brown has recorded at Sumet several times and knows the studio well. He chose the big room, Studio A, for it's superior sound, and Bob Sullivan as Engineer because he's the best there is. Nick Connelly was brought in to add some piano to a few tracks and Chris Whynaught, now fronting Mike Morgan and The Crawl, adds some tasty sax to Sleepyhead. All the songs here are originals and you'll find a nice mix of blues styles. There's instrumentals, vocals, harp, guitar, shuffles, boogies, a little rock, a ballad, and even a tune in the style of one of Hash Brown's new friends, Henry Qualls. It's a complete package, yet it's only a small sample of what these guys can do live. There's no doubt in my mind that this album will lead to bigger and better things for this band. Before long they're going to be out on the road following in the footsteps of Dallas musicians like Anson Funderburgh, Smokin' Joe Kubek and Bnois King, Mike Morgan and the Crawl, Jim Suhler and Monkey Beat, The Prowlers, and all those other road dogs from Big D. This album proves that The Hash Brown Band can hang with anyone as far as playing and original material is concerned. Enjoy. .............. If you are interested in this CD, e-mail me and I'll pass along Hash Brown's mailing address. You can get copies direct from him (it is a self-released project). My only association is that these guys are friends of mine. Bill Shute also previously posted a very nice review of his earlier CD on Double Trouble. Don O. KNON FM Dallas don.o@chrysalis.org ========================================================================= Date: Fri, 28 Jul 1995 05:21:55 -0400 From: C Horst Subject: "Police and High Sheriff" I am looking for a CD copy of Ollis Martin's "Police and High Sheriff" (a good harp tune that I would like to tinker with). Any help would be appreciated. --Colin Horst ========================================================================= Date: Fri, 28 Jul 1995 07:17:46 -0500 From: Richard Flohil Subject: Re: Stony Plain In response to Pat Hertel's query about Stony Plain records, and whether owner Holger Petersen still worked out of his basement, I posted a note about the progress of the company. As a newbie I screwed up, so I'm re-posting it! Disclosure: I work with the company as its publicist... However, Pat will be pleased to lnow that Holger purchased the house next door to his for use as an office, and the four-person staff are now working in relative comfort! The label is busy, and there are a number of projects of interest to blues fans. 1) The new Jimmy Witherspoon produced by and featuring Duke Robillard, with Scott Hamilton providing some booting tenor sax (Spoon's Blues SPCD-1211. 2) A new Long John Baldry, with recording starting in Edmonton just after the Folk Festival in August, at which John is appearing (as well as Roscoe Gordon, Amos Garrett, Ry Cooder, Jo-El Sonnier, Elvis Costello-don't worry, it's sold out). This will be John's third for the label, and is likely to be more acoustic. 3) Reissue of two previous llen McIliwaine albums (see previous posts). 4) Reissue of Walter Horton with Hot Cottage, an album Horton made in Edmonton some 25 years ago with a local band, and due shortly. Brilliant sleeve notes by this writer! 5) Stony Plain has the new King Biscuit Boy album in Canada (Blue Wave in US, and very good indeed-probably the best he's ever done). 6) Coming up early next year, a new album drawing on jug band influences and early days with Maria Muldaur (Stony Plain has two previous releases in the catalogue: Jazzabelle (1993) on SPCD-1188 and 1983's Sweet & Slow with Dr. John and Kenny Barron on SPCD-1183). 7) A new album by actor Jim Byrnes, who leads Vancouver's hottest bar band, due around September. 8) Another album to add to those released already by guitar whiz Amos Garrett, due in the next six months or so. 9) There are also two albums by Rita Chiarelli, a powerful Toronto-based blues singer who's just returned from her third tour in Germany; Colin Linden provides acoutic support on one of the tracks of her latest effort. The label also releases a wide range of other roots music-there's a full catalogue of releases by Ian Tyson (late of Ian & Sylvia), strong country music by Cindy Church and South Mountain, the reissue of all Jesse Winchester's marvellous '70s albums for Bearsville. Look out for Bobby Charles' great new album (with Neil Young, Fats Domino, Willie Nelson and Sonny Landreth) called Wish You Were Here Right Now (SPCD-1203); trhe label has also re-released his Bearsville album from '71. In addition Stony Plain, via its deal with Warner Music Canada, also distributes Blind Pig's catalogue in Canada. Holger Petersen continues his two-hour weekly show Saturday Night Blues on the national CBC AM Radio network (tune in at 11.03 p.m. each Saturday), and Natch'l Blues, which he's been doing every week on Alberta Access Radio for 25 years. Next year will mark the label's 20th year in business, and we'll be working on a big double CD birthday package, and maybe a Stony Plain artists' tour. If anyone out there needs a Stony Plain catalogue, or want to know more about the label, phone SP at 403 468-6423 (FAX 465-8941). They have a disappearing pile of "final vinyl" some collectors may care to check out, too. Slowly, the company will move into a developed home page, E-mail and all the rest of it in the next year. Other queries? E-mail me at rflohil@inforamp.net and I'll try to help. And, Pat, thanks for the opportunity to tell y'all what the label's up to! Cheers, Richard ========================================================================= Date: Fri, 28 Jul 1995 11:52:16 GMT From: Art Schuna Subject: Re: Luther Allison on Motown? In article <199507272003.QAA123775@poe.acc.Virginia.EDU> Peter Welch writes: >I recently saw in a catalogue a Luther Allison LP called >"Luther's Blues" on the Gordy label...Is this the same "Gordy" >label as the Motown subsidiary? Has anyone heard this album? I listened to this LP last night. It's pretty much straight blues. As the Talking Heads sang - "...This ain't no disco, this ain't no foolin' around". Many of the tunes on this LP I recognize as ones he continues to perform today. You won't here the Motown sound you've come to expect from the Gordy label. Only one song, "K.T." has more of a funk influence. If it becomes available on CD or you come across a copy in the used record bin, buy it. I suspect this didn't sell very well at the time it was released as Motown would not have known how best to market it and many blues purists would have shied away from it thinking they'd be getting the Motown sound. Other songs include Luther's Blues/Someday Pretty Baby/Easy Baby/Part Time Love/Now You Got It/Let's Have A Little Tlak/Driving Wheel/Into My Life > Thanks, Now if you want to hear a different sound from Luther, try "Hand Me Down My Moonshine" on the German import Inak label. This could be titled Luther Unplugged. It's just Luther Allison on guitar with an Acoustic bass backup for the 10 of the 12 tracks. These recordings (except for 2 tracks) were made in Luther's living room on a DAT recorder. This makes for a different sound than what we've become used to from Luther. I was a little hesitant to buy this as I'd heard that some of the recordings from this period are a little uneven, but I found this very enjoyable. Art Schuna ========================================================================= Date: Fri, 28 Jul 1995 07:55:53 -0500 From: "Ronald W. Fitch" Subject: Freddy King/Antibes > Well, I took the advise of a 'zeller and tried >German Music Express (telnet 199.35.15.200) >I think the word "Express" renders it oxymoronic >(like Rapid Reaction Force). Anyways after about t >three weeks the results are in: > >Order: H053247 of: 7/10/95 In Process >--------------------------- >WOTR860111 KING*FREDD FREDDYLIVE, ANTIBES 1974 : Out of Stock > >.... the search continues > > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [27/7/95 11:26 AM] >"Thursday's always sad..." Me too ... thought I'd found the promised land and checked back nearly every day to see if the disc had been shipped. Bad news hit today. Built me up just to bring me down. Ron Fitch University of Northern Iowa ========================================================================= Date: Fri, 28 Jul 1995 08:16:15 CDT From: L W Subject: Check Presentation...Opinions PLEASE When presenting the donation to the DBM. Should I/WE do it "on stage' at the fest or should I/WE go by the DBM and present. In other words do you feel it's a big enough "deal" to do it "on-stage" or just quitely give it to the DBM. LW ========================================================================= Date: Fri, 28 Jul 1995 08:49:39 -0500 From: Jeff Seale Subject: Re: Luther Allison on Motown? On Fri, 28 Jul 1995, Art Schuna wrote: > Now if you want to hear a different sound from Luther, try "Hand Me Down My > Moonshine" on the German import Inak label. This could be titled Luther > Unplugged. It's just Luther Allison on guitar with an Acoustic bass backup > for the 10 of the 12 tracks. These recordings (except for 2 tracks) were > made in Luther's living room on a DAT recorder. This makes for a different > sound than what we've become used to from Luther. I was a little hesitant > to buy this as I'd heard that some of the recordings from this period are a > little uneven, but I found this very enjoyable. I'll second this one. After listening to Luther wail on Soul Fixin Man, it is refreshing to hear him bare it all on this acoustic release. What a talented guy. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Fri, 28 Jul 1995 07:54:49 -0600 From: Jessica Jones Subject: Venues in Idaho, Eastern Washington? Help please, In October, Bleecker St. will be traveling from Missoula to Seattle. Are there any clubs for this acoustic blues trio to book into on a Mon. or Tues. night in Spokane or Coeur D'Alene, or anywhere in between Mizzou and Seattle, to break up the road a little? All help appreciated. jessica jessicaj@spot.Colorado.edu ========================================================================= Date: Fri, 28 Jul 1995 09:55:36 -0400 From: Jim Armstrong Subject: Re: Blues Festivals In a message dated 95-07-25 11:06:22 EDT, pinhead@INTERLOG.COM (Linden/Powers) writes: >Wondering if there is a comprehensive list of Blues Festivals???? This >would be invaluable to blues fans and blues musicians alike. Hmmmmmmmm???? > > There is a listing in the latest Blues Access. That's only three something. ========================================================================= Date: Fri, 28 Jul 1995 10:08:55 EDT From: ron kraemer Subject: Back from San Fran/West Coast Back online after my buddy's "Wedding of the Decade" in California. Quite a time. I made it to Lou's on the Wharf on the 12th, but not until midnight. Mike Hewitt, if you were there, sorry I missed you. I had my Blues-l shirt on, and a few folks were eyeing it up. Saw Annie Sampson that night, doing mostly R&B tunes for her last set.....not straight blues. The band cooked fairly well, and their instrumental intro to the last set was MY personal highlight. I did see Lauree Watkins playing on the street, right under the big Fisherman's Wharf sign. He played a sweet sax, and his guitar player had some nice lead runs a la SRV. Right near the Grotto, and a great place to sit and eat and listen. msbeale@aol.com also generously offered to get my party of 4 into the Mose Allison show. As vacations go, and traveling with other people, it just didn't happen. Thanks for the offer, though. My other Blues-related event was picking up used cassettes on Haight St. I had a rental for a week, and desperately needed tunes for my drive into the Stanislaus Mountains for the Wild Wedding. I was also heading to Yosemite Valley afterwards, and they were a lifesaver. I picked up tapes by BB, Gatemouth Brown, Illinois Jacquet, Champion Jack Dupree, Al Dimeola, Duke Robillard, and one other that escapes me. Prices were $2.99-$4.99, which made them sound even better. I don't have all the titles here at work, but I'll post a brief review soon. Good to be back, but not back to work. :( Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Fri, 28 Jul 1995 10:14:28 -0400 From: Steve Levine Subject: Re: Blues families/siblings Here's one I forgot: Virginia bluesman John Jackson has a son named James who's a fine guitarist and singer. ========================================================================= Date: Fri, 28 Jul 1995 10:27:57 EDT From: ron kraemer Subject: Pocono Blues fest info? (and shameless plugs) Since I was NO-MAIL, I've missed the scoop on the Pocono festival, which I'm sure has been discussed here. Can anyone send me the details (directions, cost, performers, phone # to call, etc). If it's been discussed ad nauseum, please e-mail me privately. My harp player, Kevin McGowan (1-800-27HARPN), left yesterday and said he was giving Gary Primich (sp?) a ride up, who he's pals with. He better come back with good stories, because he missed band pratice for it! :) BTW, my band "Blues 1" will be playing our FIRST GIG (yea!) on August 11th, in Bordentown, NJ (right outside of Trenton). I've been practicing Blues for 15 years, and this is my first bar gig! No, I'm not TOO psyched... Wish me luck! And, thanks for any Pocono info. Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Fri, 28 Jul 1995 09:53:57 PDT From: "R. J. Bauman" Subject: Re: Check Presentation...Opinions PLEASE You might consider doing it at the DBM and ask if they could publically acknowledge Blues-L on stage. Then you wouldn't appear to be trying to "show off" or flaunt it. I bet they'd be happy to say, "Many thanks to blues-l, bla bla bla, Marcia Grodsky bla bla bla, Bob Unger, bla bla, let's give 'em all a hand!! >When presenting the donation to the DBM. Should I/WE do it "on stage' at the >fest or should I/WE go by the DBM and present. > >In other words do you feel it's a big enough "deal" to do it "on-stage" or >just quitely give it to the DBM. >LW > RJ Bauman ========================================================================= Date: Fri, 28 Jul 1995 09:52:43 CDT From: L W Subject: Re: Check Presentation...Opinions PLEASE ----------------------------Original message---------------------------- >You might consider doing it at the DBM and ask if they could publically >acknowledge Blues-L on stage. Then you wouldn't appear to be trying to >"show off" or flaunt it. I bet they'd be happy to say, "Many thanks to >blues-l, bla bla bla, Marcia Grodsky bla bla bla, Bob Unger, bla bla, let's >give 'em all a hand!! I think that's the way to do it.....anyone object ? LW ========================================================================= Date: Fri, 28 Jul 1995 09:54:56 -0500 From: Pat Seger Subject: "done a bad bad thing"?? Can you identify this song? I caught part of a song on the radio yesterday, and it is driving me crazy trying to identify it. Not really blues, but someone here _must_ know what it is. Kept repeating "they done a bad, bad thing" in the background all the way through the part I heard. Thanxs for the help. Red ========================================================================= Date: Fri, 28 Jul 1995 11:42:31 -0400 From: Tom Morgan Subject: Virginia Blues Festival Some people have privately e-mailed me asking about this year's Virginia Blues Festival held on Labor Day Weekend. I received word yesterday that the 1995 Virginia Blues Festival has been cancelled. :( This was due to scheduling problems rather than lack of interest. I hope that the board of directors will vote next year to revive the Festival. Now what am I going to do for my Labor Day Weekend blues fix? Tom ========================================================================= Date: Fri, 28 Jul 1995 11:32:00 CDT From: Bonnie Kalmbach Subject: Blues Families/estranged Then there's: Elmore and Richard Nixon Luther and Fran Allison (of the Kuklapolitan Players) Muddy and Ethel Waters (now there's a musical combo) Fred and Andie McDowell this is a more easliy accessible thread for me than the one about amps etc. -Bonnie ========================================================================= Date: Fri, 28 Jul 1995 11:41:00 CDT From: Bonnie Kalmbach Subject: Vaults\Dumb Question Dick Shurman just alluded to the "vaults" of Motown. What I've always idly wondered is if record companies really have vaults like banks with thick heavy doors, wheels, levers, and combinations. Or is this just a generic term? Some producers - I've read in liner notes (e.g. Jay Miller??) have been said to keep old tapes in shoeboxes in a closet - is that considered a generic "vault"?? -Bonnie the K. (no, I really don't call myself that on the air - except when I'm being silly/uncool). ========================================================================= Date: Fri, 28 Jul 1995 10:36:08 CST From: "Dave Luciani, CE Video" Subject: Blues dream My blues dream takes me back to a humid day in late August 1990 at Alpine Valley in East Troy, Wisconsin. In my dream I'm backstage and somehow I convince Stevie Ray Vaughan not to board a helicopter after his jam with Jimmie Vaughan, Buddy Guy, Robert Cray and Eric Clapton. A dream that erases the tragic death of this incredible blues talent. Imagine the magic we've missed out on the past five years. - Dave ========================================================================= Date: Fri, 28 Jul 1995 12:21:48 CDT From: Dave Kneifl Subject: Re: Blues families/siblings Earlier, Steve Levine wrote: Here's one I forgot: Virginia bluesman John Jackson has a son named James who's a fine guitarist and singer. ------------------------------------------------------------------ Since I am new to this list (just signed up this morning), I don't know how long and in depth the blues siblings discussion has been. This pair may have already been mentioned, but in case they haven't... Three weeks ago I caught the Fabulous Thunderbirds and Lonnie Brooks in Beloit, Wisconsin, at the Riverfest. One of Lonnie's band members, his son (I think his name was Ronnie), is an excellent guitarist and singer in his own right. He played the first couple of songs in the set, including a truly awe-inspiring cover of SRV's "Pride and Joy", before introducing his father. Ronnie has a stage presence, outfit, and playing/singing style very similar to SRV, my favorite blues artist by far (just ask ANY of my friends ;-) ) Seeing Ronnie perform an SRV song in fateful southern Wisconsin was almost like seeing a ghost. I saw SRV in concert only one time, in September 1988, in Madison, WI. That was the day I became a blues fan. The opening act, as it happens, was the Fabulous T-Birds, which of course included Jimmie Vaughan at that time - another fine blues sibling pair. I'm very happy to see that this is a pretty active list, unlike some other lists I have subscribed to lately. Later- DK Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning Computers make very fast, 432 N Lake Street Rm 104 very accurate mistakes. Madison, WI 53706 ========================================================================= Date: Fri, 28 Jul 1995 12:02:45 -0500 From: Richard Shurman Subject: Re: Vaults\Dumb Question Haven't you ever heard the song "It's My Own Vault, Baby" which implies that all artists must keep their own vaults? My favorite example of bad archiving was Mel London destroying many of his masters (Jr. Wells, Earl Hooker, Magic Sam, etc.) by smoking in bed, starting a fire and having the tapes in his bedroom. Unfortunately, he's probably closer to the norm for a small blues label (or Atlantic, which had a big fire in '76) than MCA, which has a fortress. ========================================================================= Date: Fri, 28 Jul 1995 18:10:50 GMT From: Bob Salmons Subject: LONDON BLUES GIGS - SEE 5 GREAT ACTS ALMOST FREE On August 4th & 5th the London Borough of Ealing are promoting two blues concerts at :- WALPOLE PARK MATTOCK LANE EALING LONDON W5 7.00 to 10.30pm admission is by voluntary donation i.e. virtually free artists appearing are :- FRIDAY AUGUST 4th - THE MIGHTY 45's GETZ LOOSE SATURDAY AUGUST 5th - GILES HEDLEY DOC COX AND HIS BIG BOOGIE SPOONFUL THE GUV'NORS The Mighty 45's are a fine contemporary outfit who feature ex members of the Sonny Black band. Getz Loose feature ex Medicine Head harmonica wizard Peter Hope-Evans Giles Hedley plays bottleneck guitar with a great feel for delta polyrhythms. Doc Cox is the artist formerly known as Ivor Biggun. The Guv'nors specialize in funk-blues and are promoting their CD 'A Funky Spanking of the Blues' ========================================================================= Date: Fri, 28 Jul 1995 11:53:26 -0700 From: Ron Wack Subject: Re: Don't bug me when I'm workin' Item Subject: Message text Thought I'd get my 2 cents in because I witnessed the incident with Charlie Sexton. My immeadiate reaction was to support CS since he considers himself, and is, a professional musician. I can understand his point of view. However, his handling of the situation lost him a lot of respect with the people who contribute directly to his success in the music industry, namely the people who buy his disc's and attend his performances. A more suitable response may have been, "Thank you sir" and either look into it or ignore the comment. The fan in the audience could have phased his comment differently. Instead of yelling, "Turn the bass down!" he may have tried, "We can't hear your guitar!", which was the case. I know it's not much fun having to pussyfoot around like this when dealing with people, but a guy's got to do what a he's got to do. A visit to the sound man would have been the best solution to the whole problem. The sound quality did improve after the incident, I might add. That's it for me. I off to the lake for the weekend. Have a good one people! RW ========================================================================= Date: Fri, 28 Jul 1995 14:06:46 -0400 From: Mary Katherine Aldin Subject: Re: Vaults\Dumb Question It's not a dumb question. MCA Records calls it the vaults too, and keeps all the Chess and Decca and etc. masters in there. But it's not a bank vault. It's a large building, sort of like a warehouse, usually temperature controlled and fireproof. And the master tapes are stacked floor to ceiling (literally) on rolling shelving units. It's all quite state of the art. Other vaults that I have been in vary from a corner of someone's basement, with damp creeping into the reels (a Very Bad Thing) to an unused office with lots of locks on the doors. Whatever works.....so yes, vaults is a generic term. Mary Katherine ========================================================================= Date: Fri, 28 Jul 1995 11:52:00 CDT From: Bonnie Kalmbach Subject: Check Presentation I'd vote for giving ii to them publicly - because if the National Endowment for the Humanities is defunded by Congess - and it's in the works - both the Delta Blues Museum and the Sunflower Blues Festival will feel the impact severely. A public presentation may get people to thinking that we fans will have to give more support to these organizations if we want them to stay around. -Bonnie ========================================================================= Date: Fri, 28 Jul 1995 11:14:00 PDT From: Gary Joneson Subject: San Francisco Blues Fest. 23rd Annual San Francisco Blues Festival 573 Hill Street, San Francisco, CA 94114 (415) 826-6837 Tom Mazzolini, Producer. Fax: 415-826-6958 Date : September 23-24, 1995 Time : 11 a.m. to 5:30 p.m. Place: Great Meadow - Fort Mason, Marina Blvd. at Laguna Information: 415-979-5588 Press Information: 415-864-2333 Web Page: http://www.island.net/~blues/sfbf.html Saturday, September 23 *Little Milton Revue *Junior Wells *Joe Louis Walker & the Bosstalkers *Debbie Davis *The Fat Possum Mississippi Juke Joint Caravan R.L Burnside Junior Kimbrough Dave Thompson *Sista Monica *Johnny Mars *Steve Freund & Paris Slim *Soul Driver Sunday, September 24 *John Lee Hooker A tribute to an American Blues Legend Special appearance by John Lee Hooker and friends. *Hank Ballard & the Midnighters *Luther Allison *Miss Lavelle White *Geno Delafose & French Rockin Boogie *Johnny Nocturne Band Featuring Brenda Boykin *Earl 'Good Rockin" Brown *Preacher Boy & the Natural Blues *Talk of Da Town. The San Francisco Blues Festival presents five days of the Blues. A week long series of films, concerts and club dates all the way to the festival weekend. For details of the time and places for these events, http://www.island.net/~blues/sfbf.html King Biscuit Time http://www.island.net/~blues/ ========================================================================= Date: Fri, 28 Jul 1995 20:00:15 GMT From: Dennis Miele Subject: Pick o' the Week Anson Funderburgh and the Rockets , Featuring Sam Myers, Live at the Grand Emporium I can't get this disc off of my CD player!! Anson burns!! ========================================================================= Date: Fri, 28 Jul 1995 13:53:32 CDT From: Dave Kneifl Subject: Re: SRV Blues dream/Deja Vu -------------------------- How ironic... I had a dream BEFORE he died (about 3 months or so), although most people don't believe it now because I never mentioned it until AFTER that day. I know it's a true story. In my dream I won backstage passes to one of his shows and met him, then he died later that night. I didn't foresee the helicopter crash, but it's still sort of eerie to me. I was in California on vacation on August 26-27, 1990. Being two hours behind Wisconsin, we heard the story on the news immediately when we woke up, although I'm told it was later here when it was confirmed. Several of my friends were at the show. They won tickets. One of the tickets would've been mine, except I had my vacation planned by the time the show was announced. I didn't cancel two weeks in California for one concert because I figured I see him next time... I've been kicking myself ever since... DK Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning Computers make very fast, 432 N Lake Street Rm 104 very accurate mistakes. Madison, WI 53706 ========================================================================= Date: Fri, 28 Jul 1995 14:13:20 CDT From: L W Subject: pick o' the week I think my POTW is going to be what I listened to on the way to work this morning: Floyd Jones & Eddie Taylor on Testament.....I forget the title and I may have screwed up the names, but you understand. El Doubleu (under contract to another list :-)) ========================================================================= Date: Fri, 28 Jul 1995 12:29:06 -0700 From: Joe Lempkowski Subject: Billy Branch & The SOBs [First, an apology cause this message kind of rambles on.] I saw Billy Branch and the SOBs in San Mateo, CA on Wednesday night. My wife and I were the first one's there arriving a couple of hours early for dinner and to make sure we were first in line (which we were). We met a former blues-l (and harp-l) guy, whose name escapes me. (He told me and the wife he had a Nakamichi portable in his backpack and was bummed because Billy wouldn't let him tape the show. I remember thinking at the time, smart move Billy this thing would probably end up for sale. The thought hadn't even left my mind when this guy whips out a list of taped performances he has for sale. A ton of Rod Piazza, Grateful Dead and other stuff at outrageous prices. Which I never would have bought, since I think this is very unethical and not very nice.) This guy said he had never heard these guys before. My wife told him he was in for a real treat. After this my wife and I talked with Billy for a while about all kinds of stuff, but mostly about his Europe tour, the new album and our three year old daughter who is a severe Billy-head. This guys asks Billy, if he ever lets people sit-in. Billy says yeah all the time. The first set, they played some Albert and Freddy King stuff. They were going along pretty well. This guys gets up about a third of the way through the set and walks out leaving his backpack there (probably with the portable running) Comes back twenty minutes later saying he hasn't heard shit. No third position, no tongue blocking, no feeling, etc... Then he says he has been playin' for 23 years and that he could blow Billy right off the stage. The wife looks at me with this odd look. I told him to get his harps and tell that to Billy reminding him that he said he lets people sit in. He, of course, says I didn't bring them with me. He said that maybe this shit flys in Chicago for blues, but it doesn't play out in California, where we have Rod Piazza, William Clarke and Gary Smith (who would blow Billy away.) (Editors Note: I think the three harp players he mentioned are very talented.) So he says I'm out of here, but he buys us a beer before he goes. Before the break, my wife goes to the phone and sees one guy using two phones. He was in town from Detroit on business and sees that the SOBs are in town. He is on hold with Northwest Air Lines trying to reschedule his flight which departs at 10:00pm so he could hang out. (He used to live in Chicago and told her that this is his favorite band.) My wife calls my daughter to say good night. Billy is in the middle of a long solo (where he exhibited no feeling or technique, according to the guy sitting next to me.) My wife says, Guess who this is? My daughter says, Mom that's Billy Branch. The gyu on hold says to my wife, how old is your daughter? Six? My wife tells him she is three. He said I wish my kids were into blues and knew who Billy is. The guy couldn't change his flight stuff. He wasn't willing or couldn't swap his first class seat for a coach seat. The second set they played stuff off of the new album, The Blues Keep Following Me Around. Midway through the third song, Carl Weathersby looks down at my wife (who thinks Carl is an incredibly soulful singer) and notices she is singing along to herself. He watches her for a couple of seconds and says to Billy Branch, "Hey, she knows all of the words." After the set was over, Carl was talking to another couple about the new album points to my wife and says, "she's been practicing my tunes." My wife looks at him and tells him, I should know all of the words, it's my favorite CD and all I ever listen to. He gets this goofy smile on his face and says thanks. We hung out for the third set. They played some stuff off of the new album and some other things. Overall, the night provided some great entertainment. We are going back to see them on Saturday night. Have a super weekend, Joe P.S. Billy Branch and SOBs will be at Barley and Hops from 7/28 - 7/31 and 8/2 - 8/6. I have no stake in this place, I just want them to continue their habit of importing my favorite bands from Chicago, since I am stuck 1875 air miles from Chi-town. ========================================================================= Date: Fri, 28 Jul 1995 16:08:34 -0400 From: Tom Freeland Subject: White Country Blues: Quote without comment. "The first song Hank cut for MGM on April 21st was "Move It On Over." More than any other song he recorded to that point, it betrayed his debt to black music. The melody was as old as the blues itself; a variant had done business as "Your Red Wagon," and another variant would become "Rock Around The Clock." Here was the first evidence that Hank, like Elvis Presley seven years later, never played music in the tragically white way-- over-souling and over-playing, as if to compensate for some percieved lack." from *Hank Williams: The Biography" by Colin Escott at p. 62. Tom Freeland ========================================================================= Date: Fri, 28 Jul 1995 15:18:02 -0500 From: Jeff Seale Subject: Pick of this week Mine would have to be Snuff Johnson - Texas Country Blues (Black Magic) Picked this one up in Austin this week. Snuff will be the next Henry Qualls-type discovery. If you are a fan of Texas style country blues, you NEED this disc. -Jeff (Toni Price - Swim Away is a CLOSE second) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Fri, 28 Jul 1995 15:42:06 CDT From: L W Subject: Called the DBM I called the DBM and they would MUCH rather do a stage presentation on the DBM Stage. They said bascially the same thing Bonnie did (I'm not suprised) so John Ruskey will be calling me and setting up a time. It will be Saturday at the DBM Stage, unless John decides different. The dropping off the check was not favorable at all. LW ========================================================================= Date: Fri, 28 Jul 1995 16:47:10 -0400 From: "Roy W. Forgy" Subject: WEB Site Out surfin' today and ran accross the "King Biscuit Time" site at http://www.island.net/~blues/ check it out. ========================================================================= Date: Fri, 28 Jul 1995 17:23:12 -0400 From: bob unger Subject: WARNING - Non Blues Content Sorry to post his to the list, but with so many pc guru's out there I thought somebody would be able to tell me where I can download a copy of PKUNZIP and PKZIP. Any help would be very much 'preeshed! BU bob@sun.bnkst.edu ========================================================================= Date: Fri, 28 Jul 1995 16:51:31 PDT From: "R. J. Bauman" Subject: Re: Check Presentation So, is there going to be a giant "Price Is Right" style check made up? :-) BTW, it might be cool to have the DBM designate us as a sponsor of a lawn event or two that they have from time to time. Ofcoarse I don't care how they really use the money. P.S., You can write them and they'll send you a catalog of posters, books, etc. that you can buy from them instead of the local store. Then they get the profits. Delta Blues Museum 114 Delta Avenue Clarksdale, MS 38614 RJ Bauman ========================================================================= Date: Fri, 28 Jul 1995 17:09:00 CDT From: Bonnie Kalmbach Subject: Pick of the Week "MULE" - Paul "Wine" Jones - Fat Possum Hoo! This is a good'un. Another rollicking, raucous, rough, electrified country blues of the R.L Burnside/Jr. Kimbrough school of playing. Paul Jones is from Belzoni (Bel-zon-A) MS. and is the 48 year-old brother of Chicago-based, former Albert Collins' drummer Casey Jones. Guitarist Jones has with him on this session Big Jack Johnson, Kenny Brown of R.L. Burnside's band, and the amazing drumming of Little Sam Carr. There's lots of rural imagery with tunes like: "Mad Dog on my Trail". "Coal Black Mare", "Kitty Cat" (my favorite). There's not a slow tune on it. Liner notes are by the guy who produced it: Robert Palmer. RP says "Like the mule that is its namesake, Paul Jones' Fat Possum debut takes unexpected detours and pulls surreal surprises along the way; this beast is not exactly tame. But hang in there for the ride, and it'll take you where you want to go:into the heart of today's Delta blues". ** As for the Cappricorn distributors' men in suits, I was apprised of the imminent release of this album by one of them - Chuck Bloomingburg - who I could never imagine wearing a suit. He's got a marvelous Tennessee twang and I could listen to him all night. I sort of envision him not in a suit but in jeans, sitting on the front porch of a cabin, coon dog by his side. He says he works out of his home so radiofolk should send him their playlists so his boss won't "think he's just drinking beer and watching TV." -Bonnie the so-called K. ========================================================================= Date: Sat, 29 Jul 1995 01:05:57 GMT From: Dave Gotwisner Subject: Re: The High Sheriff of Hell -- BIO In article , Paul Garon wrote: >I wrote a biography of him in 1970, THE DEVIL'S SON IN LAW: THE STORY OF >PEETIE WHEATSTRAW AND HIS SONGS. It's long out of print but occasionally >turns up in the out of print/rare market. As someone who seeks out books on blues artists, I found this one about 15 years ago. It was one of the better written books on blues artists that I have read. The nice thing (working from memory here) is that Paul did a very good job in following Peetie's movements and recreating the old neighborhoods that he lived in (through photos and interviews). If you can find this book and are interested in Peetie, I strongly recommend buying it. Dave ========================================================================= Date: Fri, 28 Jul 1995 21:41:43 -0400 From: DGOLDST Subject: McTell really is dead The song is on the Jericho album by The Band. ========================================================================= Date: Fri, 28 Jul 1995 21:41:47 -0400 From: DGOLDST Subject: Rediscoveries I saw John Brim at Chicago B.L.U.E.S. in NYC last month. Caught the last set. The place was empty. He looked real tired. He played three songs and although I enjoyed his part of the James/Brim album, I stayed as a tribute to his place in blues history. Does anyone know if he's OK, or does he have health problems beyond getting on in years? ========================================================================= Date: Fri, 28 Jul 1995 22:51:48 -0400 From: Mark Blass Subject: Ellen McIlwaine At 12:28 AM 7/26/95, King, Tony wrote: >Can anyone supply me with info on a blues/folk-blues artist called >Ellen McIlwaine?? Somewhere in my basement is a reel-to-reel tape transcribed from a circa 1972 Ellen McIlwaine radio concert. I think Gene Shay was the host, for those from the Philadelphia area. She was darn good then and I wore some oxide from that tape. That tape must have some historical interest. My reel-to-reel deck has been long relegated to the "can't bear to throw it out" closet. Eventually my brother will give me my father's old Akai recorder (not deck - the old people know the difference) at which time I'll probably bring Ellen back up to the first floor. MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Fri, 28 Jul 1995 23:10:35 -0400 From: Mark Blass Subject: My First Guitar - Mark Blass ...rises from the lurkers' swamp. My first, second, third, and fourth guitars 1960 Caught up in the folk craze, I purchased a used Orpheum steel-string acoustic from a high school classmate. Put my college decal on the face. Eventually sold to my cousin Rick who taught himself to play on it. Unfortunately, Rick turned to Western and good-timey music; he plays semi-professionally in DC (i.e., plays for money, but not very much money). 1964 Bought a used Gibson L-1 (I think) mahogony-body acoustic flat-top. The neck was too narrow for my taste and I eventually sold it about 1966. 1965 My (then) girlfriend gave me a 1961 Martin O-18. I *told* her that the thing was worth a fair bit, but she insisted that no one in the family used it. My dad drove it to the Martin factory to repair a body crack in 1969 while I was overseas. I still have it, still like to caress it and squeeze out my rudimentary music. 1976 Swapped a Uher tape recorder (same brand as made the famous Rosemary Woods 18 minute tape gap - remember?) with my friend Art for his 1965 Fender Jazzmaster, a Fender Bassman amp, and an Acetone reverb unit. I was with Art the day he bought the Fender new at Osowski's Music Store in Philadelphia. I still have the Jazzmaster, but sold the amp and reverb in a garage sale three years ago. The Jazzmaster was for many years a curiosity among Strats and Telecasters. I read on the USENET guitar group that it has risen sharply in value and desirability because Kurt Cobain played one. MB _______ _______ ______ __ __ ______ _____ _______ _______ _______ | | | _ | __ \ |/ | | __ \ |_| _ | __| __| | | | < < | __ < | |__ |__ | |__|_|__|___|___|___|__|__|\__| |______/_______|___|___|_______|_______| MARK BLASS - ALLENTOWN, PA - blassms@ttown.apci.com - OPINIONS MY OWN ========================================================================= Date: Fri, 28 Jul 1995 15:57:36 -0800 From: Butch Wilson Subject: Test test ========================================================================= Date: Sat, 29 Jul 1995 00:37:38 -0500 From: Patti Bowman Subject: Re: Virginia Blues Festival >Some people have privately e-mailed me asking about this year's Virginia >Blues Festival held on Labor Day Weekend. I received word yesterday that >the 1995 Virginia Blues Festival has been cancelled. :( > >This was due to scheduling problems rather than lack of interest. I hope >that the board of directors will vote next year to revive the Festival. >Now what am I going to do for my Labor Day Weekend blues fix? > > Tom Boy is VA having a tuff time this year. The Elizabeth River Blues Festival #11 in Norfolk usually in Sept was cancelled this year too. Seems there was a problem with the grant request from the city and they (the Natchel' Blues Network) didn't feel they could raise enuff $ w/o that grant. Let's hope it's not a trend. Patti ========================================================================= Date: Sat, 29 Jul 1995 00:37:43 -0500 From: Patti Bowman Subject: Re: Blues families/siblings >I'm very happy to see that this is a pretty active list, unlike some >other lists I have subscribed to lately. > >Later- >DK Dave, Welcome &... you ain't seen nuthin' yet! Patti ========================================================================= Date: Sat, 29 Jul 1995 00:54:32 -0500 From: Patti Bowman Subject: Re: Test >test Had this been an actual emergency.....? ========================================================================= Date: Sat, 29 Jul 1995 08:27:09 GMT From: Onduma Faloon Subject: Re: "done a bad bad thing"?? Pat Seger (seger001@GOLD.TC.UMN.EDU) wrote: : Can you identify this song? : I caught part of a song on the radio yesterday, and it is driving me crazy : trying to identify it. Not really blues, but someone here _must_ know what it : is. Kept repeating "they done a bad, bad thing" in the background all the way : through the part I heard. That's from Chris Isaak's new CD. He's saying "Baby did a bad, bad thing." I think the title of the CD is "Forever Blue." ========================================================================= Date: Sat, 29 Jul 1995 08:05:33 -0400 From: Clint Pulley Subject: Re: My First Guitar and Finding Other Players A few days ago I wrote: > > My major problem, which I suspect I share with other middle-aged, enthusiastic > but (in my case) mediocre amateur musicians is finding anyone else to get > together with and play. Any suggestions? Many thanks for all the replies, via blues-l and by private email. As the most detailed replies were posted here I won't summarize except to say that suggestions ranged from "remain a solo player" to "swallow your ego and sit in on open jams". Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Sat, 29 Jul 1995 09:50:19 -0400 From: "r.d. tebby" Subject: Blues families/estranged Don't forget Old and Nat King Cole ========================================================================= Date: Sat, 29 Jul 1995 10:40:11 -0400 From: craig o'donnell Subject: Re: BLUES-L Digest - 27 Jul 1995 to 28 Jul 1995 ...you can E-mail me your snail-mail address for a free catalog of my ...blues, jazz, country etc. books & tapes & videos...there, I feel ...better...Fred Sokolow OK, Fred, I'm game... Craig O'Donnell 53 Chester St Somerville MA 02144 --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Sat, 29 Jul 1995 10:26:58 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Albert King query Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Albert King query Message-ID: <1995Jul29.102656.55426@msuvx2.memphis.edu> From: Denise Tapp Date: 29 Jul 95 10:26:56 -0500 Nntp-Posting-Host: wok-35.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 10 Does anyone know if Albert King ever covered Howlin' Wolf's "Killing Floor" or "Built for Comfort"? Live or studio recordings? E-mail responses are welcome at denisetapp@aol.com (easier to use than this server, and therefore preferred.) Thanks, Denise ========================================================================= Date: Sat, 29 Jul 1995 09:30:18 -0800 From: "Gary \"The Wagman\" Wagner" Subject: Blues via Satellite Hello to all! I've been doing some lurking around on Blues-L for a couple of weeks now, so perhaps it's time to come out of the cyber-shadows. I do a blues radio show in Southern California, called "Nothin' But the Blues." It airs on KLON, 88.1 (Long Beach Public Radio) every Saturday and Sunday from 2 - 6 PM. (Obviously, these are Pacific times). The show is available via satellite all across North America (and perhaps beyond) and is also rebroadcast on many cable systems. The radio station is primarily a jazz station, but my show is Nothin' But the Blues, just like the name says. I don't like to brag ** yes, I do :- ) ** but the last arbitron ratings said I have somewhere around 60,000 listeners in the local market area. This makes my show one of the top rated shows in its time slot in all of Southern Calif. I mainly stick to post-war blues, and lean toward the "Chicago" style of blues, although I try to represent the full spectrum of blues styles. I never plan in advance what I am going to play, preferring spontaneity to organization. I have in-studio guests on a frequent basis, recent guest appearances include Juke Logan, Carey Bell, John Mayall, James Harman, Snooky Pryor, Sugar Blue, Little Charlie and the Nightcats, Lowell Fulson, Jimmy Witherspoon, Roy Gaines, Louisiana "Guitar" Red, Joe Louis Walker, Rod & Honey Piazza, Lee Rocker's Big Blue, Doug MacLeod, and Robert Lucas. At 4:00 I have a feature I call the "Blue Spotlight" in which I feature 20-30 minutes of music from a notable blues artist or group. Last weekend I did Albert King and The Paul Butterfield Blues Band. Other recent Blue Spotlight features have included Pinetop Perkins, Snooks Eaglin, Howlin' Wolf, Albert Collins, Eric Clapton, Charlie Musselwhite, Jimmy Rogers, Ronnie Earl & the Broadcasters, Smokin' Joe Kubek, etc. KLON is available across North American by the GALAXY 5 (C-BAND) Transponder 2 Vertical Subcarriers 5.58 and 5.76 Narrowband Audio. I am interested in doing a syndicated blues show and distributing it internationally. Anyone with any thoughts on this? Wagman ========================================================================= Date: Sat, 29 Jul 1995 12:54:06 -0400 From: Bill Reiser Subject: Ann Rabson in Detroit/Toledo/Ann Arbor Saffire's Ann Rabson will be performing a free solo concert on Thursday, August 3rd, at the Bedford branch of the Monroe (MI) County Library System. Starts at eight. Those interested in swinging by can contact me direct for directions and the magic word to gain preferred seating. Wink. Bill breiser@monroe.lib.mi.us ========================================================================= Date: Sat, 29 Jul 1995 14:24:18 CST From: William Shute Subject: Lazy Lester is on his way to y'all From: Bill Shute Well, the Lazy Lester photo offer is now closed. Thanks to all who responded, and congrats to those who "won." I'll try to get the photos out by Tuesday. US will be sent First Class; overseas will be sent Airmail. In case anyone cares, "pockets" of Lester-mania seem to be here in Texas, in the Upper Midwest, in Massachusetts, and in Canada! I really enjoyed this, and I consider it just a little way of saying thank you to the folks on this fine network, which has become so essential to me over the last year. I think you will see a real explosion in membership on blues-l over the next year or two...with more musicians (many of the sidemen in bands I see are computer persons and want to get on blues-l), producers like Mr. Shurman, and "insiders"/authorities such as Ms. Aldin and Mr. Waterman. Along with many more fans such as yours truly... and probably a lot of blues novices, many of whom will not be intimidated by the quantity and detail of the posts but who will "hang on for the ride" and will someday be knowledgeable blues-a- holics themselves. I will enjoy seeing this happen, day-by-day. Bill Shute San Antonio, TX (just back from 2 days in Austin-- when my head clears and I get some sleep, I want to share some of the musical highlights of my trip) ========================================================================= Date: Sat, 29 Jul 1995 15:59:42 -0400 From: "Catherine E. Cross" Subject: SRV boots Can anybody recommend any good SRV boots? What about "The Hawk on Fire", "How Y'All Doin'", and "Pride and Joy"? Thanks, Cathy P.S. The SRV bio (recommended by someone on this list?) "Caught in the Crossfire" is excellent. Thanks to whoever asked the original SRV biography question and everyone who answered. ========================================================================= Date: Sat, 29 Jul 1995 16:32:52 -0500 From: VT Subject: Hubert SUMLIN Interview - Pt.1 - Mojo Hubert Sumlin, Sat.95.07.22 @ the Turning Point, Piermont, NY. I have approx 30 minutes of an interview with Hubert Sumlin, from between his two shows. The subjects can be divided as: 1) Got My Mojo Working 2) Early days and Wolf Sighting 3) 1964 American Folk Blues Festival - with the Wolf in Europe 4) Eric Clapton's Guitar and London Sessions 5) Antone's 20th Anniversary Caveat - I am not practiced at doing interviews I merely asked questions as prompts, and let Hubert do the talking. Preface - some people have said that although Hubert is a sweet man and a phenomenal guitarist, but he is not a reliable informant. I will present 2 thoughts here - Hubert canNOT possibly be lying ALL the time. He loves telling stories. That's the reason I merely have transcribed what I taped - straight without any comments - it's up to you to decide, and make of it what YOU will. (Truth: is what you want to believe, reality: is what you have to face up to) Key: HS= Hubert Sumlin; Red= Jeff "Red" Hubert's manager. VT: You going to tell me about "Mojo"? HS: What? "Mojo Working"? Red: "Mojo Working"... the original... HS: Yes....well you know I told the people, man. You know, we played Florida.... and we was on tour ...... VT: Name the names..... HS: ......and Ann Cole, she lived in Newark, New Jersey.... we stayed at her house at one time, course we... from New York, in New Jersey all the way to Florida, and Florida that was our last month, and so she quit us a week before the thing was over, because Muddy had flown from Florida.... we did, all of us did - 4 o'clock in the morning.... Yes sir......back to the Chess Studio - made "Mojo" - and flew back before anybody woke up. Red: Stole the song out from under her. HS: Yes, that's right........ VT: So which part did you play in there? HS: ... I played guitar, cha-cha..... Red: and Pat Hare....... HS: Yes, Pat.... VT: So who else was on the session? HS: Oh, man we had just about....... Red: No Jimmy Rogers.... HS: Yes.... Red: Cotton.... HS: Yes.... Red: the man, of course. HS: That's right..... we had everbody, man, we had everybody but Little Walter. And so, hey, it was nice, man, I didn't believe we did it though. 'Cause then, the lady - she did not approve, you know....man, she fell out with us, man, she quit us, man. And they had to pay the lady a lot money for "Mojo", man - although she didn't have it copyrighted, you know...... So that's the way "Mojo" come out. Then he recorded it again - I don't know who was it on the next one. But we made the first one...... VT: So what you did was... you drove all the way back from.... HS: No, we FLEW.... VT: All the way back from Florida, all the way to Chicago..... HS: It didn't take us that long......we got in the studio... were waiting on us, and when we got there, the man knows what we was doing, knows what was happening. Them Chess, man, they understood. VT: How many takes did you have to do to get that one down? HS: We did, I think, 2....Two for the first "Mojo".... that's how it come about.....then they recorded it again...... VT: The one that they cut overnight - was that the one that came out on the single? HS: That's the one on the single. So, since this list is SO CONCERNED about "stealing" from other people - I suppose the name McKinley Morganfield will be MUD on this list...:-) :-) VT: Did you cut any other song? HS: I help him cut "Forty Days, Forty Nights", "Just to Be with You", ..... Little Walter happen to be..... Red: "Rock Me"..... HS: Yes..... Red: "Trouble No More" HS: Right..... Little Walter happen to be.....left us but he come back and did "Just to be with You", "Forty Days and Forty Nights".... Red: ...and not only that, there's a few others around in there too. Right? HS: Who? Red: That you did with Muddy.... HS: Oh, yes....what, "If you Need Meat go to the Market".....oh, man, we did a whole lot of stuff..... Red: How could he know this if he wasn't there? HS: Yes......you never notice these records, these things, these outcasts where... you wonder why there's a blank, in the files and things .. say we ain't got nothing down here, we don't know, it don't say who, on what..... I tell you, I did so much, I'm on so much with other people... I don't even know.... it comes to me sometimes I didn't even know I helped Jimmy Reed, man, I'm on some of Jimmy Reed's stuff, Eddie Taylor's, all that.... Chuck Berry...all down the line..... Hey, I'm proud, I sit back and look and say "oh, my, yeah! can't believe it, you know, I think I was blessed to play with these guys... and be still here..." Vincent p00061@psilink.com ========================================================================= Date: Sat, 29 Jul 1995 20:48:18 -0400 From: Ted Dames Subject: Johnny "Guitar" Watson If only to expand your musical horizons....check out JGWs' fantastic flambe' vocals on a number of Frank Zappa albums. From "One Size Fits All" the songs San Ber'dino and Andy are way cool. In France from "Them Or Us" is a fairly dense blues tune commenting on frenchies in a generally negative way. Perhaps deservedly so. Not JGW but a great blues tune by FZ is Bamboozled By Love on (I think) Joe's Garage. Bill Shute....wanna have 'em on your tape? bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Sat, 29 Jul 1995 21:20:54 -0400 From: "Roy W. Forgy" Subject: Blues on tv Saw an ad that said there is a spinoff of Baywatch called Baywatch after dark or something close. It said Lou Rawls wil be in it playing the owner of a Blues Club. If you can get by all the T&A maybe they will do some good blues. ========================================================================= Date: Sat, 29 Jul 1995 22:53:32 -0400 From: Rick Silvers Subject: New to the Bluesd Hello,I'm new to the group & also fairly new to the Blues themself. I was wondering if some of you could give me pointers on who you consider the top Blues artists(old or new) to check out..The stores near where I live do not carry a big selection & I am going to order some but would like to have a idea what to look for.. Many Thanks Rick rsilvers@vnet.net ========================================================================= Date: Sat, 29 Jul 1995 22:18:32 -0600 From: Dennis Scott Miller Subject: I want to buy a tuba! I want to buy a concert tuba! Looking for good, used horn. Willing to pay good money as I'm sacrificing a car to get a tuba of my own! -- Dennis Miller dirk@selway.umt.edu ========================================================================= Date: Sat, 29 Jul 1995 23:58:56 -0600 From: Gary Constantine Subject: I'm back....finally Anyone who has been trying to send me mail for the last 2 weeks will have to repost. When i finally got my pooooter work with Windows 95 I lost all of my mail. It's good to be back. Did I miss anything important? Yes, Windows 95 is worth it. Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Sun, 30 Jul 1995 02:21:39 -0400 From: M McCracken Subject: Colorado blues info request Some friends of mine are moving from Alabama to Colorado this week. They are really into the blues and longtime members of the Alabama blues society, they wanted to know what's going on out that way. Is there a blues society in Colorado? Any good blues clubs, etc? Any information would be greatly appreciated. They will be near Telluride. Thanks, Mike McCracken ========================================================================= Date: Sun, 30 Jul 1995 03:25:16 -0400 From: Fred Sokolow Subject: Re: Albert King query Yes, Albert King did "Killing Floor" on Stax Records "As The Years Go By" STS 2010, and I transcribed his solo on it in my book called Electric Blues Guitar Giants, as well as other folks solos on that tune like Sumlin (with Wolf), Bloomfield with Electric Flag, & Hendrix...plus several other much-covered blues favorites...E-mail me your snail-mail address if you want a free catalog of my blues, rock, jazz, country guitar books/tapes/videos...Fred Sokolow ========================================================================= Date: Sun, 30 Jul 1995 01:00:02 PDT From: Eric LeBlanc-CISTI Subject: BLUES DATES : JULY 30 - AUGUST 05 ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLANTON, JIMMY (b/ELLINGTON) d. 1942-0730, LOS ANGELES, CA 23 FORD, HENRY I :-) b. 1863-0730, WAYNE CTY, MI GUY, BUDDY [GEORGE GUY] (g/songw) b. 1936-0730, LETTSWORTH, LA JEFFERSON, HILTON (asax) b. 1903-0730, DANBURY, CT JOHNSON, JACK BIG (g/EARWIG REC) b. 1940-0730, LAMBERT, MS MYRICK, DONALD (tsax/EWF) d. 1993-0730, LOS ANGELES, CA 53 RAY, BELL (vln/g/BLIND JOHN CAMPBELL) b. 1909-0730, FRANKLIN, TN SANBORN, DAVID (asax) b. 1945-0730, TAMPA, FL ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOCAGE, PETER E. (cnt/ESTHER BIGEOU) b. 1887-0731, ALGIERS, LA BURRELL, KENNY [KENNETH EARL BURRELL] (g) b. 1931-0731, DETROIT, MI COUNCE, CURTIS LEE (b/JOHNNY OPTS) d. 1963-0731, LOS ANGELES, CA 37 CRAWFORD, ERNEST "BIG" (b/MUDDY WATERS) b. 1891-0731, DEGREE, LEAVEIL (of THE WHISPERS) b. 1948-0731, LOS ANGELES, CA ERTEGUN, AHMET M.(co-founder:ATLANTIC REC)b. 1923-0731, ISTANBUL, TURKEY ERVIN, BOOKER (tsax) d. 1970-0731, NEW YORK CITY, NY 39 FRANKLIN, PETE "GTR" (g/p/BLUESVILLE REC) d. 1975-0731, INDIANAPOLIS, IN 47 GARY, TOM (hca/SLEEPY JOHN ESTES) d. 1975-0731, MEMPHIS, TN 56 HUBERT, LOUIS "BARNEY" (sax) b. 1927-0731, TX JACKSON, BENJAMIN "BULL MOOSE" (tsax) d. 1989-0731, CLEVELAND, OH 70 JORDAN, STANLEY (g) b. 1959-0731, CHICAGO, IL KELLY, GEORGE (tsax/TINY GRIMES) b. 1915-0731, MIAMI, FL LIGGINS, JOE (p/THE HONEYDRIPPERS) ) d. 1987-0731, LYNWOOD, CA 72 MILTON, ROY B. (d/SPECIALTY REC) b. 1907-0731, WYNNEWOOD, OK PARNES, SIDMORE (founder : RECORD WORLD) d. 1984-0731, NEW YORK CITY, NY 62 STORY, ROSALYN M. (vln) b. 1950-0731, KANSAS CITY, KS WILSON, TEDDY (p/BILLIE HOLIDAY) d. 1986-0731, NEW BRITAIN, CT 73 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BURNETTE, JOHNNY(of JOHNNY BURNETTE TRIO) d. 1964-0801, CLEAR LAKE, CA 30 CHARTERS, SAM B. (author/prod) b. 1929-0801, PITTSBURG, PA COLE, MARIA HAWKINS E. (v/MRS. NAT COLE) b. 1922-0801, BOSTON, MA CRAY, ROBERT (g) b. 1953-0801, COLUMBUS, GA CRUMBLEY, ELMER E. (tbn/VICTORIA SPIVEY) b. 1908-0801, KING FISHER, OK FINNELL, DOUG (p/T-BONE WALKER) d. 1988-0801, DALLAS, TX 82 GARCIA, JERRY [JEROME JOHN GARCIA] b. 1942-0801, SAN FRANCISCO, CA JONES, MAX (author/critic) d. 1993-0801, CHICHESTER, UK 76 LEE, GEORGE W. (bandleader/W.C. HANDY) d. 1976-0801, MEMPHIS, TN 83 MACK, CECIL (afro-amer songw) d. 1944-0801, NEW YORK CITY, NY 60 PERKINS, AL (g/prod/ATCO REC) b. 1933-0801, BROOKHAVEN, MS POWELL, EARL "BUD" (p) d. 1966-0801, NEW YORK CITY, NY 41 SMITH, ROBERT T "PIANO SLIM" (p) b. 1928-0801, LA GRANGE, TX WOODING, SAM (p) d. 1985-0801, LONG IS., NY 90 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALDWIN, JAMES (author/BLUES ..MR.CHARLIE)b. 1924-0802, HARLEM, NY BANKS, HOMER (songw/STAX REC) b. 1941-0802, MEMPHIS, TN BANKS, JAMES (songw/STAX REC) b. 1941-0802, MEMPHIS, TN COLE, ROBERT ALLEN (afro-amer songw) d. 1911-0802, CATSKILL, NY 48 CRAWFORD, BIXIE (v/BASIE) b. 1923-0802, OKLAHOMA CITY, OK DOMINQUE, NATTY (tpt/SIPPIE WALLACE) b. 1896-0802, NEW ORLEANS, LA DUDEK, LES (g) b. 1957-0802, RI DURANT,HORACIO"RAY"(p/arr/DEEP RIVER BOYS)d. 1980-0802, NEW YORK CITY, NY 70 FAT LARRY (LARRY E. JAMES) (d) b. 1949-0802, PHILADELPHIA, PA GOVAN, DAVE (of THE JAYHAWKS/VIBRATIONS) b. 1940-0802, LOS ANGELES, CA HUDSON, GARTH (of THE BAND) b. 1942-0802, LONDON, ONTARIO JACKSON, DORIS COREY KENNER (of SHIRELLES)b. 1941-0802, PASSAIC, NJ JAMERSON, JAMES (b/MOTOWN REC) d. 1983-0802, LOS ANGELES, CA 47 LASLEY, CLYDE "PORKCHOP" d. 1977-0802, CHICAGO, IL 61 MAYERFELD, JOE (BLUES-L MEMBER) b. 1963-0802, ROCHESTER, NY MILLER, PORK (bjo/OLD SOUTH QUARTETTE) b. 1844-0802, BURKEVILLE, VA NAFTALIN, MARK (p/PAUL BUTTERFIELD) b. 1944-0802, MINNEAPOLIS, MN NICHOLAS, NICK BIG(tsax/MILLINDER/BRADSHAWb. 1922-0802, LANSING, MI PATTEN, EDWARD(of GLADYS KNIGHT/THE PIPS) b. 1939-0802, ATLANTA, GA PRICE, WALTER "BIG" (p) b. 1917-0802, GONZALES, TX SOILEAU, LEO (vln/cajun) d. 1980-0802, VILLE PLATTE, LA 76 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALCORN, OLIVER E. (sax/cl) b. 1910-0803, NEW ORLEANS, LA BERLINER, EMILE (INVENTOR OF FLAT DISC) d. 1929-0803, WASHINGTON, DC 78 DEMETRUIS, CLAUDE (songw) b. 1917-0803, BATH, ME DICKERSON, MORRIS DEWAYNE (B. B.) (g) b. 1949-0803, TORRANCE, CA EASY BABY (ALEX RANDALL) (hca) b. 1934-0803, MEMPHIS, TN JEFFERSON, EDDIE (v/scat) b. 1918-0803, PITTSBURGH, PA LEE, BEVERLY (of THE SHIRELLES) b. 1941-0803, PASSAIC, NJ MARTIN, DAVID A. (b/SAM THE SHAM) d. 1987-0803, DALLAS, TX 50 NICKENS, RICHARD (of EL DORADOS/MOROCCOS) d. 1991-0803, CHICAGO, IL -- PORTER, VERNON"JAKE"(tpt/owner:COMBO REC) b. 1916-0803, OAKLAND, CA PRATT, ED (barisax/RAY CHARLES) d. 1978-0803, POMONA, CA 48 SPENCE, JOSEPH (g) b. 1910-0803, SMALL HOPE, BAHAMAS TATE, BOB (arr/GUITAR SHORTY) d. 1993-0803, AZ -- THOMAS, JOE "RAW MEAT" (tsax/KING REC) d. 1986-0803, KANSAS CITY, MO 77 WALLACE, CEDRIC (b/FATS WALLER) b. 1909-0803, MIAMI, FL ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, KENNETH (p/asax/tpt) b. 1904-0804, PITTSBURGH, PA ARMSTRONG, LOUIS "SATCHMO" (tpt) b. 1901-0804, NEW ORLEANS, LA BRADY, FLOYD "STUMPY" (tbn/SAM PRICE) b. 1910-0804, S. BROWNSVILLE, PA CARRY, GEORGE "SCOOPS" (asax) d. 1970-0804, CHICAGO, IL 55 CAYOU, JOSEPH "RED" (p) b. 1905-0804, NEW ORLEANS, LA COLEMAN, BILL (tpt) b. 1904-0804, CENTREVILLE, KY COOPER, RALPH SR. (mc/APOLLO THEATRE) d. 1992-0804, MANHATTAN, NY 80 DREW, KENNY (p) d. 1993-0804, COPENHAGEN, DENMARK 64 ELLIS, HERB (g) b. 1921-0804, MCKINLEY, TX FORD, FRANKIE [FRANK GUZZO](v/SEA CRUISE) b. 1939-0804, GRETNA, LA GUARINO, LOUIS ANTHONY (prod/SKYLINERS) b. 1932-0804, PITTSBURGH, PA HOBBS, ELSBEARY (of THE DRIFTERS) b. 1936-0804, NEW YORK CITY, NY JAMES, LUCILLE (p) d. 1989-0804, PHILADELPHIA, PA 70 KNIGHT, BUBBU (of GLADYS KNIGHT/THE PIPS) b. 1942-0804, ATLANTA, GA PACE, CHARLES H.(of PACE JUBILEE SINGERS) b. 1886-0804, ATLANTA, GA PEARSON, DUKE (p) d. 1980-0804, ATLANTA, GA 47 SACRE, ROBERT (author) b. 1940-0804, CHARLEROI, BELGIUM UNGER, BOB (BLUES-L MEMBER) b. 1952-0804, NEW YORK CITY, NY WEIZE, RICHARD (founder: BEAR FAMILY REC) b. 1945-0804,?VOLLERSODE, W. GER YURO, TIMI (v/HURT) b. 1941-0804, CHICAGO, IL ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALBERT, DON (tpt) b. 1908-0805, NEW ORLEANS, LA BREAU, LENNY (g) b. 1941-0805, AUBURN, MA BURRELL, DUKE(p/JOHNNY OTIS/LOUIS JORDAN) d. 1993-0805, LOS ANGELES, CA 73 DARWEN, NORMAN(critic/BLUES & RHYTHM MAG) b. 1955-0805, PRESTON, UK DAVIS, ERNESTINE "TINY" (tpt/DECCA REC) b. 1907-0805, MEMPHIS, TN DERRINGER, RICK (g/MCCOYS/EDGAR WINTER) b. 1947-0805, CELINA, OH HARDWICK, OTTO "TOBY" (asax/ELLINGTON) d. 1970-0805, WASHINGTON, DC 66 JO, DAMITA [DAMITA JO DUBLANC] b. 1930-0805, AUSTIN, TX LOUIS, JOE HILL (g/hca/SUN REC) d. 1957-0805, MEMPHIS, TN 35 MEZZROW, MEZZ [MILTON MESIROW] d. 1972-0805, PARIS, FRANCE 72 PERKINS, LUTHER (g/JOHNNY CASH) d. 1968-0805, NASHVILLE, TN 40 RICHARDSON, MONA (v) d. 1985-0805, MELBOURNE,AUSTRALIA 38 TRIBBLE, THOMAS "TNT" (d/GOTHAM REC) b. 1921-0805, FERREL, PA WASHINGTON, ISIDORE"TUTS"(p/SMILEY LEWIS) d. 1984-0805, NEW ORLEANS, LA 77 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 30 Jul 1995 08:57:32 -0500 From: David Cupps Subject: Blues Clubs? Are there some good Blues Clubs in Vancouver and Halifax? I have a trip coming up with stays in both towns and would be interested any places that are worth visiting. ========================================================================= Date: Sun, 30 Jul 1995 10:52:00 PDT From: Gary Joneson Subject: San Francisco Blues Fest (Update) The San Fransisco Blues Festival presents five days of the BLUES! A week long series of films, concerts and club dates all the way to the festival weekend of September 23-24 /95. --------------------------------------------------------------- Monday, September 18. Roxie Theater. Two films DEEP BLUES. A film by Robert Mugge. A tour of the Mississippi Delta roadhouses, juke joints, homes and businesses, to see and hear blues as it's played today in this musically historical region. Includes performances by R.L. Burnside and Junior Kimbrough, who will perform at this years festival. CIGARETTE BLUES. A film by Les Blank on the hazards of smoking. Performance by Sonny Rhodes. Roxie Theater, 16th & Valencia. 415-863-1087 Two showings, 7:00 p.m. & 9:30 p.m. ----------------------------------------------------------------- Tuesday, September 19. Jimmy Thackery and the Drivers. Biscuits and Blues. Mason at Geary 415-292-2583 9 p.m. ------------------------------------------------------------------ Wenesday, September 20. Lady Bo Glenn Walters Blues Extravaganza. Lou's Pier 47 300 Jefferson Street 415-776-0377 9 p.m. ------------------------------------------------------------------- Thursday, September 21. Tommy Castro band. Blues Lombard and fillmore 415-391-6299 9 p.m. -------------------------------------------------------------------- S.F.B.F. Eve Special BIG FRIDAY BLUES SHOWS Friday, September 22. Blues in the Plaza. Annual kick-off concert at the Justin Herman Plaza. Noon to 1:30 p.m. Embarcado 4. From Chicago- Pianist Detroit Junior and vocalist Shirley Johnson. Also 13 year old Australian guitat prodigy Nathan Cavaleri, who toured with B.B. King this summmer. Plus Nitecry, a six piece blues ensemble from the Bay area. Friday Evening. The The S.F.B.F. presents the Blind Pig R&B Revue, featuring: Magic Slim and The Teardrops, Frankie Lee, E.C. Scott and Chris Cain. This special concert is held in conjunction with Blind Pig Records, a San Fransisco based record label. Held at Slim's - 333 11th Street 415-621-3330 9:00p.m. ---------------------------------------------------------------------------- S.F.B.F is on the Web at http://www.island.net/~blues/sfbf.html Blues is Life, Life is Blues ========================================================================= Date: Sun, 30 Jul 1995 14:11:54 +0000 From: "P.W. Fenton" Subject: ANNOUNCEMENT I am very pleased to announce the formation of a new Blues record label, who's first planned release will be of my own "P.W. Fenton & The Second Ward - LIVE at The Blues Ship". In tribute to this place where so many Blues lovers gather it will be named... Blueselle Sounds kind of French, doesn't it? I spent a good deal of time trying to come up with clever and memorable names that hadn't already been taken by someone, when the one and only choice jumped up and bit me. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton (soon to change) ========================================================================= Date: Sun, 30 Jul 1995 11:20:27 -0700 From: Gregg Makepeace Subject: Re: welcome the wagman Nice to see Gary "The Wagman" Wagner here on BLUES-L. I've been listening to KLON since back when Bernie Pearl and Bubba Jackson did the show before Wagman. Lots of what I hear ends up in my collection the next day. That show's been a great influence and makes weekend afternoons all the more pleasurable. Welcome Wagman! Gregg Makepeac makepeac@ug.eds.com ========================================================================= Date: Sun, 30 Jul 1995 12:18:52 -0700 From: "L.K. or M.A. Grabow" Subject: Re: Ry Cooder There's a lot to collect and admire when it comes to Ry Cooder, blues virtuoso and slide master. From the ambient, ethereal stylings of, say,"Paris, Texas" to generous helpings of down-home county blues, Cooder's body of work covers more musical ground than perhaps any other bluesman alive today. Though not a steller singer, his vocals are recognizable and appealing in a let's have a Southern picnic sort-of way. Cooder's follows his musical heart whereever it takes him. He has carved out niches for himself in traditional blues, world music, and contemporary blues. Though the movie leaves a lot to be desired(Ralph Macchio, yikes!), one is strongly encouraged to pick up the Ry-produced "Crossroads" soundtrack featuring Sonny Terry, Frank Frost and Terry Evans. Also, "Blues for Thought" on Pointblank, the disk he produced for Terry Evans, contains lots of scorching fretwork. On the swampy, blues-funk of "Get Your Lies Straight" Cooder trades phrasings and licks with underappreciated guitar wizard, Robert Ward. Yes, Cooder is very musically productive and accomplished. To think, he actually passed up an offer to join the Stones in the '70s. Here's an idea: Let's start a blues-roots special interest group to convine Mick and Keith to convince Ry to produce the Stones' next studio effort. I'll bet it would be thrilling to hear what the three of them and Ron Wood could put together. No rock star trips or jet-set trappings allowed--just blues-based roots music. What do you say? Cheers, Mark Grabow MAGMAN Ink Los Angeles, CA ========================================================================= Date: Sun, 30 Jul 1995 14:46:29 -0600 From: David Silberberg Subject: FAQ - Administrative Part THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified July 11, 1995 (no new modifications) CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sun, 30 Jul 1995 14:46:35 -0600 From: David Silberberg Subject: FAQ - Etiquette Portion THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified July 11, 1995 (no new modifications) Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Sun, 30 Jul 1995 16:25:58 -0400 From: Jim Armstrong Subject: Re: practice amp In a message dated 95-07-27 01:25:00 EDT, leftwich@CLOUD9.NET (James Leftwich) writes: >Can anyone recommend a good practice amp that sounds pretty bluesy and >sounds good at low-volume? I play a Fender Strat. > > I recommend the Park 10. For $89, it is a quality amp for practice. Mine doesn't have reverb, but it is a lot closer to the tone I want than my Fender Princeton Chorus. Jim Armstrong ========================================================================= Date: Sun, 30 Jul 1995 15:02:16 -0600 From: Gary Constantine Subject: Chicago String Band Heard one cut from this group, DON'T SICK YOUR DOG ON ME, on a local blues program but have no other information. Anyone fill me in on who they are and what the rest of the CD is like? Label? Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Sun, 30 Jul 1995 15:02:14 -0600 From: Gary Constantine Subject: Mike Bloomfield According to "The Big Book of Blues", Mike Bloomfield spent the mid 70's by scoring porno flicks. Does anyone have anymore info about this? Was he doing "porno-blues"? Also. Does anyone know if the album "IF YOU LOVE THESE BLUES, PLAY'EM AS YOU PLEASE is available on CD. Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Sun, 30 Jul 1995 15:02:18 -0600 From: Gary Constantine Subject: Soul Diva Meets The Blues Monsters Can anyone supply me with more information about this CD/Group? Thanx, Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Sun, 30 Jul 1995 17:43:00 -0400 From: Jim Armstrong Subject: Re: Blues Festivals In a message dated 95-07-28 11:39:33 EDT, MNHAD009@SIVM.SI.EDU (Rocco) writes: >You mention blues access as a source of blues festivals. >is this an internet discussion group or a magazine? I'm so sorry that I don't have the information on every blues festival in existence committed to memory. Appearently I'm not expert enough to give someone a direction to turn to in order to help them out. Go back and check other answers given to that same question. Do you answer every posting like this? From now on I won't offer to help out, I'll just leave it to the people who can answer without needing to use other sources or who have completely memorized their information and have time to list each piece . Jim Armstrong ========================================================================= Date: Sun, 30 Jul 1995 15:19:28 PST From: "D. ALLEN SIMPSON" Subject: Blues this week on net. TV Brody Buster (pre-teen harmonica player) will be the featured musical guest Friday, 8/4/95, on the Tonight Show. For Allman Bros. Band fans (this is not strictly blues), the latest version of the band will be the featured musicians on the David Letterman show, Thurs. 8/3/95. Doug Simpson ========================================================================= Date: Sun, 30 Jul 1995 17:33:42 PDT From: "R. J. Bauman" Subject: Tyson says......... -----------"I like rap and rhythm and blues,'' he said. "The blues are No. 1 with me, but not contemporary blues. They have no feeling. I like Fats Waller and Satchmo Armstrong, Billie Holliday and Ella Fitzgerald. "When you listen to the blues or jazz you feel other people's pain.'' ---------------------- I'm no advocate for this piece o' shit, but I thought it was ok to post this quote. Those of you who *are* fans of his might start sending him stuff to build his collection. I think there's a lot of good contemporary stuff. It appears he's a jazzer to me, at heart, though. BTW,can anybody recommend some good Smokey Wilson? I heard something on the radio yesterday that had me weaving around on the road. :-) RJ Bauman ========================================================================= Date: Sun, 30 Jul 1995 15:57:00 -0400 From: JOSE LUIS DENTE Subject: First steps in Blues Hello all! first of all, I beg your pardon for the very-poor english that I'll make you suffer henceforth :) I'm new here in Blues-L, and not toomuch older in the blues & the guitar- playing, so I come here above all to inquire, read & learn, and of course for contribute the best I can. For all the guitarists here, I want to wonder their opinions abuot: which guitar you recommend for someone who's thinking of play blues and only blues? I have in mind to get myself a Telecaster, since I sold my old Squire and could save some extra money (maybe I'm a magician!) :) All opinions will be appreciate! Thanks in advance and best wishes for all you there! Jose Luis Dente jldente@lancernet.com ========================================================================= Date: Sun, 30 Jul 1995 20:06:53 -0500 From: Patti Bowman Subject: Geez, Jim.... Geez, Jim. Bad day? I think you read that question wrong. Calm down. To the original poster -Blues Access is a magazine. Try them at 303/443-7245.> -------------------------------------- >In a message dated 95-07-28 11:39:33 EDT, MNHAD009@SIVM.SI.EDU (Rocco) >writes: > >>You mention blues access as a source of blues festivals. >>is this an internet discussion group or a magazine? > >I'm so sorry that I don't have the information on every blues festival in >existence committed to memory. Appearently I'm not expert enough to give >someone a direction to turn to in order to help them out. Go back and check >other answers given to that same question. Do you answer every posting like >this? From now on I won't offer to help out, I'll just leave it to the people >who can answer without needing to use other sources or who have completely >memorized their information and have time to list each piece . > Jim Armstrong ========================================================================= Date: Sun, 30 Jul 1995 22:01:47 -0400 From: BBGInc@AOL.COM Subject: Newport Rhythm & Blues Festival I had the great good fortune to be at Fort Adams State Park in Newport Rhode Island yesterday (July 29th) for the first Rhythm & Blues Festival, a benefit for the Rhythm & Blues Foundation, which helps financially strapped older R&B artists. The day was beautiful (albeit scorching), sound was great, and the sight overlooking Newport Harbor is gorgeous. And the music was fabulous, stupendous, magical and many other superlatives. All for a good cause. Performers were (in rough order of appearence): Blind Boys of Alabama, Charles Brown, Ruth Brown, Pops Staples (solo electric, with Bonnie Raitt, who is one of the Foundation Board Members, joining him for a duet). The last two hours was a special guest jamboree, all backed and arranged by Allen Toussaint and an orchestra of fabulous New Orleans musicians. The special guests typically came on and did a few of their hits. Toussaint was joined at various times by Irma Thomas, Steve Cropper (from Booker T. and MGs), Clarence Carter, drummer/composer Narda Michael Walton (I think), Bonnie Raitt, Don Henley, and a rousing session from Sam Moore (of Sam & Dave) to end six hours of heavenly sounds. The whole crew got on stage at the end, of course. It deserves special mention that unlike Don Henley, Bonnie did not do her own hits, but rather did well chosen covers of blues songs. Billy Joel showed up unannounced (said he sailed in from Montauk, Long Island NY -- tough life eh?) and was coaxed on stage by 60-minute man Ed Bradley, who MCed the whole affair. Joel played a really enjoyable and fun version of a hastily rewritten "Newport" State of Mind, accompanied only by a saxaphonist who did a fantastic job of improvising. Though the highlights are too numerous to list here, some personal favorites standout. Ruth Brown said it took her 50 years to get to Newport, so she was going to give us a performance we would remember all our lives. She lived up to that. Irma Thomas' voice was in great form, and Clarence Carter did a ribald and raucous Strokin' (I think that's the song name), which may well have been censored in some parts of the country. Steve Cropper did a searing rendition of Green Onions. If you are anywhere near Newport, go next year. Andrew Gordon Publisher Blues Buyer's Guide For info about the Guide, a collection of 1,000 review summaries of 600 CDs, email to BBGInc@aol.com ========================================================================= Date: Sun, 30 Jul 1995 22:07:58 -0400 From: "Terry L. Odor" Subject: Re: Soul Diva Meets The Blues Monsters >Can anyone supply me with more information about this CD/Group?< The Soul Diva is Linda Hornbuckle, an outstanding soul singer in Portland, and the Blues Monsters are the "No deLay Band", harpmaster Paul deLay's band (while he was on "vacation"). I love this CD!! Linda Hornbuckle is outstanding and guitarist Peter Dammen is one of the Pacific Northwest's treasures. As a side note, Peter was responsible for booking the recent Portland Waterfront Blues Festival and did an outstanding job! Terry ========================================================================= Date: Sun, 30 Jul 1995 23:13:34 -0400 From: "Roy W. Forgy" Subject: Re: Geez, Jim.... You can also get Blues access on the WEB http://www.interactive.line.com/blues/bluesaccess/.tic.index.html >Geez, Jim. Bad day? I think you read that question wrong. Calm down. > >To the original poster -Blues Access is a magazine. Try them at 303/443-7245.> >-------------------------------------- >>In a message dated 95-07-28 11:39:33 EDT, MNHAD009@SIVM.SI.EDU (Rocco) >>writes: >> >>>You mention blues access as a source of blues festivals. >>>is this an internet discussion group or a magazine? >> >>I'm so sorry that I don't have the information on every blues festival in >>existence committed to memory. Appearently I'm not expert enough to give >>someone a direction to turn to in order to help them out. Go back and check >>other answers given to that same question. Do you answer every posting like >>this? From now on I won't offer to help out, I'll just leave it to the people >>who can answer without needing to use other sources or who have completely >>memorized their information and have time to list each piece . >> Jim Armstrong > ========================================================================= Date: Mon, 31 Jul 1995 13:49:57 +1000 From: Kurt Derbyshire Subject: John Hammond - new album Any opinions on the the new John Hammond release, Found New Love, on Virgin/Pointblank? How does it compare to his last couple? Kurt Derbyshire derbysk@ensis.nth.dpi.qld.gov.au ========================================================================= Date: Mon, 31 Jul 1995 01:26:17 -0400 From: Avraham Teitz Subject: Re: First Guitar My first guitar was a Stella (a real cheapo) with a hole in its side, and action that was 2 feet off the fretboard. The guitar had the unique capacity to go out of tune with every other strum. This lasted for about 2 months until I bought a used Tele (1970) that had been repainted (poorly - with drip marks and everything). The new paint job was "natural" (it used to be Olympic white as I could tell from the paint still left on under the pickguard). It had a third pickup cut into it (a humbucker placed between the bridge and neck pickup ). The neck was a two peice affair, having a maple fingerboard on top of a maple neck (hence no "skunk stripe"). It was my main guitar for 15 years. It's main advantage was that it played in tune. First amp - a Kustom 30 watt solid state amp that I bought at Sam Ash in NYC while my Dad was waiting in the car outside. Avi Teitz ATeitz@aol.com ========================================================================= Date: Sun, 30 Jul 1995 23:39:18 -0700 From: Linda Eskin Subject: Hi. I'm new here. Hi, I'm Linda Eskin. I'm new to the list, and fairly new to the blues. I play acoustic guitar, and have recently been working on fingerstyle blues such as Rev. Gary Davis, Doc Watson, Mance Lipscomb, etc. About 2 weeks ago I had the privilege of attending "Blues Week" at the Augusta Heritage Center in Elkins, West Virginia. I got to work with Woody Mann mostly (brilliant syncopated fingerstyle guitarist, author, songwriter, and student of the late Rev. Davis), and some with John Cephas, of Cephas and Wiggins. Augusta is a great resource for blues players. If you would like more info, e-mail me. I am always looking for CD suggestions, interesting books (of words or music), jamming buddies, and artists visiting the San Diego area (for concerts or workshops). In "real life" ;-) I design the graphic user interfaces for my company's software - and love my job, thankfully. My husband, Michael, plays renaissance, old-time, and Celtic music on hammer dulcimer, flute, recorders, and fretted dulcimer. We're the best of friends, but we don't jam together much. I'm looking forward to getting to know y'all. See you around the list. Linda -- | Linda S. Eskin | Guitar - Cats - Fishes - Vegie - Beer | | La Mesa, California | AutoCAD - LISP - DCL - GUI - Tech Pubs | | | Photography - Flying - Woodworking - ... | | lseskin@ix.netcom.com | "If you want it... make it happen!" | ========================================================================= Date: Mon, 31 Jul 1995 17:44:33 +1000 From: Kurt Derbyshire Subject: Charlie Musselwhite live query Has anyone seen Charlie Musselwhite live recently? Any impressions or assessments of the gig(s) would be appreciated. Kurt Derbyshire derbysk@ensis.nth.dpi.qld.gov.au ========================================================================= Date: Mon, 31 Jul 1995 03:24:04 -0400 From: "King, Tony" Subject: Re: Ellen Mc. To all those people who replied re: Ellen McIlwaine, thanks a million. I haven't located any other CDs, but the info received has been invaluable. Special thanks to Bill M., Richard at Stony Plain, Peter Siegel, phertel, Delta Doc Rogers, eRIC, Kevin S. and anyone else I might have missed. Regards, Tony King ========================================================================= Date: Mon, 31 Jul 1995 00:46:00 -0700 From: Bradley Gekler Subject: Re: First Guitar How ya'll doin, This subject of first guitars(amps) brought back some nostalgia. I got my first guitar at age 10 on Xmas-had to have it. It was new and big. About a Martin D-28 in size but not at all in quality. I think my folks payed $24 at FEDCO new. The action, was, to say the least painfull. My next guitar was electric. I mowed lawns all summer and my gramps matched the $30 I had saved. This got me every bit of a Del-Ray electric with, count'em three pick-ups, push-button controls and a mirror pick-guard. What can I say, I had taste at 11. The guy I bought it from suggested that I do what he had and just play the thing through my pop's stereo(via a RCA connector adaptor rig that he kindly provided). This proved to be a God send. As you can imagine, it wasn't too long before my folks got me my first amp-a '64 princeton that a friend of mine has and has never failed to be great sounding in a small room. Still have the Del-Ray in the garage. That's where it belongs. For what it's worth, BRG ========================================================================= Date: Sat, 29 Jul 1995 08:11:24 GMT From: Patrik Urbansson Subject: What's happenin'? I've got the blues. I haven't received any post for a couple of days, where are you Bluezellers? Is there someone who can tell me what's happenin'? Patrik ========================================================================= Date: Mon, 31 Jul 1995 07:25:05 CST From: William Shute Subject: Night Train label info and query From: Bill Shute The "Night Train" label (a division of Tuff City Records, the credits say)) is a little known outfit from New York that seems to specialize in reissues of the catalogs of Swingtime and its associated labels. There are two batches of releases that I know of. First group came out circa l991: NTI CD 7001 Lowell Fulson "Back Home Blues"** NTI CD 7002 Lloyd Glenn "Honky Tonk Train"** NTI CD 7003 Johnny Otis Band "Be Bop Baby Blues"** NTI CD 7004 Jimmy Witherspoon "Call My Baby" (** indicates discs I own) I don't know if these are still in print. They were hard to find when they came out, altho I've seen a few ads in blues magazines over the years. Recently, I picked up a fine, fine Johnny Otis release on the label: NTI CD 7006 Johnny Otis Band "Too Late To Holler" Like their earlier Otis issue, this consists of Otis' band backing various journeyman vocalists for the Exclusive and Excelsior and Supreme labels. Otis explains that one or two of the session were done secretly during the Musicians' Union recording ban (which would date those in 48 or so), while the two songs that mention Korea must be from 3 years later. Eighteen hot tracks--kind of like a weekday evening show at Otis' own BArrelhouse Club in that the vocalists are no Jimmy Rushing, but competent blues shouters in the Rushing/Turner/W.Harris vein. This album had a sticker on the shrinkwrap (do we still use that term with CD's) that attempted to tie in this album with the Swingtime box set and promised rare and unreleased material (which you do get!). The Otis release has a '94 copyright, although I'd swear it didn't hit stores until '95. Four others from this batch of '94 releases are listed on the cover, and I will be special-ordering those: NTI CD 7007Lowell Fulson "Every Day I Have The Blues" NTI CD 7008Jimmy Witherspoon "Cold Blooded Boogie" NTI CD 7009Lloyd Glenn "Chica Boo" NTI CD 7010 (various artists) "SwingTime Shouters" Now, does anybody know what NTI CD 7005 might be and if it has been released? Are there any releases beyond #7010 that are presently available? Whoever runs this label has access to the original acetates/lacquers of released and unreleased material from the labels (remember, Jack Lauderdale did not use recording tape). The remastering is done by Jack Towers, who to me rates with John R T DAvies and Little Walter DeVenne in the vintage remastering department. And LA R&B authority Dan Nooger has done the liners on many (the liner notes on the earlier Otis album were quite dodgy--since Nooger obviously would know all the details, I wondered why he was so evasive? you could almost figure out who sang on what from the liners...almost... but no session info at all). All in all, wonderful stuff recommended to any who enjoyed the Swingtime 2-CD box on Capricorn. BTW, one error in the liners of the new Otis album is that he was born in l921, NOT l931--otherwise, he would have made his recording debut AS A BAND LEADER AT AGE FIFTEEN and would have been playing with Harlan Leonard as he reached puberty! When our next blues-l "Hall of FAme" balloting comes, Johnny Otis ought to be a prime contender. Bill Shute (oooo weeee oh oh/ oooo la la, that rock n roll) San Antonio, TX ========================================================================= Date: Mon, 31 Jul 1995 07:33:30 CST From: William Shute Subject: "Dig" label reissues (query) From: Bill Shute Another Johnny Otis-related question. I recently got the first volume, on the UK "Ace" label, of what was promised to be a multi-volume series dedicated to the Johnny Otis- owned and operated label (and other Otis labels such as Eldo and Ultra). Volume one is as follows: (various artists) "Dig These Blues" Ace(UK) CDCHD 334 This is a hard-hitting, blues-drenched set with obscure early tracks by such names as Don Sugarcane Harris (a l960 Eldo single) and Johnnie "Big Moose" Walker (then billed as "Moose John") and Jimmy Nolen, who of course followed Pete Lewis as lead guitarist with the Otis band. Other artists are VERY obscure such as Roy "Happy" Easter, Larry Waters, Abe Moore, The Sailor Boy, The CAts From Fresno, et al. My question is...how many volumes did ACe do of this material? I think I once saw volume 4 in this series. Could someone with an Ace catalog give me the titles and numbers of the CDs so I could order them? Many thanks in advance... Bill Shute San Antonio, TX ========================================================================= Date: Mon, 31 Jul 1995 08:52:50 -0400 From: Skip Montanaro Subject: Re: FAQ - Etiquette Portion Regarding personal appearances, David Silberberg wrote in the blues-l FAQ: It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: [ various alternatives zapped ] Another alternative would be for people to post their appearance schedule (and updates) to Musi-Cal (access info is in my .sig) and then to post a brief announcement to blues-l to the effect that "My band, the Blues Bellies, will be playing a bunch of air-conditioned bars in the Southeast during August. Our itinerary has been submitted to Musi-Cal." The same can be done with national acts of course. The main advantages to posting your events to Musi-Cal are 1. They get "archived" for precisely the correct amount of time (until the event occurs). 2. They reach a much broader audience than just blues-l readers. 3. Musi-Cal supports both WWW and email query interfaces, which can be quite selective. (People only see what they want/need to see.) If people need any help getting started submitting events to Musi-Cal, just drop me a line. Skip Montanaro skip@automatrix.com (518)372-5583 Musi-Cal on the Web: http://www.calendar.com/concerts/ Musi-Cal via email: concerts@calendar.com (msg body of "help" for full info) Internet Conference Calendar: http://www.calendar.com/conferences/ ========================================================================= Date: Mon, 31 Jul 1995 08:03:50 CDT From: L W Subject: Chicago String Band I bet you were hearing the Testament Chicago String bad, recording. I think it has John Wrencher and Johnny Young at least. Some of the other more knowledgable folks could help more....I've heard great things about it, but I've yet to buy it. LW 'one of the worst weekends in a long,long time :-(' ========================================================================= Date: Mon, 31 Jul 1995 08:09:12 CST From: William Shute Subject: other Johnny Otis releases From: Bill Shute Sometimes I just need a fix of Johnny Otis to make things all right, and I guess this weekend was one such time as I recuperated from my trip to Austin (BTW, Austinites, the great BLUES BOY HUBBARD is playing the Aquafest this Tuesday night at 6 or 6:30, on the R&B/Jazz/Blues stage---TD Bell and the Blues Specialists played it Saturday night). For me, Otis epitomizes west coast R&B as it evolved from Swing through jump blues-related music into pure R&B...and of course in Otis' case to rock n roll during his capitol period. Many of you know that the rich catalog of Savoy records was purchasd by the Japanese in the late l980s (Denon bought it), and (perhaps as retaliation for our winning WWII) they literally destroyed all existing vinyl so as not to kill the future CD market. Now, Denon/ Nippon Columbia are reissuing the old "savoy jazz" reissues of the l980s on CD in exact reissues--even duplicating the original tiny-sized liner notes on tinier-sized CDs (I'm glad I'm near-sighted and not unable to read small print!). Now they have issued the fantastic Johnny Otis "The Original Johnny Otis Show" SV-0266 (Savoy Jazz/Denon) It contains 27 tracks, 5 fewer than the original 2 record set (due to time limitations), although if you have good eyesight you can still read Pete WElding's fine notes which discuss the whole album, including the five tracks you don't get! >From Otis' first hit, the beautiful and haunting "Harlem Nocturne" (novices will remember this composition, altho not Otis' version, as the theme from the much-missed-by-me "Mickey Spillane's MIKE HAMMER" TV series, which died when star Stacy Keach spent some time in a UK prison on a narcotics rap) from l945, through early and wonderful cuts with JImmy Rushing singing, through pioneering l949-50 sides featuring the Robins on vocals (great early vocal group R&B), through lotsa hot Mel Walker and Little Esther-sung sides-----all with the hot playing, swinging beat, and dynamic Otis vibes-playing-- this is essential music and is, to use a blues-l expression, a "run, don't walk" disc. With the issue of the 3-CD Capitol T-Bone Walker set, you need no excuse now to wallow in l940s west-coast R&B, some of the greatest music ever recorded. With the emphasis on Chicago Blues among many l960s revivalists, it took awhile for the west-coast greats to get their due among the wider and younger audience who weren't there the first time around. I remember finding a much more sympathetic ear among jazz fans than among blues fans when I was discovering this stuff back in the l970s as a teenager! Speaking of Johnny Otis, one strange but enjoyable disc is a Wolf release JOHNNY OTIS SHOW LIVE IN LOS ANGELES l970 (Wolf 120.612). Obviously from a radio broadcast (FM?), this is a live-feeling set in which Otis attempts to recreate the feel of his legendary BArrelhouse Club and on which Otis "emcees" the proceedings. Featured artists include Joe Turner, Roy Milton, Little Esther, Otis himself, Eddie Cleanhead Vinson (much-missed by me! check out almost anything by this late master alto player/vocalist), Charles Brown, Lowell Fulsom (as he was then spelling it), and finally a duo between T-Bone Walker and Shuggie Otis. The recording quality is quite thin as this was taken off the radio, and since this is not "licensed from Johnny Otis" (Otis seems to be willing to work with and assist legit labels in reissuing his catalog), one wonders about its legitimacy. Still, it's a good listen and one can only imagine how much fun it would have been to be in THAT audience in l970. I'm sure the show went on for many hours!(borrow a friend's copy if it's a boot) I hope the five Otis and Otis-related CDs I've mentioned in my three posts today (I kept them separate so people could access them more easily) will serve to create a hunger for Johnny Otis music which will lead some to pick up these (the SAvoy Jazz one is the MOSt essential) and others to dig out their own Otis discs for an instant party. The master is still quite active today, at least he was as of a year or two ago, and i'm told that if the Johnny Otis Show hits your town, it is still as exciting as ever, and Otis is supposedly still a fine discoverer of new talent. You've probably seen Otis' ads for expensive lithographs of his African-flavored paintings, many of which deal with musical themes. I wish I could afford them. It'd be great to have 'em on the wall as I spun these discs--I wonder what Mr. Otis' drink of choice is? Hoisting a few would obviously add even more to the experience. Until then, Samuel Adams Scotch Ale will have to do. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 31 Jul 1995 09:16:54 -0500 From: VT Subject: REVIEW - Live - Michael Hill (& Future of the Blues) Michael Hill's Blues Mob - Sat.95.07.29 @ the Turning Point, Piermont, NY. LONG preface (skip down to the key "**The GIG:" if you don't want to read my opinion :-) There has been some previous discussion on this list about the future of the blues. I am not one for predictions or prophesies, but I think I see one of the futures for the blues - well, at least what I consider REAL modern blues. For a change I am not that far out in left field on this. "Living Blues" magazine's latest Critic's Award voted: MICHAEL HILL'S BLUES MOB BLOODLINES Alligator 4821 as the Best Debut Blues Album of the year. OK - let me makes some comments - Michael Hill definitely has the blues feel and the blues sound but he/they bring it up to date to the 1990's, by mixing in today's music elements and sentiments. IMHO this MAKES them "more authentic" than many of their contemporaries - blues has always been "topical" - the reason that so many classics are classics is because the topic is ageless. But there are other classic blues which are stories or topics which covers the topical subjects of the day. Let's take some examples - these aren't meant as direct comparisons, but illustrations with relevant "benchmarks". Hendrix - he was rooted in the blues, but he took quantum leaps out from those roots, so much so that there are many who will not acknowledge that the majority of he does is blues. To me he's like someone who is attached to those roots by a bungee cord, and he took giant leaps anchored to those roots, at the extremities it is hard to see that cord, but the many rebounds/pull backs clearly show his roots. Robert Cray - very sophisticated and his songs are modern. But to many he is too smooth, sophisticated and somewhat "cool". SRV - talented, a certified guitar hero, but Hendrix casts a giant shadow over him. Now let's look at Michael Hill - Unlike Hendrix - he doesn't take such dangerous leaps. Instead of the bungee analogy - I liken him to the basketball play on the last step before travel. The player plants and pivots on one foot. Hill's planted foot is in the blues, but the other which is free to move uses sounds, music and the sentiments of today. By a mix of today's topics, sentiment and even attitude in his lyrics, and mixing elements of rap, hip-hop, new jack and other urban/city sounds. Unlike Cray - in spite of obvious sophistication (and education - Hill uses a wide vocabulary in his lyrics) Hill is very impassioned and committed to his songs and performance. He is "cool" but not in the cold way, and he is also "hot". Unlike SRV - Hill obviously also can sound like Hendrix at times - Hendrix cast a GIANT shadow over all modern rock and blues music - but Hill mainly has the Hendrix feel - withOUT having to sound like Hendrix and be bounded by that sound, which SRV could not escape until "In Step" and unfortunately only toward latter part of his life. Hill obviously is very capable on the guitar but he does not use it as his main sound, but as part of his overall music. Also unlike SRV - fortunately :-) Hill does NOT look the part of a guitar hero - Hill is a sweetheart and looks more like a giant teddy bear! **The GIG: I have seen the Michael Hill's Blues Mob once previously, before I had heard their album. I was very impressed with that live gig, and after buying the CD, I remained impressed. This gig confirmed for me the importance of this band. I arrived early and was fortunate to hear the band do a soundcheck. Unlike the usual check - when each member had set up their respective instruments they then played as a band on parts of songs for the check - thus treating me to parts of "Ready for the Blues" and "Hard Blues for Hard Times". Opening with a short instrumental and some stunning guitar playing Michael Hill introduced themselves, and played into - Why We Play the Blues - powerful with an attractive riff - the lyrics are meaningful for today - with a social conscience: "...even in the classroom, children packing heat. ....... this music is a bloodline that's why we play the blues". Kevin Hill - Michael's brother - funks it on the bass for his solo. Almost everything Michael plays on the guitar makes me sit up and pay attention. Michael plays these ending notes where he adds the harmonic, so the sustained note wails. Can't Recall the Time - great song, with great lyrics: "Can't recall the time, so many children had the blues, (twice) In world of painted pressure they're growing up too fast, The innocence of childhood is just a memory from the past, (Lord) I can't recall the time, so many elders lived in fear, (twice) Crime and disrespect, have them locked behind closed doors, stretching out fixed incomes while the cost of living soars" The solo starts with some beautiful and clean octave playing then a fast section into some very lyrical playing. Promises You Can't Keep - song about relationships. Introduction on volume controlled guitar playing into a stunning run. Michael has this looseness and flow similar to Jimi where he will make commentaries, between verses, like pointing out the contradiction in "..she believes one man one woman, while he believes variety is the spice of life....". After a good organ solo from Douglas Booth playing a neck strapped keyboard (wore like a guitar) Hill plays all sorts of stuff: volume controlled (faded in notes), harmonics and sustains with added harmonics so the note will wail, but these don't sound contrived merely part of the sound. "Hear the boy was crying this morning, the one he truly loved has gone away" and he crys/weeps with the guitar by using the fade-in volume controlled notes, beautiful. Michael really does converse with the audience telling us about the background to the songs they are doing. "We honor the tradition of the blues, and at the same time sing about the things of today" All the preceding songs are on their current album, the following 3 songs below are ones by their influences. Ready For the Blues - an attractive and catchy number - in D major (how do I know? because Michael told us - that's a key which everyone can feel comfortable singing :-). Michael plays a short slide on his middle finger because he keeps in standard tuning. Really good slide playing, very modern in sound and obviously not simple, but he does not make it sound complex, merely that it is part of the song - no mean feat. He gets the audience to answer the chorus even the bits where he shouts the blues, sings falsetto notes, and then bass notes.... Michael says "you're too tough y'all". Early in the Morning - the Jr.Wells/Buddy Guy thing from "Hoodoo Man". Michael urges people to get this classic album. Real nice version. They get that innate swing. Michael gets the Buddy feel without imitation, he even does those the quiet parts going into the shredding bits. Sweet Little Angel - Douglas Booth sings - he has a higher pitched voice with a very attractive tone. During the song Michael walked into the audience, and unlike Buddy Guy/Albert Collins/Guitar Slim he wasn't showboating, he didn't do it during a solo, but while playing supporting fills to Doug's keyboard playing. He ended up just behind me and to my right, and sat down and played on the seat I pulled out for him. He stood up for his solo which was stunning. This was a real highlight. Voodoo Child (Slight Return) - unlike the last time I saw him where he continued from Voodoo Chile which was on the jukebox accidentally left on - this was Slight Return - the song that's normally covered. The covers don't deviate too much from the original mainly because of the attractive rhythm and instantly recognizable riff. Michael said they were from the Bronx so they're doing a "New Jack" version - it was definitely different with a different (hip-hop?) beat although he does play the riff. They definitely take this to different places, without making a mockery or a mess of it. Michael quotes from "3rd Stone" and then backs up Kevin's bass solo by tapping harmonics. Kevin plays the riff from Sly Stone's "Thank You (Falettinme Be Mice Elf Agin)" during his solo. Tony Lewis gets a drum solo which has a jazzy feel to it - reminding me somewhat of the great Elvin Jones. Michael then plays a short stunning section on slide. This was really something. Women Make the World Go Round - an attractive new song, during which Michael teases the audience saying guys are reluctant to sing this, but we should give it up - unless they happen to arrive on this planet earth without a mother....... This and the previous song will be on their new album, due out probably early next year (Michael wants to call it "Bring the Spirit") - Don't forget - you read it first here on the Blues-L :-) This was just the first show of two. I realize that perhaps I have gone over long on this, but I hope I have given you a taste of what this band is like. IMHO the Michael Hill's Blues Mob are important for pointing one of the directions for the future of the blues. I urge you to listen to their album, paying attention to the lyrics, then to the guitar playing. And go see them LIVE. Vincent p00061@psilink.com ========================================================================= Date: Mon, 31 Jul 1995 08:43:32 -0500 From: Bruce Roberts Subject: Guy Forsyth Guy Forsyth, Guy Forsyth, Guy Forsyth. You need to write that name down, commit it to memory, or have it tattooed somewhere. This is someone you don't want to miss when he comes to town. I caught his show last night at Antone's. Everytime I see him I'm more impressed than the time before. He plays a mean harp and a killer slide guitar. He has a voice that's so powerful it shakes the foundation. And this man has Soul. Bigtime. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Mon, 31 Jul 1995 09:45:25 -0500 From: Patti Bowman Subject: My ONLY guitar OK. I wasn't going to do this but since this thread hasn't died yet, I'll throw in my story.... I was 9 yrs old and begged for a guitar for Christmas. As I am a spoiled child I, of course, got it. Can't remember the make or model but it was definitely brown. Mom got me a book on how to play so I was in heaven, just sittin' in my room - my brown guitar, my book and the dreams of sittin' round theGirl Scout campfire playing Kumbiya. The book said to hold my hand like I was holding an egg. Huh? Never could get that one figured out. I _did_ figure out how to tighten those strings with those little pegs on the head though. That was my forte. A week later, my dad's in the garage trying to fix the neck. Seems that those strings will only go so far before physics take over and something has to give. Anyway we repeated this simple "tighten, tighten, snap, repair" process a couple times before I decided to be a singer instead of a guitarist. Lack of vocal talent not withstanding, it seemed like a good move. I can't recall whatever happened to that old brown guitar but 3 years ago when I bought a bass, I had the good sense to just leave it in it's case. -Patti Creativity is the sudden cessation of stupidity. ..........................................Dr.E.Land, (inventor of the Polaroid camera) ========================================================================= Date: Mon, 31 Jul 1995 08:49:15 -0500 From: Bruce Roberts Subject: T-Birds Free Concert This wednesday night at 8:00 the Fabalous Thunderbird are putting on a free concert/CD release party at the Shady Grove in Austin. Also Thursday night at the Grove is Omar and the Howler. Too cool. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Mon, 31 Jul 1995 08:35:51 -0500 From: Richard Shurman Subject: Another addition to the coronary list As I type this, Little Smokey Smothers is undergoing four hours of heart surgery to correct a leaky valve and perform a triple bypass. He knew this was coming before too much longer, and felt so bad after the exertion of his Thursday night gig at B.L.U.E.S. (in Chicago) that he checked himself into the hospital on the way home. I'll post an update when there is one. He's at Michael Reese Hospital in Chicago. ========================================================================= Date: Mon, 31 Jul 1995 09:36:04 CDT From: L W Subject: Muddy's House Is it OK to take a piece of wood from Muddy's house....? I've noticed folks say they got a "splinter" or "chip".....I'd like to get a piece that is large enough for a guitar bridge (for the Mudbox :-))......A lot of my friends are wood workers and could make it work, so that'd be neat.. Will I be able to get a piece large enough.....? LW ========================================================================= Date: Mon, 31 Jul 1995 14:48:55 +0000 From: Pat Hertel Subject: Re: REVIEW - Live - Michael Hill (& Future of the Blues) On Mon, 31 Jul 1995, VT wrote: > Michael Hill's Blues Mob - Sat.95.07.29 @ the Turning Point, Piermont, NY. > > LONG preface (skip down to the key "**The GIG:" if you don't want to read > my opinion :-) > > There has been some previous discussion on this list about the future of > the blues. > > I am not one for predictions or prophesies, but I think I see one of the > futures for the blues - well, at least what I consider REAL modern blues. > > For a change I am not that far out in left field on this. "Living > Blues" magazine's latest Critic's Award voted: > > MICHAEL HILL'S BLUES MOB BLOODLINES Alligator 4821 > > as the Best Debut Blues Album of the year. > > OK - let me makes some comments - > > ETC. Then let me go WAAAAY out in left field. I will preamble by saying that I have never seen them and have only their CD to "judge" them by and it is ONLY IMHO but.... I hate em' this ain't blues, this is FUNK (and noise) yechh! If this is the future of blues I give up. :):) Note the flame retardant smileys. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/7/95 10:40 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 31 Jul 1995 09:52:51 CDT From: L W Subject: Re: REVIEW - Live - Michael Hill (& Future of the Blues) ----------------------------Original message---------------------------- > There has been some previous discussion on this list about the future of > the blues. > Then let me go WAAAAY out in left field. I will preamble by saying >that I have never seen them and have only their CD to "judge" >them by and it is ONLY IMHO but.... > I hate em' this ain't blues, this is FUNK (and noise) yechh! > If this is the future of blues I give up. :):) Note > the flame retardant smileys. Let me play out there in your field... I saw them live and there wasn't nothing there for me.....Now Larry MacCray who followed (or played before) he was very good. I'm not trashing Michael Hill and I can't say I hate them, but I would not recommend them to anyone....I also can't say whether or not it's blues, but it certianly didn't "talk to me". If they move VT, that's GREAT for him and them....... LW 'glad I'm not alone on this one' "They call it stormy monday..." ========================================================================= Date: Mon, 31 Jul 1995 14:17:23 GMT From: George Myers Subject: Re: Blues this week on net. TV Brody will be at his hometown haunt the Grand Emporium (twice honored as America's #1 blues club) in K.C. 8/15. ========================================================================= Date: Mon, 31 Jul 1995 14:30:03 GMT From: George Myers Subject: Re: The Bel Airs!!!!!!!!!!!!!!! They'll also be at the Grand Emporium in K.C. 9/8-9. ========================================================================= Date: Mon, 31 Jul 1995 14:24:25 GMT From: George Myers Subject: Re: James Harman Adding to James' upcoming schedule: 1/7-14 The Ultimate Rhythm & Blues Cruise 4 with Taj Mahal, WAR, Lonnie Brooks, Koko Taylor, Magic Dick/J Geils BluesTime, Jimmy Thackery, Debbie Davies, Latimore, and Chubby Carrier. ========================================================================= Date: Mon, 31 Jul 1995 16:22:00 GMT From: Dennis Miele Subject: Re: Blues Families/estranged How about Robert and Lyndon Johnson?? (I hear they never got along and hardly spoke to each other!) Muddy and Roger Waters Roy and Roy Rogers? (I bet things were confusing around THEIR house) Freddie, B.B, Albert and the rest of the King Family Singers (This is getting out of hand!) In article <9507272042.AA07146@musicman> Ed Mezynski writes: >Lonnie and Mel Brooks >Hound Dog and Elizabeth Taylor >Gary and Mary Tyler Moore >Albert and Joan Collins >Robin and Gerald Ford >Johnny and Shelly Winter >Ted and Tina Turner >Johhny and Aarron Copeland >Dr. and Elton John >Sorry to waste your time and bandwidth with this febble attempt at humor. >ed ========================================================================= Date: Mon, 31 Jul 1995 10:23:59 -0600 From: Ranko Vujosevic Subject: Lil' Son Thanx everyone who recommended Lil' Son Jackson's Imperial Recordings. Bought it yesterday and enjoyed it very much. Great blues! Althought I heard of him, I never actualy heard any of his songs before. Blues-L education at work. Also, picked up a copy of Henry Townsend's 'St. Louis Blues' on Wolf. I don't even need to say that I LOVE it. Now a question, "Did Vernell Townsend (his wife) do any other solo recording (except that one song on this album)?" She is a GREAT singer. Ranko ps. Blues families: Henry and Vernell Townsend B.B. King and Shirley (sp?) King (his daughter) ========================================================================= Date: Mon, 31 Jul 1995 10:25:50 -0500 From: Pat Seger Subject: "Bad, bad thing" identified Thanxs to all the people who identified the mystery song as Chris Isaak's "Baby Done a Bad Bad Thing." Now I have to go down to the local CD store and have a listen to the rest of the album. OBC: Don't you just love internet software that tells you your message was undeliverable to the list address when you have already gotten 5 replies? Somedays this system gives me the Blues;) ========================================================================= Date: Mon, 31 Jul 1995 08:27:27 -0700 From: Ron Daschmans Subject: Re: WARNING - Non Blues Content If you are able to accept attachments I can E-mail you PKZIP 2.04G... Let me know :) Ron Daschmans On Fri, 28 Jul 1995, bob unger wrote: > Sorry to post his to the list, but with so many pc guru's out there I thought > somebody would be able to tell me where I can download a copy of PKUNZIP and > PKZIP. Any help would be very much 'preeshed! > > BU > bob@sun.bnkst.edu > ========================================================================= Date: Mon, 31 Jul 1995 11:31:00 -0500 From: Patti Bowman Subject: Re: REVIEW - Live - Michael Hill (& Future of the Blues) >Let me play out there in your field... I saw them live and there wasn't nothing >there for me.....Now Larry MacCray who followed (or played before) he was very >good. I'm not trashing Michael Hill and I can't say I hate them, but I would >not recommend them to anyone....I also can't say whether or not it's blues, >but it certianly didn't "talk to me". If they move VT, that's GREAT for him >and them....... > >LW Can't say much for Michael Hill who also doesn't do a thing for me. But I LOVE Larry McCray. Patti Creativity is the sudden cessation of stupidity. ..........................................Dr.E.Land, (inventor of the Polaroid camera) ========================================================================= Date: Mon, 31 Jul 1995 11:26:33 EDT From: "Christopher J. Conrady" Subject: Fabulous T-Birds Review Hey everyone......I don't post here all that often, but I thought I would throw my $.02 on the T-Birds outdoor concert here in PIttsburgh this weekend. They played Sunday night outside of Three Rivers Stadium at the Three Rivers Rib and Music Festival. Four days of great food and good bands. The line up this year was great, and for four bucks, I saw some GREAT bands. Anyways, I have never seen the T-Birds before so I was anxious to see them for the first time. They took the stage about 9:30 and played for about an hour and fifteen minutes......and let me tell you, they were FABULOUS for sure. I was skeptical of what kind of show it would be because Kim Wilson is getting older and the whole deal with Jimmie Vaughan not being in the band anymore. But my skepticism, went away after the first two songs. Kim was realing trying to get the crowd into it. At one point, he tried to get security to let more people in up front to the reserved seats because he "likes people in front of him when he plays". He was dancin' around and to me looked like he dropped a little weight over the last couple of years. Ok, Kid Ramos. This is interesting. If you came to this concert and did not know that Jimmie Vaughan left the band and were not sitting in the first ten rows, you would have SWORN that was JImmie playing. Kid came out in all black, short sleve shirt, boots, hairdo a la Jimmie, and stratocaster too. Everything right down to his motions when he played guitar reminded me of Jimmie. Kid is built a little bigger than JImmie but nonetheless, the similarites were unreal. GREAT guitarist though. He smoked the whole night switching back and forth between a taffy blue Strat and a gold Les Paul. And man were they LOUD. I have been to a number of outdoor concerts, but as far as I can remember this was the loudest outdoor I can remember. I am sure a lot of it had to do with the acoustics outside the stadium, but still very LOUD nonetheless. Kim Wilson played some MEAN harp. His style reminds me much of Little Walter. I have played harmonica for years now and I played with a band at the Ribfest about two years ago ( my claim to fame). I brought one of my harps hoping to catch Kim to sign it. Well, after the show the security guard was nice enough to let me slip through and I ran up to get hi before he left. I handed the harp to Kim and a pen, and he smiled and said 'NICE!', I shook his hand and left. It was great. Well, the crowd response was overwhelming. It surprised me that people were going THAT crazy for them. Anyways, if anyone gets the chance to go see them, GO. By the way, the set was straight through. No breaks. The played Wrap it Up and Tuff Enuff (of course) and also lesser known stuff off their other albums ( I didn't know them either). Great show......I hope to see them again. "C.C." Christopher J. Conrady E-mail: ChrisC@mcm.com Mellon Capital Management Voice: (412) 234-4114 One Mellon Bank Center Rm 1135 Fax: (412) 234-8669 Pittsburgh, PA 15258-0001 "The essence of greatness is the ability to choose personal fulfillment in circumstances where others choose madness." ========================================================================= Date: Mon, 31 Jul 1995 09:11:47 -0700 From: Ron Daschmans Subject: OOPS!!! My apologies for accidentally posting the PKZIP request onto the Blues-L... My mistake. Ron Daschmans ========================================================================= Date: Mon, 31 Jul 1995 16:22:40 +0000 From: Pat Hertel Subject: Larry McCray I'm not familiar with this artist. Can anyone fill me in. What's his style and what is recommended listening? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/7/95 12:21 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 31 Jul 1995 11:27:47 -0500 From: Bruce Roberts Subject: Fats Domino Can anyone recommend some good Fats Domino CD's? Thanks. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Mon, 31 Jul 1995 11:26:16 CDT From: L W Subject: Larry McCray ----------------------------Original message---------------------------- > I'm not familiar with this artist. Can anyone fill me >in. What's his style and what is recommended listening? The only recording I know of is "Delta Hurricane"...I listened to it for a very short time, not enough to comment. His live show in Memphis was one of the more enjoyable acts for US..... LW btw: I forget which label, it's NOT on Alligator, but one of the other main (relativley speaking) labels...... ========================================================================= Date: Mon, 31 Jul 1995 12:08:19 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: First Guitar Inspired by the variety of stories, here's my "first guitar" story.... When I was growing up, my father played tenor banjo and guitar (4-stringed instruments). I used to play around on both of them and learned some chords and thought I was hot stuff. Then around Jr. High age my best friend had a guitar, took lessons, and could play cool stuff like Glen Campbell's songs "Galveston" and "Witchita Lineman." When I visited her I was allowed to sit on her bed and hold the guitar, and she taught me a chord. G major. Six strings! I was so excited. I begged my parents to buy me a guitar. (I was a saxophone player at the time.) I finally got one for Christmas when I was a freshman in High School. I don't remember the brand, but I suspect it came from the Montgomery Ward catalog for about $25. It had nylon strings. I knew nothing about "classical" vs. "folk" instruments; I wanted to be the next Joni Mitchell/Carly Simon/Joan Baez, so I restrung it with steel strings. You can imagine what happened to the neck. My father then bought me a little $10 guitar at a flea market (again, an unremembered brand) that was made for steel strings, but it sounded too "tinny" to me. When I was in high school there was a guitar-maker in my hometown (Hinsdale, NH), Gurian Guitars. Michael Gurian donated one of his hand-crafted guitars to the high school, and since I was the prominent music student therein, I was allowed to use the Gurian. It was a beautiful, resonant instrument, and I treated it with awe and respect and was sad to leave it behind when I graduated. When I finally had a job and my own spending money, I took my very first paycheck and bought a new Harmony acousitc steel-string guitar. That instrument helped me work my way through college as a folk singer. About 6 years ago the bridge started pulling away from the body and I had it repaired, then last year the bridge cracked and I was told that this time it wasn't worth repairing. So last summer I purchased a new Ibanez acoustic, AND a used Fender JP-90 bass guitar. I'm still struggling with learning the bass. But since I've always been hopelessly attracted to bass players, I thought by learning to play the thing, I'd crack the mystique. So far it hasn't worked. But I'm pretty good in the key of G! :) Shannon ========================================================================= Date: Mon, 31 Jul 1995 11:37:35 CDT From: L W Subject: Strangest Slides I'm curious what's the strangest thing you've seen someone use for a slide Beer Bottles are not strange, btw I think a shoe is the strangest I've seen After watching Mance Lipscomb on video play with a knife, I used one quite a bit this weekend...Pretty cool I've heard of using a bone, but never seen it done. I'm also curious to what Son House used for a slide LW 'i use a craftsman 5/8 99% of the time' ========================================================================= Date: Mon, 31 Jul 1995 12:40:54 -0400 From: Steve Levine Subject: 7th Annual DC Blues Festival I just checked the DC Blues Festival announcement on the DC Blues Society home page. Looks like Cephas & Wiggins won't be there (as far as I know) and Bobby Parker will be headlining. The url for the festival is http://intelus.com:80/DCBlues/festival.html. Also performing will be John Weston (who will also be doing guitar and harmonica workshops), Daryl Davis and Nat Reese (who will be doing an acoustic guitar workshop). There will also be workshops on vocals, drums for children (last year's was lots of fun!!) and dance. The festival is Saturday, September 9, from noon to eight pm at the Carter Barron Amptitheater. It is a free festival. Here is part of the announcement from the www site: The D.C. Blues Society has announced several of the performers for the Seventh Annual D.C. Blues Festival, scheduled noon to 8:00 PM, Saturday, September 9 at the Carter Barron Amphitheatre in Northwest Washington. D.C.'s own Bobby Parker will bring his electrifying urban blues to the Carter Barron. Parker's second Black Top album will be available in the middle of August, and the advance word is that it is better than the critically acclaimed Bent Out of Shape. Bobby Parker appeared at the very first D.C. Blues Festival, and it is great to have him back. Fat Possum recording artist, John Weston, will be playing and teaching his "down-home" style of blues. John's solo performances, on guitar and chromatic harp, often sound like a whole band. John's backward approach to the harp is unorthodox but very effective. Also appearing is D.C.'s king of the boogie woogie, Daryl Davis, who also appeared at the first D.C. Blues Festival. Daryl, who learned blues piano from such masters as Pinetop Perkins, is Chuck Berry's pianist on the rock legend's East Coast gigs. A favorite of the swing dance community, Daryl has become a double threat, playing solid guitar in addition to boogie woogie and stone deep blues piano. West Virginia country bluesman Nat Reese returns with his own distinctive rural blues approach. Nat will also give an acoustic guitar workshop. Other acts and workshops are being added as this issue goes to deadline. So make your plans. See you there. Festival sponsors include the D.C. Commission on the Arts and Humanities, the National Endowment for the Arts, the National Park Service - National Capital Region and the Fleetwood Foundation. Directions to Carter Barron Amphitheatre: The Carter Barron Amphitheatre, located in Rock Creek Park, is easy to reach. From the Washington Betway (I-495), take the Georgia Avenue South exit. Stay on the right. Go right at 16th Street, N.W. Take 16th Street to Colorado Avenue N.W., make a right, and then an immediate right into the Carter Baron parking lot. The amphitheatre can be reached by public bus transportation on the Red Line. Catch the bus from either the Takoma Park or Silver Spring Metro Stations. Bus service from these stations stop right at the corner of 16th Street and Colorado Avenue. ========================================================================= Date: Mon, 31 Jul 1995 11:49:05 CST From: William Shute Subject: defective Barbara Lynn CDs From: Bill Shute Speaking of Lil Son Jackson, we all remember the controversy a few weeks ago where Jeff Seale brought to our attention that there was some dropout on one of the tracks on this 2-CD set, and it turned out that the whole first pressing was like that. That's a minor problem compared with the Ichiban reissue of Barbara Lynn's Atlantic label sides in their "southern soul sisters" reissue series. The CD inside the package has her picture on it and the Ichiban stock number, even inside the inner ring it has the right stock #, but the actual CD has classical music on it. I knew something was wrong when my player listed 8 tracks--Barbara Lynn has 20. It sounds like an old, budget-label classical thing. Anyone know about this-- or has anyone else had this problem? I left a message this weekend on Ichiban's answering machine. I'll let you know if they return my call what the story is. Barbara Lynn fans might want to wait on picking this up. Bill Shute who considers ms. lynn a true "classic" but of a different sort! BTW, does anyone have those old 3-record sets that Huey Meaux put out way back when called "hitkickers"? They contained weird unreleased material in many cases or odd one-off singles on small Meaux-related labels like Pacemaker or Jetstream. I remember those having Lynn tracks I had seen nowhere else. Those are all in storage now, but if anyone is in possession of 'em and has 'em available, I'd be interested in knowing of tracks not available elsewhere. I wanted to but never got around to making tapes artist-by-artist of the random material on these, and thus getting a handle on what's on em. They were a real rip off, with FOUR songs a side. They were cheap, and mostly sold at truck stops and at flea markets! I think there were twelve 3-lp sets in the series...I have six or seven of them. They were on the "festival" label, presumably no relation to the Australian label of the same name. The odd liners, incorporating an interview with Meaux, were by Armed Forces RAdio Network broadcaster Jim Pewter. Gee, I hadn't thought of those in YEARS! ========================================================================= Date: Mon, 31 Jul 1995 16:58:24 GMT From: AND Books Subject: Floyd McDaniel? Two separate South Bend blues news sources heard that Floyd's health is not very good... (???) :( We saw him at Chgo Fest... he seemed up & ok w. new CD coming out! Any further info is appreciated. Janos ========================================================================= Date: Mon, 31 Jul 1995 10:02:46 -0800 From: Don Cicchetti Subject: Karaoke Hell Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) for lunch on friday. Some of you may know this as the place where local heros Rod Piazza and the Mighty Flyers got their start. I was checking on who would be playing here next week, and noticed all of the pictures of Rod, and the other blues acts had been taken down. I asked the hostess who would be playing next week, and she said (fluttering her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL KARAOKE NOW.... Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? made me want to shout! Haven't been so genuinely pissed in years. What's the matter with these fools? There's lots of other places to hear blues, even in Riverside. (Lake Alice trading co. comes to mind) but the loss of Carlos O' Brien's to Karaoke reminds me of the terrible mess this country's music scene is in. If you don't think its that bad, think of what is being done today to get attention for "musical" acts. Michael Jackson records a deliberately racist "song", then "apologizes" with a fake innocent-wounded look on his face (oh NO, it was AGAINST racism) and makes a video of himself singing new "loving" words to the tune, and re-releases the disc. HOW LONG DO YOU THINK IT TOOK HIM AND HIS SLIMEBALL MANAGERS TO COOK UP THAT SCAM?? Why are we so gullible? How does this boner manage to sell any discs?? And now I have to look at his plastic face on billboards all over the place standing against the setting sun like Zeus come down from Mt Olympus. And Carlos O'Briens went to Karaoke!! ok, I'll calm down now... :-0 Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 31 Jul 1995 17:13:31 GMT From: Tony Burke Subject: Re: Floyd McDaniel? He died! ========================================================================= Date: Mon, 31 Jul 1995 17:18:38 GMT From: Tony Burke Subject: MATRIX NUMBERS, ALTERNATE AND UNISSUED FREAKS ONLY You heard it first here!! From B&R 102 SUN BLUES BOX OUT BY XMAS: Charly Records are to reissue on CD a whole batch of Sun Blues and R&B material. Of major interest will be the Sun Blues Box, to be reissued on CD for the first time. This set will feature 198 sides. But before you dump the vinyl the new CD box will not include the vocal group sides or the gospel material included on the old vinyl release. Also on the eight CD9s will be additional material and alternate takes not on the vinyl. There will also be a series of 20 track compilations of Sun material with CD9s from Billy The Kid Emmerson, Roscoe Gordon, Dr. Ross, Ike Turner (including Ike9s productions for the label), Little Milton, Howlin9 Wolf, a vocal group set, plus sets covering Blues piano, guitar and harmonica including more unissued and alternate takes of Dr. Ross. There will also be other 20 track compilations of blues and R&B material. SEQUEL SET TO REISSUE KING SIDES: Sequel Records are set to release four CD9s of King material in the near future. These will feature a Freddie King set which will include six alternate takes from Freddie9s first King session including the only alternate of 3Hideaway2, a Little Willie John set featuring some unissued and alternate takes, a Sonny Thompson set covering Miracle and King sides and a vocal group set featuring a wide range of groups including The Pyramids, The Tenderfoots, The Magictones, The Sheiks and the first ever take of The Platters performing 3Only You2. ========================================================================= Date: Mon, 31 Jul 1995 13:14:35 EST From: "Steven G. Toney" Subject: Re: Larry McCray Yes...Delta Hurricane is on Pointblank. Larry McCray is a very soulful singer; very full bodied, powerful, soulful voice. His style of blues is on the soul/rock borderline, IMO. I feel that his music is defined more by his vocals than his guitar playing, which is very good, but not definitive, if that makes any sense. After you hear Larry, you understand that this is a compliment, because his strength is his voice and this is the focus of his music...his guitar playing supports his strength rather than compete with it. He plays a Flying V through a Soldano head and Marshall 4x10 cabinet exclusively. He has guest appeared on a number of other's albums, notably Lucky Peterson. I had the good fortune to meet Larry last December while he was on his way through the DC area. He is a very, very friendly person; humble, gracious and congenial. He lives in Michican, I believe he said it was Saginaw, which is north of Detroit. He taught himself guitar with the help of his sister (I think) and until fairly recently (five or so years), was not even a professional musician. He started his adult life as an auto worker in the car factorys around Detroit. He concentrates most of his touring in the northeast, but in the past he's done a lot of the 'fests, mainly in the midwest. He apparently has a rapt following in his normal tour destinations. Unfortunately, on a Sunday evening in Washington, DC, he only generated a crowd of 30 or so people. This was a real shame, considering the talent that Larry possesses. Delta Hurricane is his second Pointblank release. I have been looking for the first, which I don't know the name of, for over a year without success. I hope you all can give him a listen. His music will not blow you away first listen, but definitely grows on you and becomes one of the CDs that doesn't gather dust...you keep going back regularly for some soul feeling. Steve Toney ______________________________ Reply Separator _________________________________ Subject: Larry McCray Author: Pat Hertel at INTERNET Date: 7/31/95 12:44 PM ----------------------------Original message---------------------------- > I'm not familiar with this artist. Can anyone fill me >in. What's his style and what is recommended listening? The only recording I know of is "Delta Hurricane"...I listened to it for a very short time, not enough to comment. His live show in Memphis was one of the more enjoyable acts for US..... LW btw: I forget which label, it's NOT on Alligator, but one of the other main (relativley speaking) labels...... ========================================================================= Date: Mon, 31 Jul 1995 12:29:39 -0500 From: Bruce Roberts Subject: Re: Strangest Slides > I'm curious what's the strangest thing you've seen someone use for a slide I saw T.D. Bell use the tip jar one time. He did pretty good that night. Bruce ========================================================================= Date: Mon, 31 Jul 1995 12:25:50 CDT From: Dave Kneifl Subject: Sue Foley Has anyone heard Sue Foley's new album yet (her third), "Big City Blues"? I hope it is as good as the first two... DK Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning Computers make very fast, 432 N Lake Street Rm 104 very accurate mistakes. Madison, WI 53706 ========================================================================= Date: Wed, 26 Jul 1995 08:50:16 -0500 From: Jeff Seale Subject: review: Toni Price gig Everything you've heard about Toni Price's happy hour gig at the Continental Club in Austin is true! Blues-L'er and friend Bill Shute and I went up to Austin yesterday afternoon for some cd shopping (San Antonio sucks when it comes to blues) and Toni Price at the Continental Club. As luck would have it, she was having a cd release party! Some Butch Hancock/Joe Ely/Terry Allen wannabe opened up the gig with the longest 45 minute set that I've ever had the misfortune to have to endure! However, these happy hour gigs by Toni are legendary and the place was packed before this awful guy was finished. Finally, Toni came to the stage accompanied by 2 acoustic guitarists and a fiddle player. I'm not good at recalling which songs were played and in what order. She did play a nice mix of stuff from the first cd and the new one. She is a genuinely nice person as well. It seems that the place is more like a huge family than just a bunch of people on the way home from work. She spent at least an hour before her set mingling with the crowd, talking and signing autographs (I know, I couldn't keep my eyes off of her!). If you don't have her first cd, SWIM AWAY, on an Antone's subsidiary, go get it right now; then pick up the new one (which I believe is just called Toni Price, but don't hold me to that). The angels in Heaven just wish they had a voice like Toni Price! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Mon, 31 Jul 1995 11:50:41 PDT From: "R. J. Bauman" Subject: I'd Rather Be a Blind Girl I've come across a 1994 Tomato CD called "Etta James Live." It's from 1980 when she worked with Allen Toussaint (in the studio.) I don't know if this material was ever released before under a different title or if it's been repackaged since last year to replace this release. I'd highly recommend it if you can find it. It has a bristling chicago blues combo playing behind her on "Drown In My Own Tears", "Dust My Broom", "Rock Me, Baby", "Stormy Monday", "I'd Rather Go Blind", and some good soul tunes. It's under 40 minutes, however. It's been discontinued according to the record store clerk, and that's a shame because it proves again (Rock's the House)that Etta could *really* get down and dirty with the blues in a live setting. "R&B Dynamite" and the 2CD "The Eseential Etta James" really don't have that focus. (Rather, they demonstrate her wonderful versatitilty with different types of songs.) She sings "I'd rather Go Blind" as "I'd rather be a blind girl" on *this* set, too. She says this is a country /western tune when introducing the song. (?)Maybe she figures these lyrics work better for a country/western song. It's kind of a stretch calling it that even the way it's performed on this album, IMO. RJ Bauman ========================================================================= Date: Mon, 31 Jul 1995 12:48:05 PDT From: "R. J. Bauman" Subject: Re: Larry McCray > I'm not familiar with this artist. Can anyone fill me >in. What's his style and what is recommended listening? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [31/7/95 12:21 AM] >"They call it stormy monday..." > He has a couple of Cd's out, but I've only seen Delta Hurricane in the stores. Never heard it, though. I'd be interested in somebody's opinion on this , too. I've been close to getting it several times. We saw him in Memphis and he was really impressive during his set. His brother plays with him too and is also talented. He's a big guy (Larry) with good chops and good vocals. He can really burn it up with STYLE. We got to talk to him on Beale St. later and he was really a nice man. RJ Bauman ========================================================================= Date: Mon, 31 Jul 1995 17:50:22 GMT From: shirsch@NALUSDA.GOV Subject: Re: McTell/Dylan Hey, check out Musician magazine's Robert Johnson tribute (can't remember the date) where John Hammmond takes off on what a great, unique Blues player Robbie Robertson of the Band was. Also, as Last Waltz fans know, they jammed with Sonny Boy Williamson in Arkansas on one of their trips to Levon's home town, Muddy Waters, and our friend EC. Band Website is http:\\-ia.hiof.no/~janh/TheBand.html Jacquelin Katz wrote: > Hey, don't knock the Band too much: they cut their teeth on the blues, >incorporated it and evolved to something seminally American. When they >were the Hawks they did blues tunes including "Bessie Smith", which *they* >wrote (Danko and Robertson, it's here in my liner notes) > I love "Jericho": does anybody know of a Band website? I realize >that Blues-L ain't the place to discuss it...unless anybody wants to :) > >Jackie Katz jkatz@mcls.rochester.lib.ny.us > ========================================================================= Date: Mon, 31 Jul 1995 14:02:17 -0400 From: Marcia Grodsky Subject: Check for Delta Blues Museum I was just reading my messages from Friday and I started to respond to LW's question about how the presentation should be handled, by saying that we should leave it up to them and also, that it's not like we're giving them millions of dollars. I felt a low-key approach would be much better. Luckily, I finished reading my mail before responding. Not only did Bonnie have a valid point, but I see from LW's follow-up post that the Museum does want some public presentation. But I did feel strongly that we should not "request" one. Okay. What I have done is gotten a $1000 money order from the bank today, made out to the Delta Blues Museum, which I will be sending to LW. Our total will be higher than that, but I still haven't received all the money or sent out all the shirts. We can go ahead and give them the $1000 now and the rest (I estimate the total will be around $1200) can be mailed to them when everything's finished. I had meant to suggest before the Chicago Blues Festical that somebody take a group picture of all the Blues-L people in their t-shirts, but I don't think I ever got around to it. It would be cool if somebody would do it at Sunflower. If anybody does, I'd like to get a copy. The next best thing to being there. By the way, today was supposed to be the deadline for the last group of people to get their money in but because the university mail delivery seems to be in slow motion right now (vacation time, I guess) I'll wait another day before I start offering anything to the next batch of people on the waiting list. ---Marcia ========================================================================= Date: Mon, 31 Jul 1995 14:07:36 -0400 From: Ed Mezynski Subject: mo' Estranged blues families Ray and Prince Charles Big Jack and Lady Bird Johnson Buddy Guy and Guy Smiley Bonnie and Murray the K (Sorry Bonnie, I couldn't resist) ========================================================================= Date: Mon, 31 Jul 1995 14:12:31 -0400 From: Mary Katherine Aldin Subject: Re: Muddy's House This is a real hard issue for us all to think about. Taking a piece out of Muddy's cabin, be it a splinter or half a wall (like those fine folks from ZZ Top did) reduces what's left of a historic monument. Soon it will be all gone. Yes of course you want your souvenir, yes of course it means a lot to you. It means a lot to all of us to have what little is left of this building still standing in place. The only way you can remove a piece of the cabin is with a sharp knife or a small axe. This being a) not your property and b) an extremely important bit of Delta blues history, you should maybe think about it some before doing that. If he were still alive, would you go over to his current residence and chop a piece off it? I don't ask that to be snide, but to make a point about the difference between a) what we all need as ephemera (or "artifacts") of those we have loved and lost and b) what our responsibility is to preserve what's left of those artifacts, so that "everyone" who has loved (or respected, or been influenced by, or whatever) Muddy Waters can have a place to go to find whatever they are seeking. I would say yes by all means go to Muddy's cabin, pay your respects, but take a camera, not a knife. Take a picture of the walls, of the view out the hole that used to be the door, of the caib from the road; maybe have someone else take a picture of you inside the cabin. That gets you the artifacts you need and still leaves the place more or less intact for those yet to come. Just my opinion of course. People do what they do. But think about it some. Mary Katherine ========================================================================= Date: Mon, 31 Jul 1995 14:14:05 EDT From: Oded Maron Subject: Newport Rhythm & Blues Festival From: BBGInc@aol.com The day was beautiful (albeit scorching), sound was great, and the sight overlooking Newport Harbor is gorgeous. And the music was fabulous, stupendous, magical and many other superlatives. All for a good cause. [great review of a great festival deleted] It deserves special mention that unlike Don Henley, Bonnie did not do her own hits, but rather did well chosen covers of blues songs. Billy Joel showed up unannounced (said he sailed in from Montauk, Long Island NY -- tough life eh?) and was coaxed on stage .... This was, in my opinion, a serious problem with this festival. People like Don Henley and Billy Joel, while they might draw a crowd, take the spotlight away from the real R&B artists. The Boston Globe ran a review of the festival today and who do you think they showed a picture of? Ruth Brown? Sha! They ran a picture of Billy Joel doing New York state of mind. How dare Don "King of R&B" Henley play 3 Eagles tunes when people like Pops Staples, Charles Brown, Steve Cropper play shortened sets? The festival organizers need to seriously think about which big pop names they're going to invite to next year's festival. I say - if they can't play anything but their own hits, don't invite them, no matter how big a name they are. Oded ========================================================================= Date: Mon, 31 Jul 1995 13:07:12 CDT From: L W Subject: DBM Presentation..time/stage John Ruskey left me voice mail (trying to get a call back from him) indicating that between 12:00 and 1:00 (pm of course) at the Acoustic Stage, which I assume is the DBM stage, will be a good time. JFTR: I don't plan on making a speech or anything...Just giving credit to Marcia's work and IDEA, Bob Unger's design and all of Blues-lr's that helped make it work..(not by name, btw :-))... LW 'I will of course wear my Blues-l shirt' ========================================================================= Date: Mon, 31 Jul 1995 13:16:30 CDT From: L W Subject: Muddy's House ...OK Ok, I'm leaving the chain saw at home :-) I understand LW ========================================================================= Date: Mon, 31 Jul 1995 15:20:53 -0300 From: william michael macleod Subject: Re: Stormy Monday/Lee Michaels question i have the original vynyl lp of lee michaels live,but there is not alot of liner notes. here is the info, lee michaels on hammond organ & vocals with keith knudsen,who later in his career played with the doobie bros. among other things, on drums. it was released in 1973 on A&M records in canada, but it doesn't say where it was recorded. judging from the pictures on the cover and inside sleeves it's in a theater. the serial # is A&M SP 3518. it's a great double live album, especially if you are a hammond organ lover like myself. all the songs are lee michaels tunes except stormy monday and a groovy version of rock me baby. stormy monday is really dynamic with a wicked organ solo intro. if you wish a list of songs or have any ? e-mail: ag087@ccn.cs.dal.ca i hope this is a help. bill macleod the roadrunners ========================================================================= Date: Mon, 31 Jul 1995 13:22:23 CST From: jbards Subject: Re: Sue Foley I hope it's better. I thought the first one was just so-so, the second one I thought was not that good at all. Jim _______________________________________________________________________________ Subject: Sue Foley From: Dave Kneifl at INTERNET-SH Date: 7/31/95 1:09 PM Has anyone heard Sue Foley's new album yet (her third), "Big City Blues"? I hope it is as good as the first two... DK Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning Computers make very fast, 432 N Lake Street Rm 104 very accurate mistakes. Madison, WI 53706 ========================================================================= Date: Mon, 31 Jul 1995 13:14:27 -0500 From: Richard Shurman Subject: Re: Larry McCray Larry's first CD, also on Pointblank, was called "Ambition." He's also a basic part of the most recent James Cotton CD "Living The Blues." Larry and Pointblank parted ways and Larry is currently unsigned. ========================================================================= Date: Mon, 31 Jul 1995 13:43:13 -0500 From: Michael Baseflug Subject: Re: Strangest Slides Most unusual: Sawed-off shotgun by a good friend of mine in Lubbock, TX. Note: don't try this at a place of business, you'll get arrested. It didn't sound too great either... but it sure did look pretty kewl. -- michael B) (mbaseflu@ftw.mot.com) i once shot a man in memphis just to watch him dye (not really, i've just always wanted to say that) ========================================================================= Date: Mon, 31 Jul 1995 11:53:07 -0700 From: Jennifer Meserve Subject: Re: Karaoke Hell "Karaoke hell" Isn't that redundant? ;-) On Mon, 31 Jul 1995, Don Cicchetti wrote: > Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) > for lunch on friday. > Some of you may know this as the place where local heros Rod Piazza and > the Mighty Flyers got their start. > I was checking on who would be playing here next week, and noticed all of > the pictures of Rod, and the other blues acts had been taken down. I > asked the hostess who would be playing next week, and she said (fluttering > her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL > KARAOKE NOW.... > > Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and > Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? > > made me want to shout! Haven't been so genuinely pissed in years. > What's the matter with these fools? > > There's lots of other places to hear blues, even in Riverside. (Lake Alice > trading co. comes to mind) but the loss of Carlos O' Brien's to Karaoke > reminds me of the terrible mess this country's music scene is in. If you > don't think its that bad, think of what is being done today to get > attention for "musical" acts. Michael Jackson records a deliberately > racist "song", then "apologizes" with a fake innocent-wounded look on his > face (oh NO, it was AGAINST racism) and makes a video of himself singing > new "loving" words to the tune, and re-releases the disc. HOW LONG DO YOU > THINK IT TOOK HIM AND HIS SLIMEBALL MANAGERS TO COOK UP THAT SCAM?? Why > are we so gullible? How does this boner manage to sell any discs?? > And now I have to look at his plastic face on billboards all over the place > standing against the setting sun like Zeus come down from Mt Olympus. > And Carlos O'Briens went to Karaoke!! > > ok, I'll calm down now... :-0 > > Don > > ____________________________________________________ > Don Cicchetti > La Sierra University Library Media Services > Audio/Video/Computer/Satellite > Event Services & Studio Production > dcicchet@vega.lasierra.edu > > There was a time, within the memory of some of us, > when American popular music was full of exaltation, pain & wit... > The raw intensity of Muddy Waters, > or the virile inventiveness of Duke Ellington.... > > - Robert Hughes > ____________________________________________________ > > ========================================================================= Date: Mon, 31 Jul 1995 11:54:30 -0700 From: Joe Lempkowski Subject: Pick Of The Week My pick of the week is (drum roll, please): Barkin' Bill Smith - Gotcha! Runner Up (for about the g'zillionth week): Billy Branch - The Blues Keep On Following Me Around ========================================================================= Date: Mon, 31 Jul 1995 14:02:30 -0500 From: Jeff Seale Subject: Re: Sue Foley On Mon, 31 Jul 1995, Dave Kneifl wrote: > Has anyone heard Sue Foley's new album yet (her third), "Big City > Blues"? I hope it is as good as the first two... I haven't heard the cd, but if it is anything like her shows, don't bother. She hasn't improved in her level of playing one bit since the first cd IMHO. Her playing is still pretty elementary and her vocals haven't improved at all. I will say that her recorded work seems to be better than her live performances though. Sorry to slam Sue Foley again, but she doesn't seem to appreciate her fans anymore. -Jeff (an EX-fan) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Mon, 31 Jul 1995 13:59:53 -0500 From: "John M. Schepers" Subject: Re: Strangest Slides In message writes: > I'm curious what's the strangest thing you've seen someone use for a slide > > Beer Bottles are not strange, btw > > I think a shoe is the strangest I've seen > After watching Mance Lipscomb on video play with a knife, I used one quite a > bit this weekend...Pretty cool > > I've heard of using a bone, but never seen it done. > > I'm also curious to what Son House used for a slide > > LW 'i use a craftsman 5/8 99% of the time' A friend of mine in Miami used to (I haven't seen him in 15 years) use a urine specimine bottle. I, too, hope that it was clean. On another note, I recently saw John Prine (low blues content) perform in Minneapolis, and his accordian player, Mr. Squeeze, also played mandolin and mandola sometimes with a slide. It gave a really cool sound! John M. Schepers | I used to be down, but now I'm up | schep001@gold.tc.umn.edu | You just tip your hat at me | schepers@ima.umn.edu | and call me Mister Luck | | - Jimmy Reed - | ========================================================================= Date: Mon, 31 Jul 1995 19:02:47 +0000 From: Pat Hertel Subject: Re: Strangest Slides Well, I've seen Kenny Neal take a beer bottle from the audience and use it. Not really that strange. Strangest METHOD I've seen is Dave Hole who uses a slide on his index finger and plays over the top of the neck rather than ... down under (pun intended). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/7/95 14:58 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 31 Jul 1995 15:06:57 -0400 From: Tom Morgan Subject: Bartender's Bop Playlist Here is the playlist from this afternoon's show. I just picked up, for the station, the Cobra Record Story boxed set and I had many new blues artists to play as well as Leo Kottke coming to a venue close to town. I really am enjoying Davell Crawford's new CD, he's the grandson of Sugar Boy Crawford and is very talented. I hope the next CD has a little less gospel and a little more stuff that Davell has written. Tom Title Group Year Label -------------------- -------------------- ---- -------------- I Can't Quit You Rush, Otis 56 Capricorn Row Your Boat Clark, Charles 58 Capricorn Rock and Roll Boogie Clouds 56 Capricorn 21 Days in Jail Magic Sam 58 Capricorn All Your Love Magic Sam 57 Capricorn Roll Your Moneymaker Shakey Jake 58 Capricorn Love Me With A Magic Sam 57 Capricorn Feeling You've Got To Lose Turner, Ike 58 Capricorn Jump Sister Bessie Rush, Otis 57 Capricorn You Don't Love Me Turner, Ike 58 Capricorn My Love Everett, Betty 57 Capricorn Box Top Turner, Ike 58 Capricorn Something You Got Crawford, Davell 95 Rounder She's Got A Wobble Crawford, Davell 95 Rounder When She Walks Keep It Rollin Crawford, Davell 95 Rounder Gumbo Piano Crawford, Davell 95 Rounder Let Them Talk Crawford, Davell 95 Rounder Fool's Paradise Cooke, Sam 63 ABKCO Buzzby Kottke, Leo 90 Private Big Chief Neville, Cyril 95 Iguana House of Love Whitfield, Barrance 95 Ocean Music Rockin With The Tasby, Finis 95 Shanachie Blues Diggin in the Garden Whitfield, Barrance 95 Ocean Music of Soul Husbandry Kottke, Leo 90 Private Old Friend Anderson, Chris 95 Relativity House In Hollywood Wilson, Smokey 95 Bullseye Blues Kitty Kay Jones, Paul 95 Fat Possum Had To Quit Drinking Garner, Larry 95 Gitannes Hustle Is On, The Walker, Phillip 95 Black Top My home page: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM 91.1 Charlottesville, VA Author--From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music, 1895-1930 ========================================================================= Date: Mon, 31 Jul 1995 19:10:12 +0000 From: Pat Hertel Subject: Re: estranged pairs John Lee Hooker and Heidi Fliess? :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/7/95 15:09 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 31 Jul 1995 15:15:16 +0000 From: "P.W. Fenton" Subject: Re: Karaoke Hell > On Mon, 31 Jul 1995, Don Cicchetti wrote: > > > Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) > > for lunch on friday. > > Some of you may know this as the place where local heros Rod Piazza and > > the Mighty Flyers got their start. > > I was checking on who would be playing here next week, and noticed all of > > the pictures of Rod, and the other blues acts had been taken down. I > > asked the hostess who would be playing next week, and she said (fluttering > > her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL > > KARAOKE NOW.... > > > > Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and > > Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? > > > > made me want to shout! Haven't been so genuinely pissed in years. > > What's the matter with these fools? For a club owner it's a fabulous concept. Your customers pay money to ENTERTAIN THEMSELVES! Only in America. There's only one thing to do, and that's spend your dollar where they have live music. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton (soon to change) ========================================================================= Date: Mon, 31 Jul 1995 14:33:11 -0500 From: Michael Baseflug Subject: Re: Guy Forsyth I saw him at J&J's in Ft Worth on Saturday and agree with Bruce. He is a very talented guy and his songs are incredible. Do look out for him and catch his show if you can. I don't think you'll regret it. Him and the band have definitely improved since I saw him last about a year and a half ago. I thought he was mediocre then, but it could have been an off-night. This weekend's show was excellent. Him and the other guitarist really know just how to interact to create those cool melodies. guy's voice is soulful, as Bruce said. The bass player sings a gew songs and sounds a lot like the Wolf. Pretty interesting... Michael B) ========================================================================= Date: Mon, 31 Jul 1995 15:42:05 -0400 From: Peter Welch Subject: Blues Trivia... >From memory, what are the real names of the following blues/r&b artists? Guitar Slim (Specialty Recs.) Guitar Shorty (Trix Recs, N.Car.) Magic Sam Magic Slim Guitar Junior (Goldband Recs.) Lonnie Brooks :> Bo Diddley Frosty Honeyboy (Specialty Recs.) Archibald Professor Longhair Bumble Bee Slim Harmonica Fats Harmonica Slim Little Temple Black Ace John Henry Barbee Model-T Slim Mr. Undertaker Johnny Ace The Fat Man Gunter Lee Carr Screamin' Jay Hawkins Birmingham Sam Mumbles Elmore James Earl King Blues Slim Piano Red Cousin Joe King Kolax Tarheel Slim Blue Smitty Detroit Junior Sugar Pie Desanto :> Good luck, Peter W. ========================================================================= Date: Mon, 31 Jul 1995 15:47:13 -0400 From: Thomas Tiniski Subject: Re: Muddy's House Jenga, Jenga, Jenga.. Man, leave the place alone. ========================================================================= Date: Mon, 31 Jul 1995 15:54:39 -0400 From: Garry Segal Subject: Re: Strangest Slides When I broke my last glass slide I used my harmonica for a slide, it was tough keeping the right angle to slide not scrape ! The audience dug it though . Garry and those darn MOODSWINGERS http://www.island.net/~blues/BlueSngr.html email BlueSngr@aol.com ========================================================================= Date: Mon, 31 Jul 1995 15:55:31 -0400 From: "Munson, Bill" Subject: Re[2]: McTell/Dylan All this plus the fact even before they left Ronnie Hawkins the Band recorded "Further On Up The Road" and "She's Nineteen" with Levon singing. Both songs are on Hawkins' scarce "Mojo Man" LP; probably on a CD compilation too. >Also, as Last Waltz fans know, they jammed with Sonny Boy Williamson in >Arkansas on one of their trips to Levon's home town, Muddy Waters, and our >friend EC. ========================================================================= Date: Mon, 31 Jul 1995 14:55:08 CST From: Edward Subject: Re: Karaoke Hell So. I gotta ask, any blues on the karaoke? The thought of someone trying to sing "Got My Mojo Working" makes me a little uneasy (not like I haven't seen enough bad shows in my time to deserve Karaoke punishment). Ed Komara, Ole Miss ---------------------------Original message---------------------------- > On Mon, 31 Jul 1995, Don Cicchetti wrote: > > > Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) > > for lunch on friday. > > Some of you may know this as the place where local heros Rod Piazza and > > the Mighty Flyers got their start. > > I was checking on who would be playing here next week, and noticed all of > > the pictures of Rod, and the other blues acts had been taken down. I > > asked the hostess who would be playing next week, and she said (fluttering > > her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL > > KARAOKE NOW.... > > > > Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and > > Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? > > > > made me want to shout! Haven't been so genuinely pissed in years. > > What's the matter with these fools? For a club owner it's a fabulous concept. Your customers pay money to ENTERTAIN THEMSELVES! Only in America. There's only one thing to do, and that's spend your dollar where they have live music. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton (soon to change) ========================================================================= Date: Mon, 31 Jul 1995 14:39:26 -0500 From: Richard Shurman Subject: Re: Karaoke Hell If Carey Bell teamed up with L.A. harpist Al "Okie" Blake, is there a chance they'd book them as the "Carey-Okie" band? ========================================================================= Date: Mon, 31 Jul 1995 17:31:35 GMT From: Patrik Urbansson Subject: Philip Walker Philip Walker Blues Band was in town yesterday and I was there, of course. I don't know much about him but I've heard many good things about him so I was looking forward to hear him live and he didn't disappoint me. He is a powerful singer and probably the best guitar player I ever seen. Although he did two very good sets, he never reached the magic level. The highlights included Tin Pan Alley, a countryblues set alone on stage and Johnny B. Goode. It was a small crowd and he's had a busy schedule and that's probably why it wasn't perfect. I think he did a very good job considering the circumstances. He's got a new CD out, Working Girl Blues, I strongly Recommend it. Patrik ========================================================================= Date: Mon, 31 Jul 1995 15:01:06 CST From: JBards Subject: Chris Anderson??? Does anyone know anything about Chris Anderson? I just bought the Cd yesterday on a wild hair and listened to only a couple of tracks in the office over lunch. First impression is faux blues with a touch of metal and Allman Bros thrown in on the side. Anyone have any more light to shed on this artist? Jim ========================================================================= Date: Mon, 31 Jul 1995 13:22:05 PDT From: Gordon Fehlman Subject: Re: Finis Tasby Is there anybody out there thats heard of this guy? I understand that Elvin Bishop plays guitar on his latest CD. What does Finis play, or does he just sing? I've read a revue, sounds like something I'd spend my hard earned dollar on, but before I do I thought I'd test the lists waters. Let me know on the list or private e-mail, gjf5@pge.com. Here in Monterey record stores I've got some real strange looks asking about his CD. Later, Gordon Fehlman ========================================================================= Date: Mon, 31 Jul 1995 16:22:06 -0400 From: Steve Levine Subject: Re: Karaoke Hell +For a club owner it's a fabulous concept. Your customers pay money +to ENTERTAIN THEMSELVES! Only in America. Or in Japan, where Karaoke started. :) +There's only one thing to do, and that's spend your dollar where they +have live music. I agree. And I'm ashamed to admit that I once won a karoake contest by singing some blues lyrics and playing harp (provided by the karoake people!) to a 12 bar instrumental. :) ========================================================================= Date: Mon, 31 Jul 1995 16:25:06 +0000 From: "P.W. Fenton" Subject: Re: Karaoke Hell > If Carey Bell teamed up with L.A. harpist Al "Okie" Blake, is there a > chance they'd book them as the "Carey-Okie" band? > A VERY big groan goes out to you, sir. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.webweaver.com/pwfenton (soon to change) ========================================================================= Date: Mon, 31 Jul 1995 14:07:39 -0700 From: Ron Wack Subject: Re: ANNOUNCEMENT Item Subject: Message text On 95/07/31 P.W. Fenton wrote: > I am very pleased to announce the formation of a new Blues record > label, who's first planned release will be of my own "P.W. Fenton & > The Second Ward - LIVE at The Blues Ship". In tribute to this place > where so many Blues lovers gather it will be named... > > Blueselle > > Sounds kind of French, doesn't it? > > I spent a good deal of time trying to come up with clever and > memorable names that hadn't already been taken by someone, when the > one and only choice jumped up and bit me. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@cftnet.com > WWW = http://www.webweaver.com/pwfenton (soon to change) > P.W. Fenton, Congratulations! I'd be real interested in purchasing a signed copy of your disc when it's released. Any other Blues-L'ers interested? RW Wack_Ron/rfh@sask.aecl.ca ========================================================================= Date: Mon, 31 Jul 1995 17:12:38 -0400 From: Barry Silverberg Subject: Re: Finis Tasby Gordon Fehlman (gjf5@CAN02.PGE.COM) wrote: : Is there anybody out there thats heard of this guy? I understand that : Elvin Bishop plays guitar on his latest CD. What does Finis play, or : does he just sing? I've read a revue, sounds like something I'd spend : my hard earned dollar on, but before I do I thought I'd test the lists : waters. Let me know on the list or private e-mail, gjf5@pge.com. Here : in Monterey record stores I've got some real strange looks asking about : his CD. : Later, Gordon Fehlman Hope this helps ..... Also note that this is Shanachie/Yazoo's first venture into contemporary blues. FINIS TASBY - PEOPLE DON'T CARE (SHANACHIE #9007) Shanachie/Yazoo Records 37 E. Clinton St. Newton, NJ 07860 This is a first solo CD by a long standing artist of note and it won't stop here. Mr. Tasby is refreshing and recommended. The CD is very musical, with plenty to dance to. Some of the best horns anywhere along with a lot of good rockin' music. As you continue to discover this CD you'll find that Mr. Tasby is cut from the same cloth as many of the great bluesmen - in particular the brilliant Little Milton. My only hope is to hear the background vocals tempered, more in line with Lucky Peterson's Beyond Cool and less disco. Mr. Tasby is too good to be oversung. People Don't Care / Rockin' With The Blues / Just A Kiss / Gotta Draw The Line / Po' Man Blues / Drinkin' Bad Whiskey / Gonna Miss Your Love / Find Something Else To Do / You Don't Have To Worry / Break Away NYCD-Takes People Don't Care: People Don't Care opens this CD with a roar and a solid driving beat. Mr. Tasby sounds beautiful. This is a perfect introduction to what's to come. The background is strong with a solid set of drums by Charles E. Collins and some flying guitar work by Robert Lieberman. This is great blues. Rockin' With The Blues: Here's comes some big band - rockin' jump. Mr. Tasby is a stealer. Once again there's a beautiful guitar solo and the treat is it's Elvin Bishop, a master guitarsman. Just A Kiss: Listen to the horns open this cut. You will be swept away. Mr. Tasby sings in the great tradition of Eddie Boyd and Charles Brown and Nat King Cole here. It's a slower cut, very heartfelt - with right on blues and a nice crossover into R&B. Don't miss it. Po' Man Blues: This side puts a nice sounding blues guitar inside a really enjoyable big band cut. Mr. Tasby plays his voice between a gravel grit and a refined R&B. You will easily enjoy these stylistic changes. And as icing on the cake there's a really big piano solo that's outstanding. Gonna Miss Your Love: This is a solid R&B side. Mr. Tasby sounds so very relaxed and so very musical. A nice, nice side for listening. You Don't Have To Worry: Here we have another big R&B side and Mick Taylor's guitar solo provides plenty of right on blues. With a stronger bent to the soul side of the blues this R&B mix is thoroughly inviting. Adding to this side is some very tasty piano work by Mr. Robert Martin. Break Away: Kudos here to Ricky Collins' vocals and Vernon Reid's outstanding guitar solo. This is one of the best cuts on this CD. It has a real good beat - hard driving, moving and very danceable. Looking forward to Finis Tasby's next. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 31 Jul 1995 17:22:20 -0400 From: Barry Silverberg Subject: One man's opinion-TuTu Jones. TUTU JONES - I'M FOR REAL (JSP #252) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND For a first album with no covers and all original material - I must say GO GET IT. Every cut is a must listen to and the CD overall is A+++. I had trouble finding a best cut here, every one got me. TuTu Jones has a fine soulful vocal edge deeply rooted in the best blues traditions. I can't imagine a better blues singer performing today. This is one of the 3 best CD's I have listened to in the past three months - quite a stellar set from a great and upcoming songman. Sweet Woman / I'm for Real / My Own Fault / Excited / (Do You Love) Steppin on Me / She's My Woman / I Still Love You / Too Blues to Be True / Stubborn Woman / I'm Not Your Fool / Outstanding NYCD-Takes Sweet Woman: Tutu Jones here offers a sizzling guitar and a soul filled warbling voice. This tune has a nice blues-to-soul crossover feel. The mix is outstanding. He will remind you of the hot presentations of James Brown. Mr. Jones kicks up and cuts out on this wonderful opener. As you listen through you'll see why Mr. Jones is to be counted in among the best the blues has currently - every cut could have been the opener - he is that good and that consistent. I'm For Real: This is the cover to this CD. From it's warm fiery guitar opening TuTu Jones cuts us a Texas shuffle. He sings up a storm and plays one too. He is truly masterful at every corner of his music. The sheer speed of his guitar work will have you asking - HOW FAR CAN HE GO. From the rest of the cuts here it is evident - VERY FAR. He's young, hot and I am sure has a lot more for us in the coming years. This is a great starting point. My Own Fault: This side is slower and warmer and a much more cutting tune. His guitar work is in the tradition of all the BIG KINGS. This tune is smooth and sliding and a major piece of music. His vocals and beat remind me of the great Jimmy Johnson and that is a stellar recommendation to this young man. The guitar rapup to this cut will leave you a believer in Mr. Jones' capabilities - it is explosive. Excited: This is one of my 6 best cut selections on this CD. It is a terrific showcase for Mr. Jones' talents and comes with a very solid drum backup by Ty Grimes. This is a 5 minute instrumental cut full of blazing guitarwork. (Do You Love) Steppin On Me: Now it's back to the slow R&B side of TuTu Jones. He has a simple, rich and beautiful voice and a drawing sense of timing and rhythm. This is a cut for lovers and not to be missed. She's My Woman: More fire breathing guitar work here. As on the other cuts that make up this exceptioanl CD the rage of his guitar is a perfect antithesis to the mellow motion of his singing. This cut is in the tradition of Otis Rush and every bit as good as that master ever laid down. I Still Love You: Here's a very personal biting guitar opening by Mr. Jones. It is stinging in its sound. His vocals too on this cut are personal and are dug deep from within him. This is a man full of music and emotion. I feel very honored to have had the opportunity to sit and listen to this man play. This too is one of my best 6 picks here - TRULY AWESOME. Too Blues To Be True: Here's the showcase you may be waiting for. 7 1/2 minutes of killer music. Mr. Jones offers so many guitar changes on this cut that the pleasure of listening is multiplied over and over and over. His genius is clearly marked by his sheer output and range on this tune. He has an uncanny ability to communicate the blues - and he is able to do it without a single vocal need here. It doesn't get much better or deeper. This cut left me waiting for what he has in store next. Stubborn Woman: This side is a natural followup to the previous one and points out the intelligent and masterful production that went into arranging this CD. It is plain and simple - VERY HOT. Mr. Jones really lets his vocals rip loose here and once again he is so capable of mixing soul and the blues into a perfect blend. He really is a master crossing the line between theses two worlds he owns. Listen up - here's a big and beautiful piece of work. I'm Not Your Fool: A very nice 1 minute guitar opening leads us into the best vocals yet on this CD. Mr. Jones' level and depth of singing and playing clearly say - this is a major blues artist to be reckoned with for a long time to come. Outstanding: This is the perfect name for the closing cut to Mr. Jones' first offering. He has been OUTSTANDING every moment on this CD and every single side is SIT DOWN AND LISTEN TO music. This cut gives us another taste of Mr. Jones' diversity as he offers up his talents on the drums. I just want to add that the multi-tracking used to produce this CD lets Tutu Jones create much more music than a regular session would leave room for - all around terrific. The feel here moves on out to jazz and having heard this I find even more reason for recommending getting this CD. Start to finish Mr. Jones has been flawless and uncompromising in this multi-sided, multi-talented presentation. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 31 Jul 1995 17:52:38 -0400 From: Garry Segal Subject: Re: Karaoke Hell The real issue is not that bars have Karaoke instead of bands. The scary part is that like everything else on the market its supply and demand. People that will spend money in bars would rather have a DJ tell them what to do instead of letting themselves have to figure out whether they like a band or not. Hopefully people will get sick of DJs and Karaoke and DEMAND live bands. (No offense to in house DJs that spin cool platters for people to dance to) I feel there is a happy medium to be reached if folks get exposed to GOOD bands. Garry and those darn MOODSWINGERS email BlueSngr@aol.com Homepage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 31 Jul 1995 15:09:16 -0700 From: Ron Daschmans Subject: Re: One man's opinion-TuTu Jones. How can you do this to me Barry?!! How can I possibly pass on a recording with an emphatic review such as this?? Since joining Blues-L about two months ago I must have purchased over 40 Blues CD's *ouch*. Why I had to promise my wife that I wouldn't buy any more CD's until September 12th (Albert Collins Live Release Date)... something about a house payment. Think if I sneak one more CD into the collection she'd notice?? Barry, thanks for in-detail reviews such as these. They mean a lot to someone like me just getting their feet wet. I hope I can share your enthusiasm on this disc! Ron Daschmans (aka MrMudPuppy) On Mon, 31 Jul 1995, Barry Silverberg wrote: > TUTU JONES - I'M FOR REAL (JSP #252) > JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND > > For a first album with no covers and all original material - I > must say GO GET IT. Every cut is a must listen to and the CD > overall is A+++. I had trouble finding a best cut here, every > one got me. TuTu Jones has a fine soulful vocal edge deeply > rooted in the best blues traditions. I can't imagine a better > blues singer performing today. This is one of the 3 best CD's I > have listened to in the past three months - quite a stellar set > from a great and upcoming songman. ========================================================================= Date: Mon, 31 Jul 1995 18:02:36 +0000 From: Ian Angus Subject: Re: Johnny Otis, Michael Hill It was good to see posts on my hero, Johnny Otis. And good to see that some new (to CD) material is coming out. Otis was the godfather of R&B. Not enough people know or appreciate him. At the other end of the time line, the discussion of Michael Hill ... He is, IMHO, the most interesting new blues perfomer of the decade so far. His playing is deeply rooted in blues, but also relevant to current black music. His lyrics are among the very few that are actually relevant to ghetto life today. And the man can really play guitar! (And, I'm told by a friend who met him during the Toronto Soul & blues Fest, he is a hjust-plain-nice-guy.) Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 31 Jul 1995 22:24:14 GMT From: Art Schuna Subject: Re: "Dig" label reissues (query) In article <19950731.083340.820560.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: >My question is...how many volumes did ACe do of this material? I think >I once saw volume 4 in this series. Besides Dig These Blues, the other three in this series are: Dapper Cats, Groovy Tunes & Hot Guitars Ace CDCHD351 Includes Johnny Watson, Jimmy Nolen, Preston Love, Pete Guitar Lewis, Jonny Otis, Little Arthur Matthews and many others (24 tracks) Johnny Otis - Creepin' With the Cats CDCHD325 - all tracks from the Dig label from 1956-57 Includes 10 previously unissued. Shoo-Be-Doo-Be:The Legendary Dig Masters, Vol. 4, The Vocal Groups CDCHD569 Phantoms/Gladiators/Arthur Lee Maye & The Crowns/Premiers/Jayos Art Schuna ========================================================================= Date: Mon, 31 Jul 1995 15:27:51 PDT From: Eric LeBlanc-CISTI Subject: EDDIE HINTON HAS DIED Tony Burke of BLUES & RHYTHM Magazine has just emailed me that EDDIE HINTON has died. Tony is having problems in accessing BLUES-L today, so if you have details, email Tony or post it to BLUES-L. eRIC ========================================================================= Date: Mon, 31 Jul 1995 18:30:38 -0400 From: Art Schuna Subject: Re: Night Train label info and query In article <19950731.082606.968751.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: >NTI CD 7007Lowell Fulson "Every Day I Have The Blues" >NTI CD 7008Jimmy Witherspoon "Cold Blooded Boogie" >NTI CD 7009Lloyd Glenn "Chica Boo" > NTI CD 7010 (various artists) "SwingTime Shouters" >Now, does anybody know what NTI CD 7005 might be and if it has been > released? Are there any releases beyond #7010 that are presently > available? Lowell Fulson "Sinners Prayer" is NTI CD7011 New Orleans Twist Party is NTI 7018 I own neither of these- just noticed them on one of the electronic mail order places. I have had a very difficult time tracking down Night Train releases. I haven't found a source for 7006- 7010. Does anyone know where these are available? Art Schuna ========================================================================= Date: Tue, 1 Aug 1995 08:55:15 +1000 From: Daniel Bruce Subject: Re: Larry McCray > > ----------------------------Original message---------------------------- > > I'm not familiar with this artist. Can anyone fill me > >in. What's his style and what is recommended listening? > > The only recording I know of is "Delta Hurricane"...I listened to it for a very > short time, not enough to comment. His live show in Memphis was one of the > more enjoyable acts for US..... > LW > > btw: I forget which label, it's NOT on Alligator, but one of the other main > (relativley speaking) labels...... > He is on Virgin/ Point Blank and plays a good modern blues, not great but good. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Mon, 31 Jul 1995 16:21:24 -0700 From: Jennifer Meserve Subject: Re: Blues/Jazz dreams My boyfriend dreamt that he was Billie Holliday On Thu, 27 Jul 1995, Rob Hutten wrote: > Anyone ever have any blues dreams? > > Had one last night where I was playin a 12-string (something I've never > been able to do well in real life) and sounding *just* like Blind Willie > McTell. It was heaven. As soon as I woke up I grabbed my little > 6-string but just couldn't get the same sound as in my dream. > > Other blues dreams I've had: > > - Jamming with Muddy Waters and my friend Ravi up in the haymow of my > Mom's farm. That's all I can remember of this one, unfortunately. > > - Jamming with B.B. King - he was playing a great old non-cutaway > sunburst archtop with deep scratches in the finish. I'm a detail > freak in my dreams, apparently. I distinctly remember watching his > left hand as he soloed, mesmerized (as in real life) by his perfect > vibrato. > > - Talking with Son and Eva House at my kitchen table. I knew he was > dead in my dream, but I didn't have any trouble reconciling that with > the fact that he was there in front of me, talking away in his great > old warm voice. I was dying to ask him lots of questions, but I > remember saying to him "I suppose you've been interviewed to death." > I immediately felt like I had stuck my foot in my mouth because he was > probably quite sensitive about being dead. > > That last one was by far the most surreal blues dream I've ever had. > Am I the only one who dreams about the blues? > > -Rob > > > Rob Hutten UNIX guy Achtentachtig > rob@acadiau.ca Acadia University, Wolfville NS drachtige > 902 542 2200 x 1158 http://dragon.acadiau.ca/~rob/ varkens > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Mon, 31 Jul 1995 18:24:00 CDT From: Bonnie Kalmbach Subject: Re: Karaoke Hell >From: IN%"rshurman@CCS.NSLSILUS.ORG" "Richard Shurman" >To: Multiple recipients of list BLUES-L >Subject: Re: Karaoke Hell > > If Carey Bell teamed up with L.A. harpist Al "Okie" Blake, is there a >chance they'd book them as the "Carey-Okie" band? I hereby nominate Richard Shurman as the best/worst(?) punster on the list or - the "Bennet Cerf of Blues-L" ??! -Bonnie ========================================================================= Date: Mon, 31 Jul 1995 16:31:10 -0800 From: Don Cicchetti Subject: Re: Karaoke Hell Garry said: >The real issue is not that bars have Karaoke instead of bands. The scary part >is that like everything else on the market its supply and demand. People that >will spend money in bars would rather have a DJ tell them what to do instead >of letting themselves have to figure out whether they like a band or not. (edit edit) Garry, I've got to disagree with you on this. "The Market" is an inadequate explanation, since market trends are CREATED and driven by clever marketing, and/or committed individuals. "Supply and Demand" is too sterile and simplistic a concept when one individual (think Bill Graham) with a vision can so deeply affect the market. Which came first in Austin? Lots O' blues fans clamoring for more clubs, then the clubs "meeting the demand", or lots of bands, and several club owners savvy enough to see that people will want to hear them? Too often decisions to replace bands with Karaoke/Wet t-shirt contests/Tractor pulls/male exotic reviews etc etc, are ill-informed moves by ill-informed club owners who mistake their own cynicism for "market trends". We'll see if Carlos O' Briens fills up with Elvis wannabees or not. Then we will know if this is a market trend or simply a philistine club owner. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 31 Jul 1995 19:56:52 -0400 From: "Roy W. Forgy" Subject: Re: Karaoke Hell Don Cicchetti wrote >Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) >for lunch on friday. > Some of you may know this as the place where local heros Rod Piazza and >the Mighty Flyers got their start. > I was checking on who would be playing here next week, and noticed all of >the pictures of Rod, and the other blues acts had been taken down. I >asked the hostess who would be playing next week, and she said (fluttering >her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL >KARAOKE NOW.... > >Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and >Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? > >made me want to shout! Haven't been so genuinely pissed in years. >What's the matter with these fools? > >There's lots of other places to hear blues, even in Riverside. (Lake Alice >trading co. comes to mind) but the loss of Carlos O' Brien's to Karaoke >reminds me of the terrible mess this country's music scene is in. If you >don't think its that bad, think of what is being done today to get >attention for "musical" acts. Reminds me a couple of years a Live Blues Club of 25 years in existance in Redondo Beach namely the STARBOARD ATTITUDE was closed and the space turned into Cowboy Karoake bar... ========================================================================= Date: Mon, 31 Jul 1995 20:07:32 -0400 From: "Roy W. Forgy" Subject: Re: Karaoke Hell Don Cicchetti wrote >Hey folks, I was at the infamous Carlos O' Briens (here in Riverside, CA) >for lunch on friday. > Some of you may know this as the place where local heros Rod Piazza and >the Mighty Flyers got their start. > I was checking on who would be playing here next week, and noticed all of >the pictures of Rod, and the other blues acts had been taken down. I >asked the hostess who would be playing next week, and she said (fluttering >her little eyelashes) OH... WE DON'T HAVE BANDS ANYMORE... IT'S ALL >KARAOKE NOW.... > >Jeez-louise unfuggin' believable. They replaced Rod, and Bernie, and >Whiteboy James and etc etc etc (and Miss Honey even!) with KARAOKE??? > >made me want to shout! Haven't been so genuinely pissed in years. >What's the matter with these fools? > >There's lots of other places to hear blues, even in Riverside. (Lake Alice >trading co. comes to mind) but the loss of Carlos O' Brien's to Karaoke >reminds me of the terrible mess this country's music scene is in. If you >don't think its that bad, think of what is being done today to get >attention for "musical" acts. > Reminds me a couple of years ago a Live Blues Club of 25 years existance in Redondo Beach namely the STARBOARD ATTITUDE was closed and the space turned into Cowboy Karoake bar... Need less to say I didn't go back after that. ========================================================================= Date: Mon, 31 Jul 1995 20:16:30 -0400 From: David Zarnitzky Subject: BLUES-L Web Page Well, I've been busy most of the summer, but starting soon, I'll really start putting some work into the BLUES-L Web Page that I've been trying to work on. So far, I have the following sections that I plan to TRY to put up: BLUES-L Hall of Fame Results Suggested CD's (alltime, of the year, of the week, whatever) Blues Events and Happenings New Blues Releases Top Selling Blues Albums Any suggestions? -- +--[From the Brilliant Mind of David Zarnitzky, Scary Huh?]--+ | Phil Gramm for President | +--[Vote for a Democrat, its easier than getting a job]------+ ========================================================================= Date: Tue, 1 Aug 1995 01:19:41 GMT From: Brent bluett Subject: Son Seals -- -- She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you? -Norman Bates ========================================================================= Date: Mon, 31 Jul 1995 20:26:00 CDT From: Bonnie Kalmbach Subject: Check for Delta Blues Museum $1200!! This is great - and a great idea, Marcia. I also want to thank you publicly for all of your hard work. I wish you could be at the DBM for the presentation. Thanks for the two great shirts - I haven't yet sent Bob Stroger his as promised by yours truly. But sometime when the bass player from Mississippi Heat decides to dress a little more informally, we may see him in a Blues-L T-shirt. -Bonnie ========================================================================= Date: Mon, 31 Jul 1995 21:36:16 EDT From: "Michael L. Lloyd" Subject: Group Photo at Sunflower Greetings Blues L'ers, I will be attending the Sunflower Blues Festival in the company of fellow Blues List member Denise Tapp. Unless someone else has already decided to do this, I will available take some group photos of List members wearing their T-shirts. I am going to be lugging all my camera gear around anyway so it will not be a problem. I will also take pictures of the presenting of the check if needed. Please let Denise know by e-mail (DeniseTapp@aol.com) or post a message to the group as I will be leaving for the Delta tomorrow! > Mike -- * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Michael L. Lloyd * It's not that life is so short, mlloyd@pen.k12.va.us * It's that you're dead for so long! "Go Hoos!" * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ========================================================================= Date: Mon, 31 Jul 1995 21:39:02 -0400 From: Garry Segal Subject: Re: Karaoke Hell Good points from Don on Karaoke invading blues spots. In regards to my oversimplification of "marketing", blues/R&B being supply and demand driven ( People dont want it clubs dont have it) It is a general statement and there are plenty of exceptions( visionarys like Bill Graham, who I worked for briefly, the Austin scene). I was speaking in the context of mainstream entertainment, in which blues and R&B still compromise a small portion of the general populations entertainment demands. There are strong pockets of resistance and I am optimistic for the future but Ive heard and seen so many clubs have to go to gimmicky stuff (Karaoke Etc...) because it brings more people in. Just my observations on a condition that is*always see sawing.* What Ive seen happen and believe its just starting up again(thank G-d) is the* backlash* against the Karaoke Klub, Hotwet Tshirt contests, Obnoxious DJs syndrome. Crummy entertainment gimmicks end up pissing people off and the audience rediscovers how cool live music is. Some places spend more time with it than others.Lets get that backlash crackin' ! BTW I agree with Don that Austin had great bands that created a great scene but there are many more cities with tons of cool blues/R&B bands that have been stuggling for respect, a consistent audience and $'s for years. Take it EZ, Garry ========================================================================= Date: Mon, 31 Jul 1995 20:58:00 CDT From: Bonnie Kalmbach Subject: Karaoke Hell Well, I had to go to a Karaoke Party my new boss was giving last fall. When I arrived they were singing "Che Sera Sera"(sp?) and I thought "OH NO, this is as BAD as I thought it was going to be!" But shortly thereafter, perhaps in order to get me to participate, someone found a 60's RnB disc and we got in the groove singing material by the Temptations, the Four Tops, Smokey Robinson and the Miracles (I can do a pretty good imitation of the big guy in the middle), and having a go at the fancy sychronized footwork. Even my co-worker's boyfriend, who had to be dragged kicking and screaming to the party, got carried away and hogged the mike all night long. I have a photo on my desk of us - him with eyes closed, tearing at his shirt, as he belts out a soulful barrage of somewhat off-key notes while in the background I'm somewhat nimbly executing a Smokey Robinson terpsichorean pattern. It could happen to you! -Bonnie ========================================================================= Date: Mon, 31 Jul 1995 22:36:46 -0500 From: Patti Bowman Subject: Bass Player mystique > But since I've always been hopelessly attracted to bass players, I >thought by learning to > play the thing, I'd crack the mystique. > > Shannon You, too? That is exactly why I bought my bass. The things we do...... Patti Creativity is the sudden cessation of stupidity. ..........................................Dr.E.Land, (inventor of the Polaroid camera) ========================================================================= Date: Mon, 31 Jul 1995 22:54:06 -0400 From: Steve Brewer Subject: Re: Re[2]: McTell/Dylan >All this plus the fact even before they left Ronnie Hawkins the Band >recorded "Further On Up The Road" and "She's Nineteen" with Levon >singing. Both songs are on Hawkins' scarce "Mojo Man" LP; probably on >a CD compilation too. > >>Also, as Last Waltz fans know, they jammed with Sonny Boy Williamson in >>Arkansas on one of their trips to Levon's home town, Muddy Waters, and our >>friend EC. > I have an old cassette tape by John Hammond called "I Can Tell." There are sixteen tracks on the tape, the first twelve of which, according to the liner notes, come from an album released as "I Can Tell," Atlantic SD 8152, October 19, 1967. Joining Hammond on these twelve were Robbie Robertson on guitar and Rich Danko on bass. Charlie Watts plays drums on some of the tunes. The remaining four tunes come from an album called "Southern Fried," Atlantic SD 8252, released January 15, 1970, and feature Duane Allman on guitar. I recommend it for anyone not familiar with the electric side of Hammond. As for the Band, I saw them on Bob Dylan's comeback tour in the early 70's. I'm a believer. Steve Brewer Florida State Univ. Tallahassee, FL ========================================================================= Date: Mon, 31 Jul 1995 20:56:38 -0600 From: Gary Constantine Subject: Re: Blueselle >Congratulations! I'd be real interested in purchasing a signed copy of >your disc when it's released. Any other Blues-L'ers interested? > >RW >Wack_Ron/rfh@sask.aecl.ca Count me in for this one also....... Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Mon, 31 Jul 1995 23:07:31 -0400 From: Jacquelin Katz Subject: Re: Muddy's House Will you really have a better guitar (or be able to play it better) by using a piece of stolen wood for the bridge? Better to incorporate what you can of Muddy's spirit in what you play: that's his real legacy. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Mon, 31 Jul 1995, Mary Katherine Aldin wrote: > This is a real hard issue for us all to think about. > > Taking a piece out of Muddy's cabin, be it a splinter or half a wall (like > those fine folks from ZZ Top did) reduces what's left of a historic monument. > Soon it will be all gone. Yes of course you want your souvenir, yes of > course it means a lot to you. It means a lot to all of us to have what > little is left of this building still standing in place. > > The only way you can remove a piece of the cabin is with a sharp knife or a > small axe. This being a) not your property and b) an extremely important bit > of Delta blues history, you should maybe think about it some before doing > that. > > If he were still alive, would you go over to his current residence and chop a > piece off it? I don't ask that to be snide, but to make a point about the > difference between a) what we all need as ephemera (or "artifacts") of those > we have loved and lost and b) what our responsibility is to preserve what's > left of those artifacts, so that "everyone" who has loved (or respected, or > been influenced by, or whatever) Muddy Waters can have a place to go to find > whatever they are seeking. > > I would say yes by all means go to Muddy's cabin, pay your respects, but > take a camera, not a knife. Take a picture of the walls, of the view out the > hole that used to be the door, of the caib from the road; maybe have someone > else take a picture of you inside the cabin. That gets you the artifacts you > need and still leaves the place more or less intact for those yet to come. > > Just my opinion of course. People do what they do. But think about it some. > > Mary Katherine > ========================================================================= Date: Tue, 1 Aug 1995 03:50:37 GMT From: Brent bluett Subject: Re: Son Seals Brent bluett (dal2000@BU.EDU) wrote: : -- I am a big Son Seals fan and I have a few questions so any answers are appreciated . -Does Son Seals still tour? If so does anyone have any tour dates for him? -Are there any Son Seals bootlegs or non Alligator releases out there? - Does he still play in clubs around Chicago? If so which ones? Thank you very much in advance. Brent : -- : ========================================================================= Date: Tue, 1 Aug 1995 00:07:30 -0400 From: Garry Segal Subject: Re: Karaoke Hell Certainly agree with Bonnies post that Karaoke can be fun! My comments about it were concerning its place in the entertainment field vs. live bands . Garry BlueSngr@aol.com ========================================================================= Date: Tue, 1 Aug 1995 00:40:44 -0400 From: Garry Segal Subject: Lyle Lovett on Letterman Hey did anybody see Lyle Lovett play a song called Isn't That So on Letterman ? It was a cool R&B gospel tinged tune with a full horn section, funky groove and a cello solo! Its real hard to put a song across on TV but they pulled it off nicely . Great lyrics too. Garry ========================================================================= Date: Mon, 31 Jul 1995 23:46:38 -0500 From: Rob Varak Subject: Re: Larry McCray He is a very, very friendly person; humble, gracious and congenial. - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - I can personally second that emotion. The first time I saw LMc was at Mabel's in Champaign. During the set break, I struck up a conversation that covered everything from Albert King to fishing (which really ain't that big a stretch:). He informed me that the next day he'd be in Chicago at legends. Iwas planning on heading home for the w-end anyway, so I told him I'd see him there. Here's the kicker. He, for real, invites me to take the van up with him. Tells me to bring my harp and we'll make the time pass faster. Unfortunately, I decided for the only time in recorded history to do the right thing and attend the first day of the semester the next day. Man was I STUPID!!! Rob PS I remain a big fan, but those of you who remember my review of his show form legends last winter will recall that he was well "over the top" into rock territory for even my taste. It was the only time I'd had that problem with him, so I'm not sure what to make of it. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 31 Jul 1995 23:54:16 -0500 From: Rob Varak Subject: Re: Larry McCray FWIW, (doncha hate those stupid net-isms?) last time I saw Larry McCray he was announced as a Blind Pig recording artist. Don't know if it was a mistake or what, b/c as far as I know (afaik?) he hasn't released anything other than the Pointblank stuff. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 1 Aug 1995 06:40:52 GMT From: Tony Burke Subject: Re: Night Train label info and query Your best bet for Night Train stuff is to get them from Red Lick in Wales. Tel 01766 770990 Fax; 01766 771010. I have to admit Night Train's distribution is patchy. In their last advert in B&R they didn't even give an address! We contact them through a NY phone number. TB ========================================================================= Date: Tue, 1 Aug 1995 02:44:57 -0400 From: craig o'donnell Subject: - more doings in & around Boston Here's an update courtesy Blues After Hours. 89.7 FM WGBH BLUES AFTER HOURS CALENDAR Updated July 29 Internet distribution of the WGBH Blues Calendar is made possible by MV Communications (mv.com), an internet service provider in Litchfield, New Hampshire. + means weekly TUE - 1 AUG + blues and barbecue-Acme Barbecue-Hadley + Tall Richard & the Night Owls-Handlebar Harry's-Plymouth + Jam-Charles Locke & Framework-T.T. the Bear's-Cambridge + All Star Blues Revue-Local 186-Harvard Ave.-Allston + Jimmy Allen's Jam-Vogue Club-Saugus + Delta Roadhouse Jam-Second Hand Smoke-Sticky Mike's-Boston + Jam-Silas Junior & Hot Ribs-Marketplace Cafe-Faneuil Hall-Boston + Jam with Choo Choo Charlie & Jam Train-Winsor Cafe-Cambridge + New Orleans Blues-Amsterdam's-E. Providence Sue Foley-Theodore's-Springfield WED - 2 AUG + Rick Russell Band with Cadillac Horns-House of Blues-Cambridge + Easy Ray & West Brothers-Bill Ash's-Revere + Jam-Brother Blue-Club 77-Milford + Fabulous Heavyweights-Brewery-Portsmouth + Jazz Series-Bookstore Cafe-Providence + K. D. & Dimensions-host open mic night-O'Toole's-Haverhill + Clutch Grabwell & Leadfoot Horns-Yard Rock-Quincy + Jam w Frankie T. Blues Hounds-Union St. Restaurant-Newton + Jam-Monponsett Ballroom-Halifax w Tall Richard + Little Joe Cooke Jam-Club 3-Somerville + British Yankees-Western Front-Cambridge + open mic night-Custom House-Providence + Jam w Midnight Blues Band-Mr. Tipp's-Billerica + open mic night-Downtown-Haverhill-with KD &the Dimensions + Jam w Jimmy Allen-Vogue Club-Saugus + Tarbox Ramblers (country blues)-Claddagh-Dartmouth St.-Boston (third Weds. of month) Ladies Sing the Blues with Vikki Vox-Sticky Mike's-Boston (wed's-sun's)-Old Vienna Kaffeehause-Westboro-folk, jazz, blues (wed's-sun's)-Folkway-Peterboro, NH-folk, jazz, blues (wed's-sun's)-Little Joe Cook & Thrillers-Cantab Lounge-Cambridge Luther Allison-(wed-thu)-House of Blues-Cambridge Honest Ed's Used Blues-Joe's American Bar & Grille-Hanover THU - 3 AUG + Jam-Jose Ramos & Special Blend-Day's Inn-Soldier's Field Road (first thurs of month)-Cajun dance-Krewe de Roux-Press Room-Portsmouth, NH + Chris McDermott & Black River Snakes-Cricket's-Fanueil Hall-Boston + Rick Russell-Foundry-Walpole + Madeline Hall & Rhythm Hounds-Plough & Stars-Cambridge + Big River Blues-Rio Grande Cafe-Marblehead + Love Dogs featuring Alizon-Green Briar-Brighton + Jam with Otis & Elevators-Rynborn-Antrim, NH + Debra Mann-Boston Harbor Hotel + Vykki Vox & Soul Searchers-Silhouette Lounge-Allston Rockin' Blues Masters-Johnny D's-Somerville Shirley Lewis Trio-Folkway-Peterboro Ruth Brown-(thu-sat)-Regatta Bar-Cambridge West End Blues-Medfield Gazebo 6:30-8:30 Tomo Fujita & Blue Funk-Gilrein's-Worcester FRI - 4 AUG Miss Lavelle White-Johnny D's-Somerville Toni Lynn Washington-Gilrein's-Worcester Ronnie Earl-House of Blues-Cambridge Roomful of Blues-Boston Harbor Cruise Honest Ed's Used Blues-Blue Buffalo-Framingham Art Steele Blues Band-Mole's Eye-Brattleboro, VT Ben & Jerry's Newport Folk Festival-(fri-sun) Fort Adams State Park West End Blues-Grog-Newburyport Smokey Wilson-House of Blues-Cambridge Fat City-Sit 'n Bull-Maynard Mighty Sam McClain-Harper's Ferry-Allston Legendary Blue notes + Foggcutters -(fri & sat) 8:00 + 11:00-Roseland Ballroom-Taunton fundraiser for Girls & Boys Town Center-Mattapan Rick Russell-Chap's Country & Blues Club-Avon SAT - 5 AUG Susan Tedeschi Band + Orville Giddings Band-Castle Hill Concert Barn-Ipswich Music at the Millyard-Amesbury-T.J. Wheeler & Smokers Radio Kings-Burke's-Boston Coupe de Ville-Mole's Eye-Brattleboro, VT Roomful of Blues-Chan's-Woonsocket, RI Onset Bay Blues festival-Smokey Wilson + Vykki Vox & Soul Searchers + Kat in the Hat + Steve Murphy & Yardrockers + Electric Blue Flame + Buzzard Blues-12:30-9:00 free Onset Bandshell West End Blues-Dodge St.-Salem, MA Dave Hole-House of Blues-Cambridge Parker Wheeler & Fly Amero-Yankee Homecoming-Newburyport Dennis Brennan Band-Gilrein's-Worcester Art Steele Blues Band-Rynborn-Antrim, NH James Montgomery-Harper's Ferry-Allston British Yankees-Elks-Natick Busdriver-Midway Cafe-Jamaica Plain SUN - 6 AUG Chris Smither-Folkway-Peterboro Radio Kings-Amsterdam's-East Providence Steve Hurl & Loiterers-Rio Grande-Marblehead British Yankees-Marketplace Cafe-Faneuil Hall-Boston Busdriver-Tsing Tao-Pembroke Kat in the Hat-Chap's Country & Blues Club-Avon MON - 7 AUG Bryan Lee-House of Blues-Cambridge Bill Halperin Blues Band-Harper's Ferry-Allston WED - 9 AUG Chris McDermott & his Wild Combo-House of Blues-Cambridge THU - 10 AUG Barrence Whitfield-Johnny D's-Somerville West End Blues-Top of the Town-Clinton Radio Kings-House of Blues-Cambridge Parker Wheeler, Cheryl Renee & Howard Randall-sunset dinner cruise- Captain Red-Hilton's Dock-Newburyport 7:00-9:30 Prudence & the Plowboys-Gilrein's-Worcester Art Steele Blues Band-Classy Cat-Keene, NH Satan & Adam-Sit 'n Bull-Maynard Anders Osborne + Hot Tamale Band-Harper's Ferry-Allston Fat City-Nimrod-Falmouth FRI - 11 AUG JVC NEWPORT JAZZ FESTIVAL-(fri-sun)-Ray Charles-Newport Casino 8:00 Fri. Radio Kings-Mole's Eye-Brattleboro, VT Persuasions-(fri & sat)-Sculler's Jazz Club-Boston Honest Ed's Used Blues-Longfellow's-Brewster "Monster" Mike Welch-Johnny D's-Somerville West End Blues-Chicken Bone-Framingham Ronnie Earl & Broadcasters + David Maxwell & Chicago Bob-House of Blues Chris Smither-Old Vienna Kaffeehaus-Westboro High Rollers-Gilrein's-Worcester Art Steele Blues Band-The Inn-Charlemont, MA Holmes Brothers-Sit 'n Bull-Maynard Taylor Made-Harper's Ferry-Allston Fat City-Sea Note-Lynn Busdriver-Back Bay Coffee Beanery-Hanover D.D. & Road Kings-Chap's Country & Blues Club-Avon SAT - 12 AUG Steve Hurl & Tall Richard-Driftwood Coffeehouse-Hyannis Billie Davis with guest Joe Stubbs-House of Blues-Cambridge Barbeque Bob & Rhythm Aces + Pat Murphy-Gilrein's-Worcester Art Steele Blues Band-White horse Inn-Milford, NH Holmes Brothers-Harper's Ferry-Allston Everly Brothers + Fat City-City Hall Plaza-Boston 7:00 British Yankees-(sat & sun)-Marketplace Cafe-Faneuil Hall-Boston Busdriver-Main Dragon-Brockton SUN - 13 AUG Jay Walkers-Amsterdam's-East Providence Art Steele Blues Band-Euro Cafe-Provincetown Busdriver-Tsing Tao-Pembroke Radio Kings-Chap's Country & Blues Club-Avon MON - 14 AUG Charlie Hunter Trio-dinner show-House of Blues-Cambridge WED - 16 AUG Tony Z with Barnard Purdie & Houston Person-Sculler's Jazz Club-Boston Radio Kings-Yard Rock-Quincy Boneheads-outdoor concert-Downtown Crossing-Boston noon-1:30 Madhouse-House of Blues-Cambridge Hellhounds-Gilrein's-Worcester THU - 17 AUG Generic Blonds w G.E. Smith + The Movers-House of Blues-Cambridge Clutch Grabwell-Gilrein's-Worcester FRI - 18 AUG Radio Kings-(fri & sat)-Razzoo's-Bar Harbor, ME Megawatt Blues Crushers-Crackers-Beverly Rick Russell-House of Blues-Cambridge Hellhounds-Gilrein's Kenny Neal-Harper's Ferry-Allston Fat City-Four Courts-Dedham British Yankees-(fri & sat)-Newport Jazz Cafe-Newport, RI Renee-Randall Bues Band-Chap's Country & Blues Club-Avon SAT - 19 AUG Blue Streak-Mole's Eye-Brattleboro, VT Swinging Steaks-Old Vienna Kaffeehause-Westboro Honest Ed's Used Blues-Lake Lodge-Lunenburg Music at the Millyard-Amesbury-Barrence Whitfield & Savages Grand Larceny-Green Acres-Ashland Megawatt Blues Crushers-Cafe Seven Seas-Gloucester House Larry Garner-House of Blues-Cambridge Lustre Kings + Pat Murphy-Gilrein's-Worcester Art Steele Blues Band-Heath Fair-Heath, MA 5:00 Susan Tedeschi-Harper's Ferry-Allston Fat City + Heavy Metal Horns-cruise-Provincetown II 617 723-7800 SUN - 20 AUG Susan E & Bluesliner-Chap's Country & Blues Club-Avon Loaded Dice-Amsterdam's-East Providence Fat City-free outdoor concert-East Boston Stadium 4:00-5:30 British Yankees-Marketplace Cafe-Faneuil Hall-Boston Busdriver-Tsing Tao-Pembroke MON - 21 AUG Bellevue Cadillac-House of Blues-Cambridge Fat City-free outdoor concert-Curley Recreation Center-South Boston 7:00-9:00 rain date Aug. 28 TUE - 22 AUG Debbie Davies-Veteran's Park-Manchester, NH Marcus Hummon-House of Blues-Cambridge WED - 23 AUG Mighty Sam McClain-Regatta Bar-Cambridge Jacksonville Blues Band + Lucille & Streamers-House of Blues-Cambridge Hellhounds-Gilrein's-Worcester Fat City-free lunchtime concert-Prudential Center noon-1:30 Busdriver-Sticky Mike's-Boston THU - 24 AUG Joe Murphy & Water St. Blues Band-House of Blues-Cambridge BBQ Bob & Rhythm Aces-Gilrein's-Worcester Art Steele Blues Band-Barkley's-Lenox, MA Oxford Blues w members of Joe Cocker Band-Theodore's-Springfield FRI - 25 AUG Radio Kings-Bank Street-New London, CT Grand Larceny-Tammany Hall-Worcester Steve Hurl & Loiterers-Rio Grande-Marblehead Taylor Made-House of Blues-Cambridge Joeys-Gilrein's-Worcester Art Steele-Hotel Northampton "Monster" Mike Welch-Sit 'n Bull-Maynard Young Neal & Vipers-Harper's Ferry-Allston Fat City-Spotlights-Weymouth Busdriver-Midway Cafe-Jamaica Plain SAT - 26 AUG Vykki Vax & Soul Searchers-Mole's Eye-Brattleboro, VT BLUES AT LOON, MT-Robert Cray Band + Taj Mahal + Charlie Musselwhite & John Hammond Tickets-(603) 626-5000, (617) 931-2000, (207) 775-3331 Grand Larceny-Chicken Bone-Framingham Megawatt Blues Crushers-Rhumbline-Gloucester Luther "Guitar Junior" Johnson-House of Blues-Cambridge Meg & the Mutts-Gilrein's-Worcester Art Steele Blues Band-Colorado Club-Laconia, NH Barrence Whitfield & Savages-Harper's Ferry-Allston Fat City-Casino-Falmouth Busdriver-Yard Rock-Quincy SUN - 27 AUG D.D. & the Road Kings-Amsterdam's-East Providence Art Steele Blues Band-Penuche's-Keene British Yankees-Marketplace Cafe-Faneuil Hall-Boston Busdriver-outdoor cancer benefit and block party for St. Francis Samariton House of Greater Taunton-Winthrop St.-Taunton noon-1:00 a.m. MON - 28 AUG West End Blues-Natick Common 7:00-9:00 WED - 30 AUG Hellhounds-Gilrein's-Worcester THU - 31 AUG Rick Russell, Weepin' Willie, Bruce Katz-Sculler's-Boston Weepin' Willie-House of Blues-Cambridge Sled Dogs-Gilrein's-Worcester FRI - 1 SEP West End Blues-Rio Grande-Marblehead Art Steele Blues Band-Pearl St.-northampton SAT - 2 SEP Megawatt Blues Crushers-Cafe Seven Seas-Gloucester House SUN - 3 SEP Art Steele Blues Band-Euro Cafe-Provincetown MANCHESTER, NH BLUES FEST-Sat, Sep 9-Brown Sugar & Company-Blooz Connection with Sweet Roy Jones & K.D. Bell + Monster Mike Welch Band + Lucille & Streamers + Roomful of Blues-Stark Landing, Commercial St. 11:00-4:30 $$ --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 1 Aug 1995 02:45:06 -0400 From: craig o'donnell Subject: Blues Families... ...How about Robert and Lyndon Johnson?? (I hear they never got along and hardly ...spoke to each other!) ... ...Muddy and Roger Waters Stevie and Robert Vaughan... --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 1 Aug 1995 03:13:30 -0400 From: Fred Sokolow Subject: Re: Strangest Slides Elmore James used an aluminum sheild that went over a vacuum tube in a radio for a slide...these were very thin, I can't see how he could get that great tone out of it...he'd cut it to the right length with a hacksaw. I've got a book coming out on him soon...he used to drive his band around in a black Pontiac with a broom painted on the side & the words "The Broomdusters"...Fred Sokolow ========================================================================= Date: Tue, 1 Aug 1995 09:09:51 GMT From: Lars juul Pedersen Subject: The right/wrong kind of blues? I have been reading the Blues-l, fore nearly one month now, and I have some= =20 question/comments. Many of you people subscribed to Blues-l, have a professional connection to= =20 the music business. I don=B4t questions your abilities or knowledge in blues= =20 subjects! All of you want, of course, that people in general shall listen to blues=20 music, in sted of Take That, MJ and similar shit, IMO :-)=20 I=B4m a new bee in blues, the "right" one, and enjoy the subject/topics in= the=20 list. I=B4m wondering what you people think about the movie and soundtrack, "The= =20 Commitmens", and that Andrew Strong "Strong" are selling so much blues to=20 ordinarie people?? ---------------------------------------------------------------------------- ------------------------- A child will be born tomorrow As open as an empty cup And we=B4ll fill it with hope and sorrow The very things that messed us up We=B4ll ask him to join the congregation A hindu moslem christian or jew Pretty soon he=B4ll recognise his brothers But soon he=B4ll know the enemy too "Someone always hates someone" - Mike & The Mechanics. ljpjuul@ibm.net ========================================================================= Date: Tue, 1 Aug 1995 05:08:39 +0000 From: "P.W. Fenton" Subject: Flash! - Web Pages Find Home At the eleventh hour, my web pages have found a new, (and hopefully permanent), home. http://www.vistech.net/users/bluesell/ The administrator dropped the last 'e' from Blueselle but I'm not complaining. I will eventually get my own domain name and it will be something like: blueselle.com P.W. Fenton Tampa, Florida email - pwfenton@cftnet.com WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 09:46:55 GMT From: tdevit3@IBM.NET Subject: Re: Charlie Rich dead at age 62 In , Chris Adams writes: >CHARLIE RICH DIES AT 62 > >Nicknamed "the Silver Fox" because of his silver hair, singer Charlie >Rich, whose hits included "Behind Closed Doors" and "The Most Beautiful >Girl in the World," passed away Tuesday morning in Hammond, Lousiana. >Rich died of a blood clot in his lungs at a motel where he and his wife >had stopped for the night on their way to Florida, the Associated Press >reported. > >Rich's rock and blues-inflected songs won over both country and pop >fans in the mid-'70s, and he was named entertainer of the year by the >Country Music Association in 1974. But he was never happy with being >pegged as a country star. As a music student and jazz aficionado, he >brought a wide range of influences into his work, leading some critics >to call it "countrypolitan" and to compare his smooth vocals to those >of Frank Sinatra. > >Rich's career began when his wife, Margaret Ann, took a demo tape of >Rich and his jazz group to Sun Records, the home of such future legends >as Elvis Presley, Jerry Lee Lewis, and Johnny Cash. Sun hired the sax- >and piano-playing Rich as a session musician and songwriter. After >recording one hit single, "Lonely Weekends," as a solo performer, Rich >left Sun in the early '60s, trying out labels and sounds until he hit >pay dirt with Epic Records and several hit songs. > >Although Rich, who fought alcoholism throughout his career, had lost >the spotlight by the late '70s, he remained a favorite in Nashville. >"His ability to make each song a unique and personal vehicle for >individual expression is something which in a way is lost to the star >who . . . is forced by his image to be something he is not," music >critic Peter Guralnick is quoted as saying in the Country Music >Encyclopedia. "Charlie Rich is free to be whatever he likes. He feels >none of the terrible restraints of stardom." > >Christopher Adams >chris@sparkie.osl.state.or.us ========================================================================= Date: Tue, 1 Aug 1995 07:17:22 +0000 From: "P.W. Fenton" Subject: Re: The right/wrong kind of blues? > I'm wondering what you people think about the movie and soundtrack, "The > Commitmens", and that Andrew Strong "Strong" are selling so much blues to > ordinarie people?? Well I loved "The Commitments". It was a great film that really captured what trying to be a band is all about. It was full of great music as well. As for Andrew Strong... what happened to him? I thought we'd hear more. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 07:56:04 -0400 From: Jeff Stier Subject: Re: - more doings in & around Boston Does anyone have a calander of blues/rock events in New York City? Thanks -------------------------------------------------------------------------- Check out my webpage- thanks to Lori- http://pages.prodigy.com/NY/lnizel/jeffstier.html ***************************************************************************** Watch The Right Idea every other Wednesday night at 9:30 PM on Channel 17- only in Manhattan! The Right Idea is a look at government and politics....from the RIGHT! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Tue, 1 Aug 1995 07:00:14 CST From: William Shute Subject: sale of Stax/Volt catalog? (query) From: Bill Shute A Memphis friend told me that Fantasy Inc. had sold the Stax/Volt catalog. Is this true? Has anyone read about this in Billboard, Wall Street Journal, etc? I would appreciate any info on this or any inquiries that could be made to find out. Fantasy has certainly milked the Prestige/Riverside/Milestone catalogs for all they're worth, and I would assume that the huge Stax/Volt catalog AND the wealth of unreleased tapesrepresent a potential cash cow for decades to come. While Fantasy does not have the corporate clout of a major, they have at least given Stax-Volt a high priority and treated it with the respect and dignity it deserves. Fantasy has also continued to rerelease Stax product since the publication of their l995 catalog--just last week I bought a CD reish of Rufus Thomas "Did you heard me/crown prince of dance" with 2 lps on one CD. And the ACE label in England continues to license obscure Stax/ Volt music for UK-only release.Again, just last week I purchased a NEW comp called "4000 Volts of Stax and Satellite" which contains all EARLY stuff, including the b-sides of some Satellite label stuff. Please inform me about the sale of Stax/Volt by Fantasy Inc. if, indeed, it is true. If you know anyone at Fantasy, perhaps we could find out if it IS NOT true. Many thanks in advance. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 1 Aug 1995 12:07:00 +0000 From: Pat Hertel Subject: Mississippi Heat/Lucky Peterson That's right. Last night in Montreal on a double bill and all for $18CDN. Missippi Heat IS NOT A BLUES BAND ........ Got your attention? :):) It's a complex of several blues bands, anyone of which could stand alone. I was very impressed by the musicianship of every last one of them. I really believe too much emphasis is placed on Deitra Farr. Not to take away from her talent etc. but this band has DEPTH they haven't even used yet. Got everybody's autograph and I can tell eRIC I wished Ms. Farr a happy birthday (it's today actually). Nice bunch of people. No, the bass player wasn't wearing his BLUES-L T-shirt. Had I known I would have berated him :):) What can you say about Lucky Peterson. He comes on gangbusters-steamroller. There aren't a lot of people who can play guitar like this man can. one complaint ... TOO DAMNED L O U D! It's not the venue (its actually the second time in a month I've seen him) its Peterson. Tinnitus is nature's way of telling you TURN IT DOWN! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 7:48 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 12:23:22 +0000 From: Pat Hertel Subject: Lucky Peterson addendum Before LP came on last night a guset vocalist did two numbers. As usual the intro had all the clarity of an anouncement in a bus station. What I did catch was this guy was known as "The Texas Thriller" and one of the numbers he did was (I think) his - "Stuck on You" Who he? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 8:20 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 05:57:54 -0500 From: Roger Struve Subject: Re: Re[2]: McTell/Dylan -Reply A friend of mine has a picture from the early '60's, which was taken in Manhattan...of Bob Dylan and John Hammond standing together on a street corner playing. Way cool! regards, d.d.r. ========================================================================= Date: Tue, 1 Aug 1995 12:34:39 +0000 From: Pat Hertel Subject: CONTEST CONTEST CONTEST CONTEST! CONTEST! CONTEST! CONTEST! We've had: HOB - House of Blues POB - Porch of Blues WOB - Wife of Blues AOB - Amp Of Blues GOB - Guitar of Blues Its time for SOB - Stiff of Blues Who is the biggest "stiff" in Bluesdom? The gal or guy that has stared into Medusa's eyes ... who has all the stage presence of a lizard on a very cold rock... who may actually be ANAEROBIC! The idea came to me when I saw Mississippi Heat last night. My entry for SOB is one that will be hard to beat and that's Mississippi Heat guitarist and singer (drum roll/cymbal crash)..... BILLY FLYNN! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 8:33 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 07:46:06 CST From: William Shute Subject: The Dynamic Duo (austin, tx) From: Bill Shute THE DYNAMIC DUO with The Jets Catfish Station, 6th st., Austin, TX Friday 28 July l995 Dynamic Duo: Matthew Robinson--lead gtr, most vocals Blues Boy Hubbard--2nd gtr, occasional vocal with The Jets: Donald Jennings--trumpet (open), vcl Pat Patterson--trumpet (mute), vcl Nicky Bennett--keyboards Chuck Morrill--bass William Fagen--drums With a name like The Dynamic Duo, this band would probably never have gotten my attention among the 50-75 live music acts (if not more!) who would be playing Austin on any weekend night. Thanks to James F. for suggesting them to me. Catfish Station (I think there's one in Atlanta too) is a two-story restaurant and club on Austin's 6th St. that doesn't yet seem to have found its niche or a focus. It attracts a predominantly black clientele, probably because black couples and families walking up and down 6th st. see other black folks inside and figure it's an OK place, at least that's what it looked like to me. Anyway, the management certainly booked a fine band w/ these guys. The show starts off featuring Mr. Jennings and Mr. Patterson, two guys in their 50s or older, who sing and play trumpet. You don 'tsee horn-playing singers that much any more, but these guys know the tradition well, whether it be Roy Eldridge or Eddie Cleanhead Vinson. The trumpet playing was understated and quite soulful (no Maynard Ferguson-esque squeals or Harry James-ish squawk). These older guys also do some novelty dances (they said they were gonna do a dance video of these!!!), and in general they are from the old school of "entertainers" and I loved 'em. I actually thought that they were the Dynamic Duo until about halfway into the show the focus shifted from them to a young early 30s-ish man, looking like a more jovial version of the young Jimmy Dawkins, took the mike and started doing some incredibly soulful singing and some blistering gtr lines. Who is this man, Bruce and I wanted to know? His name is Matthew Robinson, and he's the best "little-known" talent I've seen in ages! He must have done 30-40 solid minutes as featured performer, and he blows away most "featured" acts I've paid ten bucks to see over the last few months. Only the much-different Guy Forsyth is his equal as a performer on the Austin/San Antonio scene, in my humble opinion. Of course, the crowd (who paid no cover!) was not a "blues fan" crowd, but they really got into it. Mr. Robinson knows that the classic material of ZZ Hill, Bobby Bland, Freddie King, Jimmy Reed et al still can move and entertain an audience, and he truly made the covers--all of which qualify as "lesser-known"--his own. For such a young man (in blues terms--where anyone under 45 is an "up-and-comer"!) in such a lackluster venue to play like there's no tomorrow had Bruce and I VERY excited. Matthew was ably supported by legendary East Austin bluesman Blues Boy Hubbard, who provided fine jazz-steeped playing as a foil/ complement to Robinson's leads. And all the while the two older guys provided the occasional horn lines and dance steps! And the catfish was pretty darn good too..as were the cheap bottles of Austin's own Celis beer. When I spoke with Mr. Robinson after the gig and told him I'd come up from San Antonio to see his band and TD Bell's, Blues Boy Hubbardshouted at me across the bandstand "get us some work down there!" I'm sure gonna try! The Dynamic Duo (a name change which indicates their blues orientation is definitely in order!) were playing both Friday and Saturday night at Catfish Station (from 10 to 11:35 or so...and then a DJ played old Disco records!!yikes!! does someone have to have the kids in bed or what?), but they don't have the weekend gig every week. They do one or two nights a week there, Matthew told me, but not the same nights and they also play elsewhere. You'd best check your Austin Chronicle to see where they are on a particular week. While Blues Boy Hubbard is a fine bluesman and a known quantity (I want to catch him solo soon), Matthew Robinson is a man to watch. I want to keep in touch with him (and see him lots more live!) to see what he's doing and to give him positive feedback and remind him just how good he is. Happily, a number of females in the audience got to him before I did and they seemed to be also letting him know!!! Bill Shute San Antonio, TX ========================================================================= Date: Tue, 1 Aug 1995 07:50:12 -0500 From: Craig Edmundson Subject: Omaha NE Blues Fest FYI, On Saturday, August 19th from Noon until 10 p.m the Riverside Blues Fest will take place at 2499 Freedom Park Road, Omaha. Featuring: The Edgar Winter Band The Bel Airs Kid Jonny Lang & The Big Bang The Omaha Blues Coalition The Mighty Jailbreakers Tickets are $15 day of show. ][ Craig Edmundson ][ cedmunds@unmc.edu ][ ========================================================================= Date: Tue, 1 Aug 1995 07:58:20 EST From: "CATHI N." Subject: Karaoke Hell re: Richard Shurman's "Carey-Okie" band: Oh, RICHARD! I surrender...you win. Cathi n. ========================================================================= Date: Tue, 1 Aug 1995 06:57:00 EDT From: Debra Eisert Subject: Re: ANNOUNCEMENT I think that Ron is on to something! If we can't support our own.... P.W., can it be done? >On 95/07/31 P.W. Fenton wrote: > >> I am very pleased to announce the formation of a new Blues record >> label, who's first planned release will be of my own "P.W. Fenton & >> The Second Ward - LIVE at The Blues Ship". In tribute to this place >> where so many Blues lovers gather it will be named... > >Congratulations! I'd be real interested in purchasing a signed copy of >your disc when it's released. Any other Blues-L'ers interested? > >RW >Wack_Ron/rfh@sask.aecl.ca > > */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ debra @ iglou.com Librarians know how Debra Lee Eisert to find the most fun! Cincinnati, Ohio USA */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ ========================================================================= Date: Tue, 1 Aug 1995 09:05:28 -0500 From: VT Subject: Re: REVIEW - Live - Michael Hill (& Future of the Blues) >DATE: Mon, 31 Jul 1995 14:48:55 +0000 >FROM: Pat Hertel > >On Mon, 31 Jul 1995, VT wrote: > >> For a change I am not that far out in left field on this. "Living >> Blues" magazine's latest Critic's Award voted: >> >> MICHAEL HILL'S BLUES MOB BLOODLINES Alligator 4821 >> >> as the Best Debut Blues Album of the year. >> > Then let me go WAAAAY out in left field. I will preamble by saying >that I have never seen them and have only their CD to "judge" >them by and it is ONLY IMHO but.... > > I hate em' this ain't blues, this is FUNK (and noise) yechh! > If this is the future of blues I give up. :):) Note > the flame retardant smileys. > Thanks for the response. However just in case there are those on the list who have not heard the Michael Hill's Blues Mob - the description of their music as FUNK and not BLUES is misleading. I don't normally like categorizations - however I will acknowledge that they are useful for describing music. I have listened to, and followed both FUNK and BLUES for a number of years. As a description of their music I would NOT call this FUNK. They are very clearly BLUES (without hesitation) - this is self evident when you listen, and it is confirmed by their album's win of Best Debut BLUES Album in the Critics Award of "Living Blues" (who are criticized for being conservative!). Yes, they do mix in elements of FUNK (as well as many other modern forms of music) into their blues, they are very eclectic - but they are about as much funk, as the METERS are blues. The Michael Hill's Blues Mob are clearly not traditional blues (whatever that means) but are breaking new ground, with one foot firmly in the blues. It is entirely reasonable NOT to like what they are doing or not be impressed with them, but it is misleading to call them funk or anything other than BLUES. Personally, I still like them, I like the new grounds they are breaking. Don't forget there were many who called Hendrix "noise" and NOT blues (in fact there are many who still do :-). John Coltrane was dismissed by many as "noise" when he pioneered his sheets of sound. Muddy Waters was boo-ed the first time he went to England playing ELECTRIC instruments and was called "noise". Similarly Bob Dylan was booed and accused of being "noise" when he played electric with the Butterfield Blues Band at the Newport Folk Fest. These are mere examples of having to have time to gain "acceptance" and recognition - as opposed to a prediction. We lament the stagnation of the blues. But what I see is many of today's Blues bands unfortunately only "cover" the classic material from the 50's and 60's, and even their "originals" seem to be imitation of the art of the 50's and 60's. The great bluesmen were great because they reflected life of their times. Blues is supposed to reflect life - life moves on - this is 1995 and the conditions of the 1950's and 60's no longer exist - so what are we singing about? Like Michael Hill says "We honor the tradition of the blues, but at the same time we take it to other places...." Might I suggest that people should listen with an open mind and decide for themselves? (I hope my REVIEW will be useful - as I believe my description of their music was accurate and sincere.) :-) Vincent p00061@psilink.com ========================================================================= Date: Tue, 1 Aug 1995 16:10:45 +0300 From: T P Uschanov Subject: Re: Blues Trivia... > >From memory, what are the real names of the following blues/r&b > artists? >From memory (why am I a sucker for these kinds of quizzes?): > Guitar Slim (Specialty Recs.) Eddie Jones > Guitar Shorty (Trix Recs, N.Car.) > Magic Sam Samuel Maghett > Magic Slim > Guitar Junior (Goldband Recs.) Lee Baker, Jr > Lonnie Brooks :> Lee Baker, Jr :> > Bo Diddley Otha Ellas Bates McDaniel > Frosty William Pyles > Honeyboy (Specialty Recs.) Frank Patt > Archibald Leon T Gross > Professor Longhair Henry Roeland Byrd > Bumble Bee Slim > Harmonica Fats Harvey Blackstone > Harmonica Slim > Little Temple > Black Ace B K Turner > John Henry Barbee > Model-T Slim > Mr. Undertaker thought to be Roy Hawkins > Johnny Ace John M Alexander, Jr > The Fat Man Lloyd Smith > Gunter Lee Carr Cecil Gant > Screamin' Jay Hawkins Jalacy Hawkins > Birmingham Sam > Mumbles Walter Horton > Elmore James Elmore James (or Brooks) > Earl King > Blues Slim > Piano Red Willie Perryman > Cousin Joe Joseph Pleasant > King Kolax William Little > Tarheel Slim Allen Bunn > Blue Smitty Was it Byther Smith? I'm no modernist. :> > Detroit Junior > Sugar Pie Desanto :> Umpeylia Balinton :> /tp/ ========================================================================= Date: Tue, 1 Aug 1995 16:12:48 +0300 From: T P Uschanov Subject: Re: Blues Trivia... Hmmm, and wasn't Little Temple Gus Jenkins (aka Jaarone Pharaoh)? /tp/ ========================================================================= Date: Tue, 1 Aug 1995 09:09:19 +0000 From: "P.W. Fenton" Subject: Re: CONTEST CONTEST CONTEST > CONTEST! CONTEST! CONTEST! CONTEST! > > We've had: > > HOB - House of Blues > POB - Porch of Blues > WOB - Wife of Blues > AOB - Amp Of Blues > GOB - Guitar of Blues > > Its time for SOB - Stiff of Blues > > Who is the biggest "stiff" in Bluesdom? > The gal or guy that has stared into Medusa's eyes > ... who has all the stage presence of a lizard > on a very cold rock... who may actually be > ANAEROBIC! Oh that's easy. I don't mean to pick on a little kid, but the Stiff-O-Blues has to be - Derek Trucks He needs a set of those glasses that have the eyes already in 'em that he can tape to the top of his head so he'll at least APPEAR to look out into the audience. ;-) P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 14:08:00 BST From: Mr G M Smith Subject: FAMILIES/ESTRANGED What about.... Elmore & Jesse James Blind Lemon & Thomas Jefferson Michael,ZZ and Benny Hill William and Alexander Graham Bell (and their mother,Ma Bell,whom they never phoned) "Son" and Maxwell House Bukka and Wilfred Hyde White Bessie and Garry Smith... Clyde and Aaron Copeland "Little" and (Sir) Cliff Richard This could run and run. Yours, Garry (wondering why Bessie never appears in family photo's) Smith ========================================================================= Date: Tue, 1 Aug 1995 07:49:36 -0500 From: Richard Shurman Subject: Billy Flynn (who doesn't need me to defend him) Apart from being an excellent musician and a really nice person, Billy Flynn's movement is somewhat limited by severe arthritis. He also has a team concept that doesn't involve trying to grab the spotlight. Too bad that has apparently translated into one more potential negative thread of the kind we don't need. I hope it stops here before he and other undeserving folks get trashed for no good reason! ========================================================================= Date: Tue, 1 Aug 1995 09:18:49 -0500 From: Richard Flohil Subject: Re: - more doings in & around Boston At 7:56 AM 8/1/95, Jeff Stier wrote: >Does anyone have a calander of blues/rock >events in New York City? >Watch The Right Idea every other Wednesday night at 9:30 PM on Channel 17- >only in Manhattan! >The Right Idea is a look at government and politics....from the RIGHT! Er, don't you have a weekly paper out of New York called The Village Voice. It has ALL the club listings, and is available on good newstands all over the US and Canada, as well as major European cities. However, the Voice also has a decidedly politically liberal attitude, and judging from the tagline to Jeff's posting, he is somewhat to the right of Atilla the Hun on a rainy Monday morning, and would find it appalling to be seen reading it, lest it poison his brain with nasty communistic, left-wing, liberalistic, anti-Amurrican influences! I have noticed many Blue-L folk tag their messages with right wing rhetoric (someone quotes that idiotic simpleton P.J. O'Rourke to the effect that giving government to the people is like giving matches to schoolchildren). And this surprises me - I would have thought that an awareness of the history of blues, the people who originated it, the sociological conditions that have rise to it, etc. etc. might make most people a little more understanding, a little more helpful, a little less rigid than the average Rush Limbaugh acolyte. Like that Liberal ex-president George Bush said, maybe blues fans represent a kinder, gentler America. Hah! But, hey, I'm a Canajun, and we're a little more centrist up here. But in Ontario, the Evil Empire, in the form a slash-and-burn-tax-the-poor-give breaks-to-the-rich Conservative government, has just been elected, so maybe I'm just a wobbly liberal crying in the wilderness... Send flames direct to my e-mail, and save the Blues L for blues, not politics, from either right or left wings. Cheers, Richard rflohil@inforamp.net ========================================================================= Date: Tue, 1 Aug 1995 09:20:34 -0400 From: Linden/Powers Subject: estranged blues families Who could forget the bitter sibling rivalry between Carol & Chester Burnett? Colin Linden ========================================================================= Date: Tue, 1 Aug 1995 08:15:07 CDT From: L W Subject: Mississippi Heat/Lucky Peterson ----------------------------Original message---------------------------- > What can you say about Lucky Peterson. He comes >on gangbusters-steamroller. There aren't a lot >of people who can play guitar like this man can. >one complaint ... TOO DAMNED L O U D! It's not >the venue (its actually the second time in a month >I've seen him) its Peterson. >Tinnitus is nature's way of telling you >TURN IT DOWN! "Nobody wants to see your tricks, they want to be entertained now Lucky can play a hundred times better than I can, but he's no entertainer" James Peterson "When Lucky is on he's as good as anybody out there" James Peterson LW ========================================================================= Date: Tue, 1 Aug 1995 09:30:40 +0000 From: "P.W. Fenton" Subject: Re: ANNOUNCEMENT > >Congratulations! I'd be real interested in purchasing a signed copy of > >your disc when it's released. Any other Blues-L'ers interested? > > > >RW > >Wack_Ron/rfh@sask.aecl.ca > I think that Ron is on to something! If we can't support our own.... > > P.W., can it be done? Of course it can be done :-) But let's not jump the gun, here. It'll be December before it's ready to go. Have no fear. I will be very eager to let everyone know about it when it's ready. But "supporting our own" is not a bad idea. There are other Blues-Lers with CDs that are already out, that could use our support. Garry & The Moodswingers' - "Go Fever" is one I can think of right off the top of my head. I know there are more. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 13:40:45 +0000 From: Pat Hertel Subject: BIG Apology Seems I have put muy big foot in my equally big mouth again. I am informed by Richard Shurman that the reason Billy Flynn doesn't move around is due to arthritis. I assure everyone that no harm was intended just a "joke" that went terribly wrong. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 9:38 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 13:42:30 +0000 From: Pat Hertel Subject: MUD MUD MUD My name is MUD phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 9:42 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 17:00:53 +0300 From: T P Uschanov Subject: Re: Karaoke Hell > Well, I had to go to a Karaoke Party my new boss was giving last fall. > When I arrived they were singing "Che Sera Sera"(sp?) and I thought > "OH NO, this is as BAD as I thought it was going to be!" The High Keyes' 1963 gospely vocal group version of "Que Sera, Sera" (on Atco) isn't too bad - in fact it's a definite desert island disc to me! /tp/ ========================================================================= Date: Tue, 1 Aug 1995 09:58:36 +0000 From: "P.W. Fenton" Subject: Shurman's Right > > > > Its time for SOB - Stiff of Blues > > > > Who is the biggest "stiff" in Bluesdom? > > The gal or guy that has stared into Medusa's eyes > > ... who has all the stage presence of a lizard > > on a very cold rock... who may actually be > > ANAEROBIC! > > Oh that's easy. I don't mean to pick on a little kid, but the > Stiff-O-Blues has to be - Derek Trucks > > He needs a set of those glasses that have the eyes already in 'em > that he can tape to the top of his head so he'll at least APPEAR to > look out into the audience. ;-) > > P.W. Fenton When I wrote this I definitely didn't intend to "trash" Derek Trucks (who I have met, and played Gameboy/Mario Bros. with, and who is a very nice kid) but I agree this thread has the potential to become just that. Maybe we should drop it. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 10:06:07 +0000 From: "P.W. Fenton" Subject: Re: MUD MUD MUD > My name is MUD > Nah... man. Don't sweat it. You didn't mean any harm... you goofed... you apologized. Everyone should be so easy to deal with. Your name is Pat. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 10:09:13 -0500 From: Patti Bowman Subject: Right/wrong kind of blues? >Many of you people subscribed to Blues-l, have a professional connection to >the music business. I don=B4t questions your abilities or knowledge in blue= s >subjects! >All of you want, of course, that people in general shall listen to blues >music, in sted of Take That, MJ and similar shit, IMO :-) >I=B4m a new bee in blues, the "right" one, and enjoy the subject/topics in = the >list. >I=B4m wondering what you people think about the movie and soundtrack, "The >Commitmens", and that Andrew Strong "Strong" are selling so much blues to >ordinarie people?? I personally loved the Commitments - both the soundtrack and the video (I own both). I think that any form of music done well and with passion - regardless of the genre - is great if it speaks to you. If Andrew Strong can introduce his brand of blues to a new audience - great. Who knows where that type of introduction will lead. I, personally, wasn't a blues fan until Eric Clapton's Crossroads album came out. I thought it was a cool sound and so I got some earlier Clapton. That lead to listening to artists that EC listed as influences. The next thing I know I'm on the board of directors of the local blues society, publishing a blues magazine and now a loyal Blues-L'er. ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 09:09:11 PDT From: "R. J. Bauman" Subject: Re: BLUES-L Web Page I'd recommend taking a good look at some of the other blues web pages, several of which are EXCELLENT. I believe The Blue Highway and King Biscuit Time have an FTP to the Shed and the blues-l newsgroup. What can a blues-l page offer that the Shed and these other pages don't or can't? I'm all for blues on the web, obviously, but you might investigate a way to *compliment* these sites rather than *duplicate* them. One way I can see of facilitating this is to actually form a real live blues society out of this list or invite other "affiliated" societies to run with this. That would involve a drastic change in focus, though. While you're at it, maybe you could lump in PW Fenton's orphaned page, if need be. RJ Bauman >Well, I've been busy most of the summer, but starting soon, I'll >really start putting some work into the BLUES-L Web Page that >I've been trying to work on. > >So far, I have the following sections that I plan to TRY to put >up: > >BLUES-L Hall of Fame Results >Suggested CD's (alltime, of the year, of the week, whatever) >Blues Events and Happenings >New Blues Releases >Top Selling Blues Albums > > >Any suggestions? > ========================================================================= Date: Tue, 1 Aug 1995 10:25:39 EDT From: Robert Crocker Subject: The Band's Blues Roots Members of THE Band did indeed get turned on to the blues very early on, and did much more than their share in bringing the sounds of many of our heroes to a wider audience in the sixties. In 1965, they met up with SBWII, a man not much given to idle flattery. "You boys sure can play," Levon Helm reports him telling them. "You know, I'm seventy years old, and you got to be one of the best bands I've heard." Sonny Boy passed away a short time later, and The Band never got to follow through on plans to record with the harmonica genius. 1965 was also the year of the "So Many Roads" sessions with John Hammond Jr. Charlie Musslewhite had been lined up to blow some harp. Michael Bloomfield was also in the studio, but was so intimidated by Robbie Robertson that he refused to pick up his guitar. Robertson, Helm and Garth Hudson contributed inspired performances to cracking covers of Who Do You Love? Can't Judge a Book, Meet Me in the Bottom, Long Distance Call and a number of others. Don't forget too that both Paul Butterfield and Muddy Waters were invited to The Band's "Last Waltz", though it must be admitted that by that time Robertson was starting to go Hollywood on us and was rather more interested in hanging with Martin Scorsese and Neil Diamond! You don't have to scratch very deeply to find The Band's blues roots in their recordings from earliest times through to "Jericho". -- robo ========================================================================= Date: Tue, 1 Aug 1995 14:28:32 +0000 From: Pat Hertel Subject: Re: Mississippi Heat/Lucky Peterson On Tue, 1 Aug 1995, L W wrote: > > "Nobody wants to see your tricks, they want to be entertained > now Lucky can play a hundred times better than I can, but he's no entertainer" > James Peterson I think he's wrong about that one. You only have to see him playing his way through the crowd (and singing without a mike). Even the members of Mississippi Heat in the audience got a kick out of his doings. > > "When Lucky is on he's as good as anybody out there" > James Peterson Got that right. > > > LW > phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [1/8/95 10:24 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 1 Aug 1995 10:12:11 EST From: shannon oconnor Subject: Karaoke Hell Any truth to the rumor that karaoke was brought to this country through Memphis, TN? ========================================================================= Date: Tue, 1 Aug 1995 09:43:59 PDT From: "R. J. Bauman" Subject: Re: CONTEST CONTEST CONTEST ==== 3) Saved the best, to me anyway, for last. Buddy Guy on German TV in 1991. 50 minute or so. This is a GREAT set by Buddy and his current line-up except for the FOX on keyboards. You'll love this, I guaran-dam-tee it. All these are from my personal video library, so not commercial quality but 8 or so out of 10. Anyway, let me know and I'll get these to you ASAP. Steve====================== How about that ______ Trucks youngster that opened some shows for Buddy Guy. I never saw him but there were several of you out there that said he never even looked up from his guitar, etc... RJ Bauman ========================================================================= Date: Tue, 1 Aug 1995 09:39:57 -0500 From: Jeff Seale Subject: Re: ANNOUNCEMENT Maybe we could compile a list of bands on Blues-L that have cds available as well as info on obtaining these releases. Then the list could be put in the Shed or the Blues-L homepage (or some other blues web page). Thoughts? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Tue, 1 Aug 1995 10:34:19 -0400 From: Eric Ferry Subject: MUSIC MANAGEMENT DIRECTORY The 1995 Music Management Company Directory lists over 1700 professional management companies including address, telephone and fax numbers, contact names and the artists they represent. The directory is available in book or computer disk forms. It retails for $59.95 . You can purchase it for $29.95 plus tax. This is the most informative directory of its kind. For more info call 818-781-0238 or E-Mail Eric Ferry@aol.com ========================================================================= Date: Tue, 1 Aug 1995 10:41:53 -0400 From: Jeff Stier Subject: Re: - more doings in & around Boston > rhetoric (someone quotes that idiotic simpleton P.J. O'Rourke to the effect > that giving government to the people is like giving matches to > schoolchildren). And this surprises me - I would have thought that an So much for the theory that liberals have a sense of humor! > awareness of the history of blues, the people who originated it, the > sociological conditions that have rise to it, etc. etc. might make most > people a little more understanding, a little more helpful, a little less > rigid than the average Rush Limbaugh acolyte. Like that Liberal Oh, I forgot that as a conservative, I am supposed to be racist and not appreciate the music of musical geniuses such as Chuck Berry and Johnny Lee Hooker. I also forgot that the left has a monopoly on kindness and compassion because it advocates giving my money to lazy people and redistributing my wealth. Ok? Can we get back on topic now? Thanks, Keep rockin' the blues, JEFF -------------------------------------------------------------------------- Check out my webpage- thanks to Lori- http://pages.prodigy.com/NY/lnizel/jeffstier.html ***************************************************************************** Watch The Right Idea every other Wednesday night at 9:30 PM on Channel 17- only in Manhattan! The Right Idea is a look at government and politics....from the RIGHT! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ========================================================================= Date: Tue, 1 Aug 1995 09:42:28 -0500 From: "Alice E. Brown" Subject: Riverfront Blues Festival The Riverfront Blues Festival in Fort Smith, Arkansas is set for September 14 through the 16th. The line-up is as follows: Keb Mo Joanna Conner Kenny Neal Larry McCrawl Chris Smither Satan & Adam Buddy Guy The Ft. Smith Blues Society member who gave the information, wasn't able to give a phone number at the time. The following number was taken from Blues Revue's Festival listing: (501)785-1201(John). Alice ========================================================================= Date: Tue, 1 Aug 1995 09:50:41 CDT From: L W Subject: Re: MUD MUD MUD ----------------------------Original message---------------------------- > My name is MUD > >Nah... man. Don't sweat it. You didn't mean any harm... you >goofed... you apologized. Everyone should be so easy to deal with. >Your name is Pat. I've made more mistakes than anybody on BLUES-L and passed more mis-information and if Pat is Mud. Then I'm quicksand.... LW 'a Mudhead of course' ========================================================================= Date: Tue, 1 Aug 1995 10:56:30 +0000 From: "P.W. Fenton" Subject: Blues-L CDs & Tapes Wanted > > Maybe we could compile a list of bands on Blues-L that have cds > available as well as info on obtaining these releases. Then the > list could be put in the Shed or the Blues-L homepage (or some other > blues web page). > > Thoughts? Way cool idea, Jeff. I volunteer. Anyone who is a Blues-L member/musician and has a Blues CD or Tape for sale, send me the pertinent info, and I'll compile it and make it available on the web (and right here). Please include prices and addresses to send money to...etc. Please use the subject line from this message and my mail program will sort them for me. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 10:47:57 -0500 From: VT Subject: Re: Johnny Otis, Michael Hill >DATE: Mon, 31 Jul 1995 18:02:36 +0000 >FROM: Ian Angus > >At the other end of the time line, the discussion of Michael Hill ... >He is, IMHO, the most interesting new blues perfomer of the decade so >far. His playing is deeply rooted in blues, but also relevant to >current black music. His lyrics are among the very few that are >actually relevant to ghetto life today. And the man can really play >guitar! > >(And, I'm told by a friend who met him during the Toronto Soul & >blues Fest, he is a hjust-plain-nice-guy.) > Thank you for that input Ian. It's my pleasure to confirm that Michael Hill is a "just-plain-nice-guy" - I called him a sweetheart in my review. It is evident during their live performances that Michael takes the time to really talk to the audience - telling people of the background to their songs, as well as being enthusiastic about their blues influences. I was a fan before I recently became a friend. I have absolutely no financial or any other arrangements with Michael Hill. I am enthusiastic about this band because I like their music, their lyrics - and in spite what others might say, I am just so impressed with Michael Hill's guitar playing. He obviously has some awsome technique, but it is used tastefully for expression and not showboating. Their songs are relevant to today without preaching or "protest", yet they are very accessible since they are firmly rooted in the BLUES. 'nuff said. :-) Vincent p00061@psilink.com ========================================================================= Date: Tue, 1 Aug 1995 09:59:22 CDT From: L W Subject: FUNK ! I don't know what "funk" is but I love when Hound Dog Says "Do You feel funky Mr. Brewer, let's get Funky"..... I think ALbert King is funky.... I have no idea what funk is, but if the above is an indication, then call me a "Funky Mud Head' Slapping bass notes...Is that funky ? LW ========================================================================= Date: Tue, 1 Aug 1995 11:04:43 -0400 From: "Munson, Bill" Subject: Re[2]: - more doings in & around Boston You deserve flowers, not flames. (Assuming you like flowers.) >Send flames direct to my e-mail, and save the Blues L for blues, >not politics, from either right or left wings. Cheers, ========================================================================= Date: Tue, 1 Aug 1995 10:07:09 -0500 From: David Silberberg Subject: Re: Blues Trivia... At 04:10 PM 8/1/95 +0300, T P Uschanov wrote: >> >From memory, what are the real names of the following blues/r&b >> artists? > > >> Gunter Lee Carr > >Cecil Gant > Is this the Cecil Gant who had an important R & B "hit" in 1945, "I Wonder"? Does this imply that he also recorded under the name "Gunter Lee Carr"? "I Wonder" is one of the few (maybe the only) "historically important" R & B / R & R song that I haven't ever heard. Does anyone know of any CD that it is on? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 1 Aug 1995 10:07:12 -0500 From: David Silberberg Subject: Re: The right/wrong kind of blues? At 07:17 AM 8/1/95 +0000, P.W. Fenton wrote: >> I'm wondering what you people think about the movie and soundtrack, "The >> Commitmens", and that Andrew Strong "Strong" are selling so much blues to >> ordinarie people?? > >Well I loved "The Commitments". It was a great film that really >captured what trying to be a band is all about. It was full of great >music as well. As for Andrew Strong... what happened to him? I >thought we'd hear more. > A couple of weeks ago, A & E Cable (I think) aired a concert of the "reunited" Commitments, filmed at a club in (probably) the UK somewhere. Each of them apparently is with some new band, or is going solo. The show showed each individually doing some new stuf. Some of it was pretty good, some of it not in the soul style, but good to see that they are not just living off of the movie, however much success they may or may not get. As for the movie and soundtrack, I already have Wilson Pickett doing "Mustang Sally" - I don't need an almost exact duplicate. Do something new, like they appear to be doing individually now, and I'll form a different opinion. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 1 Aug 1995 11:30:04 -0400 From: Clint Pulley Subject: Re: ANNOUNCEMENT P.W. Fenton wrote: > > But "supporting our own" is not a bad idea. There are other > Blues-Lers with CDs that are already out, that could use our support. > Garry & The Moodswingers' - "Go Fever" is one I can think of right off > the top of my head. I know there are more. > On May 24, 1994 I posted the following offer. I had but one reply, from Billy Price. As a way of helping 'zellers "support their own" I'm still willing to put an "indy" list together and post it. ---------- Date: Tue, 24 May 1994 10:38:05 -0500 From: Clint Pulley Subject: Looking for Self-produced Recordings Apparently a number of blues-l members perform professionally. I suspect that some of you have self-produced (aka independent) recordings which you offer for sale at gigs but can't promote on blues-l because of the well-known "commercial use" restrictions on the Internet. I have a number of these recordings in my collection and treasure them - imho they usually have a vitality and freshness which is often missing from commercial recordings and are frequently as good musically as those from the major labels. If you have self-produced recordings and are willing to sell them by "mail-order", please let me know by PRIVATE email. Include a description, media, and price (include shipping cost and allow an extra buck or so for mailing to Canada). As this information is sent to me privately at my request, you won't be violating any net restrictions. I'll summarize all replies and post to blues-l. Since I have no commercial interest in this, but am only acting as a blues enthusiast who is interested in supporting home-grown blues artists, I won't be violating any net restrictions either! As well, I'll be purchasing many of the recordings as time/$$ permit. PS: Please identify your email with REC: in the subject line so I don't miss anything. ---------- Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Fri, 28 Jul 1995 13:46:44 -0400 From: Maria Wegscheid Subject: Luther Allison I was privileged to see Luther Allison here last Friday night. What an incredible show. While I can't imagine that the energy and the spirit of his live show can be captured on a recording, what would anyone recommend for someone who has no Allison in their collection as a good starting point? Thanks, Maria mwegsche@libby.rbls.lib.il.us ========================================================================= Date: Tue, 1 Aug 1995 11:25:04 EST From: Alora Paul Subject: yer blues & stop breaking down i was listening to jeff healey's version of this on his new album "cover to cover" - deciding pre-listen that i probably wasn't going to like it much, loving the original as i do. but i was surprised and like it very much indeed. what do you all think? re: "stop breaking down" - why i bought this jeff healey in the first place. comments? i know it's robt. johnson's song and i know of the rolling stones/exile on main street version. any others? i'm thinking i cannot get enough of this song. and also, do you think we're sentimental about the original or the first we've heard of a song? i dont' know, al green's (that's right, isn't it?) "take me to the river" or either talking heads version, (but especially from stop making sense) - that would be a tough call for me. don't know which i'd "take", but very fortunately for me, i can enjoy them all. alora apaul@whoi.edu ========================================================================= Date: Tue, 1 Aug 1995 12:13:10 -0400 From: Peter Welch Subject: Re: Blues Trivia... According to David Silberberg: > > Is this the Cecil Gant who had an important R & B "hit" in 1945, "I Wonder"? > Does this imply that he also recorded under the name "Gunter Lee Carr"? > David, Yep, this is the same Cecil Gant. For whatever reason, he recorded a couple of singles for Decca under the name "Gunter Lee Carr." > "I Wonder" is one of the few (maybe the only) "historically important" R & B > / R & R song that I haven't ever heard. Does anyone know of any CD that it > is on? It's not on the Krazy Kat "Cecil Gant" CD that's out there...I've got it at home, but I don't think it's on that disc. Unless it's on some long out of print LP, I haven't seen "I Wonder" anywhere. There's a lot of Cecil Gant material that hasn't been re-issued...I'm waiting. -Peter W. ========================================================================= Date: Tue, 1 Aug 1995 11:16:42 CDT From: L W Subject: yer blues & stop breaking down ----------------------------Original message---------------------------- > and also, do you think we're sentimental about the original > or the first we've heard of a song? I usually tend to favor the one that "moves" me the most and even though I've not heard Jeff Healy's version, I'm 100% sure it won't move me like Robert's version....I'd take Robert Johnson's version of a tune over ANYBODY'S in most cases....I not one of "those" who believes that the "mystique' surrounding RJ iswhat makes him appealing. I think he was one of the greatest ever, it took me a few listens before realizing it.....but man when it hit me..... Jeff H. is in my town tonight with Night Ranger opening...I tend to stay away from blues rock, but I do occasionally listen to SRV , Allman Brothers..etc I can handle the blues/rock thing if the solo is not a majority of the tune. Some folks (IMHO) like SRV, Duanne and others can pull it off, but there are few folks who can extend a solo without "losing" me......It gets old quick LW 'IMHO' ========================================================================= Date: Tue, 1 Aug 1995 23:41:54 +0700 From: "Peter E. Beal" Subject: Re: sale of Stax/Volt catalog? (query) On Tue, 1 Aug 1995, William Shute wrote: > From: Bill Shute > > A Memphis friend told me that Fantasy Inc. had sold the Stax/Volt > catalog. Is this true? Has anyone read about this in Billboard, > Wall Street Journal, etc? I would appreciate any info on this > or any inquiries that could be made to find out. > > > Please inform me about the sale of Stax/Volt by Fantasy Inc. if, indeed, > it is true. If you know anyone at Fantasy, perhaps we could find out > if it IS NOT true. Many thanks in advance. > Fantasy is located in Berkeley, CA and I am sure they are in the telephone book. A call to Cynthia LeBarr (in customer service- I have dealt with her) might get you your answer. ========================================================================= Date: Tue, 1 Aug 1995 12:47:49 -0400 From: Mary Katherine Aldin Subject: Canray Fontenot has died Just got a message that Louisiana-based musician Canray Fontenot passed away on Saturday. He had been seriously ill for some time. Mary Katherine ========================================================================= Date: Tue, 1 Aug 1995 19:53:22 +0300 From: T P Uschanov Subject: Re: Blues Trivia... > Is this the Cecil Gant who had an important R & B "hit" in 1945, "I Wonder"? > Does this imply that he also recorded under the name "Gunter Lee Carr"? > > "I Wonder" is one of the few (maybe the only) "historically important" R & B > / R & R song that I haven't ever heard. Does anyone know of any CD that it > is on? It _may_ be on the Hoy Hoy label CD 'Rock Before Elvis,' which I dimly recall as having been reviewed on Blues-L during the past year or so. It would certainly fit there. I do have it on an LP in the 100-volume 'La Grande Storia del Jazz' series the Italian Curcio label put out in Italy in the eighties (the one with the large silver "J" and tourist postcard photos on the cover). It's the volume with lots of Harry "The Hypster" Gibson tracks on it -- Gibson is another artist worth investigating, with his Slim Gaillard/Babs Gonzales mannerisms! /tp/ ========================================================================= Date: Tue, 1 Aug 1995 10:07:33 -0800 From: Don Cicchetti Subject: Re: BIG Apology relax... Pat said: > Seems I have put muy big foot in my >equally big mouth again. > >I am informed by Richard Shurman that the >reason Billy Flynn doesn't move >around is due to arthritis. YIKES! Reminds me of the time that everyone in prep school was telling this guy (who no one liked cuz of his repulsive habits) stuff like: "Hey, did you know that Jerry's dad is an olympic swimmer?" "I was at Jerry's house, and his dad has gold medals all over the wall" "Jerry's dad man, he's an olympic swimmer!" during the day, the guy must have heard this ten or more times right? So, next time he sees Jerry, (Jerry is in on this of course) he says "HEY JERRY! I hear your dad's an olympic swimmer!!" WHAT? "Your Dad! I heard about him being an olympic swimmer and everything!" Jerry gets this really mean look on his face, violently grabs the guy by the shirt and says: HEY MAN.... THAT'S NOT FUNNY!! MY DAD AIN'T GOT NO LEGGSS....... I mean, we laughed for DAYS..... Don "gotta do something really stupid once a week, it's in my contract" Cicchetti ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 1 Aug 1995 10:10:16 -0700 From: Gregg Makepeace Subject: Gary and the Moodswingers While listening to Gary "The Wagman" Wagner on KLON on Sunday I got to hear a cut from the Gary and the Moodswingers CD. Good stuff! Wagman mentioned that he got the disc via the Internet as well. BLUES-L strikes again! Gregg Makepeace makepeac@ug.eds.com ========================================================================= Date: Tue, 1 Aug 1995 13:00:58 +0000 From: Ian Angus Subject: (Fwd) Mail Delivery Failure. Yesterday there was a message that Eddie Hinton had died. Can anyone cdonfirm this? Can anyone provide any details? Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 1 Aug 1995 17:18:48 GMT From: Eric LeBlanc-CISTI Subject: Re: The High Sheriff of Hell -- BIO I ALSO HAVE A MASTER'S THESIS ON PEETIE WHEATSTRAW THAT SOMEONE SENT ME IN THE EARLY 70S. IT COMPLEMENTS PAUL GARON'S WONDERFUL BOOK. eRIC ========================================================================= Date: Tue, 1 Aug 1995 12:28:59 CST From: William Shute Subject: no Stax/Volt sale From: Bill Shute Well, my question about the sale of the Stax/Volt catalog is hereby "withdrawn." A friend came up with the brilliant idea of CALLING Fantasy in Berkeley and asking them if they had sold it! Answer? They have not. Case closed. Bill Shute San Antonio, TX (anyone want to loan me a few million so I can buy it?) ========================================================================= Date: Tue, 1 Aug 1995 12:34:30 -0500 From: David Silberberg Subject: Re: Karaoke Hell At 10:12 AM 8/1/95 EST, shannon oconnor wrote: > Any truth to the rumor that karaoke was brought to this country > through Memphis, TN? > > I think you're thinking of Kudzu, that weed that grows all over the South now. Hmmm - maybe that describes karaoke, now, too.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 1 Aug 1995 17:41:41 GMT From: Eric LeBlanc-CISTI Subject: Re: One man's opinion-TuTu Jones. re: JSP 252 : TUTU JONES - I'M FOR REAL I SECOND THAT EMOTION. ! ========================================================================= Date: Tue, 1 Aug 1995 12:42:28 -0600 From: Ranko Vujosevic Subject: Jessie Mae Hemphill I learned from Catfish Keith that Jessie Mae Hemphill, who last year had a stroke and is not performing anymore, is leaving in very poor conditions. She is, among others, in a desparate need for an A/C to cope with this unbearable heat. I was wondering whether there is willingness among Blues-L members to help her by collecting some money to buy (say) a used A/C that can help her make it through this summer. I would be willing to collect money and we can ask someone from down there, say Blues-lers from Oxford to buy A/C and take it to her home outside Como, Miss. Or maybe, we can send money directly to someone "Down South," who is close to her home. So, what do you say guys? 20-30 of us (or whatever it costs), $10 each and we can help Jessie. If we want to do it - we need to do it quickly. Ranko ========================================================================= Date: Tue, 1 Aug 1995 18:56:28 GMT From: Vincent Vialard Subject: Help needed: Black Cat Bone lyrics... Hi, You know we froggies have a hard time gettin' these blues lyrics, but I can't stand any longer my singer singin what we call yogourt (you know it sounds like english but it ain't nothin' but sounds...). So I decided to try to get all this straight. Later on we'll start workin on his pronounciation.. Well anyway, I'm stuck on Black Cat Bone. I got the lyrics from the Collins/Copeland/Cray 'Showdown' on Alligator records, and can't figure out some of the words... Here's what I got : I believe my baby's got a black cat bone I believe my baby's got a black cat bone seems like everything I do, Seems like I do it wrong. I tried so hard to get along with that woman of mine Yes I tried real hard to get along with that woman of mine Seems like the harder I tried, The more she walked around (cheatin'n lyin' ??) Walked down from Dallas Texas Down to ???? Got thinkin' about the big legged woman ???? I believe my baby's got a black cat bone seems like everything I do, Seems like I do it wrong Any helful yankee out there ? -- Vincent. ---------------------------------------------------------------------------- Vincent VIALARD vialard@lim.univ-mrs.fr Laboratoire d'informatique de Marseille, CNRS URA 1787 Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 ---------------------------------------------------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 13:54:35 CST From: John Wells Subject: Sunflower; Radio; Gig For those of you travelling to and attending the Sunflower River Blues Festival in Clarksdale, Mississippi this coming weekend, here's a little information that might enhance your trip. Radio: Thursday - 10 pm - midnight - "Midnight Blues". WMSV-FM 91.1 (You can catch it if you happen to be travelling on HWY 82 and/or HWY 45 within 90 miles or less of Starkville, MS, which is on the Eastern side of the state.) Hosted by "The Boogie Daddy" Saturday - 10pm - midnight - "Highway 61". Public Radio in Miss. Frequency varies statewide, but all are between 88.1 and 91.3 FM. In the Clarksdale area, best chance is 90.9, WMAO in Greenwood or 90.3, WMAV in Oxford. This is the program formerly hosted by Dr. Bill Ferris, now hosted by David Nelson. Sunday - 6 pm - midnight - "Blues Magic". WMSV-FM 91.1. Of particular interest to "LW" (Jr. Woodchuck) and others travelling from the festival on HWY 82 East toward Birmingham and points East. Same range as Thursday above. Hosted in part by Bill "King" (Balcerzak) and others. Certainly there are other stations in the Clarksdale area, but I suspect you may already know about those. Memphis & Arkansas blues radio, as well as some other local stations. I don't have complete information on those, so scan your tuner. Perhaps others on the list can fill in the gaps. Also, if any of you happen to be staying over in Cleveland, MS (about 40 miles south of Clarksdale) this Friday night, my band is playing at "The Airport Grocery", a new club located on Highway 8 West. This is our first time at this venue, so I don't know much about it. I'm told we play from 9pm to 1am. I'm not at all suggesting anyone leave the festival to come hear "The Turner Brothers" (heck, even *I* wouldn't do that!), but IF you're staying in or passing through Cleveland during those hours, I just want you to know we'll be there in hopes you'll stop by the club and say hello! Have fun! "The Boogie Daddy" ========================================================================= Date: Tue, 1 Aug 1995 15:19:34 EDT From: Mike Annis Subject: Rounder Artists On tour [D [D [T [C [C [C Please contact the venues directly for specific information. All dates subject are to change. Ball, Marcia , 08/08/95, St. Paul, MN, St. Paul Raddison Ball, Marcia, 08/11/95, Madison, WI, Harmony Bar And Grill Ball, Marcia, 08/13/95, Deluth, MN, The Bayfront Festival Park Bluestime, , 08/04/95, Salem, OR, Day Amphitheater Bluestime, , 08/05/95, Seattle, WA, The Gorge Bluestime, , 08/06/95, Los Angeles, CA, Greek Theater Bluestime, , 08/07/95, State Line, NV, Star Of The Desert Bluestime, , 08/09/95, Las Cruces, NM, Pan American Bluestime, , 08/11/95, Mountainview, CA, Shoreline Amphitheater Bluestime, , 08/12/95, Reno, NV, Lawlor Bluestime, , 08/13/95, Concord, CA, Concord Pavillion Bluestime, , 08/15/95, Denver, CO, Fiddler's Green Boyack & The Prowlers, Pat , 08/05/95, Dallas, TX, Muddy Waters Boyack & The Prowlers, Pat, 08/06/95, Dallas, TX, Starplep Ampitheatre Boyack & The Prowlers, Pat , 08/11-08/12/95, Omaha, NE, Jones Street Brewery Clark, WC, 08/04/95, Kansas City, MO, Nightmoves Clark, WC, 08/11/95, St. Paul, MN, Blues Saloon Clark, WC, 08/12/95, Duluth, MN, Bay Front Festival Clark, WC, 08/13-08/14/95, Duluth, MN, Park Inn Clay, Otis, 08/06/95, Chicago, IL, Park West Clearwater, Eddy, 08/04/95, Champaign, IL, Blind Pig Clearwater, Eddy, 08/05/95, Benton Harbor, MI, St. Joseph Kicker's Earl, Ronnie , 08/12/95, Boston, MA, House of Blues Funerbergh, Anson, 08/04/95, Atlanta, GA, Lou's Blues Revue Funerbergh, Anson, 08/05/95, Raliegh, NC, Loafer's Funerbergh, Anson, 08/06/95, Charlston, SC, Port Authority Funerbergh, Anson, 08/10/95, Fayetteville, AR, LJ's Restaurant Funerbergh, Anson, 08/11/95, Hot Springs, AR, Convention Center Funerbergh, Anson, 08/12/95, Dallas, TX, Poor David's Pub Harman, James, 08/04/95, Brea, CA, Catina La Vida (big outdoor show) Harman, James , 08/05/95, San Diego, CA, The Banx Harman, James , 08/11/95, Makawao, Maui, HI, Cassanova's Harman, James , 08/12/95, Hilo, HI, Lahua's Harman, James , 08/13/95, Waimea, Kaawai, HI, Parker School Holmes Brothers, , 08/03/95, New York, NY, Terra Blues Holmes Brothers, , 08/04-08/05/95, Philadelphia, PA, Warmdaddy's Holmes Brothers, , 08/06/95, Monticello, NY, Monticello Raceway Holmes Brothers, , 08/11/95, Maynard, MA, Sit N' Bull Pub Holmes Brothers, , 08/12/95, Boston, MA, Harper's Ferry Johnson, Luther "Guitar Jr." , 08/11/95, Philadelphia, PA, Warmdaddy's Johnson, Luther "Guitar Jr.", 08/12/95, Piermont, NY, Turning Point Kubek, Smokin' Joe, 08/03-08/04/95, Alexandria, VA, Fleetwood's Kubek, Smokin' Joe, 08/05/95, Stanhope, NJ, Stanhope House Kubek, Smokin' Joe, 08/07/95, Rockland, ME, Tradewinds Kubek, Smokin' Joe, 08/08/95, Syracuse, NY, Dinosaur Barbeque Kubek, Smokin' Joe , 08/09/95, New York, NY, Manny's Carwash Kubek, Smokin' Joe, 08/10/95, New Brunswick, NJ, The Old Bay Kubek, Smokin' Joe, 08/11/95, Somers Point, NJ, Somers Point Beach Kubek, Smokin' Joe, 08/12/95, Lynchburg, VA, The Ellington House Kubek, Smokin' Joe, 08/13/95, Nags Head, NC, Penguin Isle Morgan, Mike, 08/04-08/05/95, Dallas, TX, Greenville Ave. Bar & Grille Muldaur, Maria, 08/05/95, Ogonquit, ME, Jonathan's Nelson, Tracy, 08/09/95, Alexandria, VA, Fleetwood's Persuasions, The, , 08/05/95 (eve), New York, NY, Lincoln Center (Rounder 25th event) Persuasions, The, , 08/11-08/12/95, Cambridge, MA, Sculler's Rishell & Little Annie, Paul, 08/03/95, Westborough, MA, Old Vienna Kaffeehaus Rishell & Little Annie, Paul, 08/05/95, Cambridge, MA, House Of Blues 2-4pm matinee Rishell & Little Annie, Paul, 08/08-08/13/95, Nantucket, MA, The Brotherhood Rishell & Little Annie, Paul, 08/15-08/18/95, Nantucket, MA, The Brotherhood Roomful of Blues, , 08/03/95, Danbury, CT, Tuxedo Junction Roomful of Blues, , 08/04/95, Boston , MA, Boston Harbor Jazz Cruise Roomful of Blues, , 08/05/95, Providence, RI, Lupo's Heartbreak Hotel Thomas, Irma, 08/06/95, Dallas, TX, Starplex Ampitheater Washington, Toni Lynn, 08/04/95, Worcester, MA, Gilrein's Wilson, Smokey, 08/04-08/05/95, Montreal, Quebec, , Berri Blues Wilson, Smokey, 08/05/95, Onset, MA, Blues Fest Wilson, Smokey, 08/07/95, Lancaster, PA, The Chameleon Wilson, Smokey, 08/08/95, Alexandria, VA, Fleetwood's Wilson, Smokey, 08/11/95, Buffalo, NY, Lafayette Tap Room Wilson, Smokey, 08/12-08/13/95, Toronto,Ontario, , Olympic Island ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Tue, 1 Aug 1995 19:17:14 GMT From: Vadakpat Tirumalai Subject: Help with Otis Rush's Cobra recordings I bought the Cobra Record compilation by Capricorn records and it has most of Otis' singles. Is the Jewel/Paula record set of Otis' Cobra work any more complete than this? I am asking this as I cannot get enough of this man. Whenever I want to listen to something soulful I put him on the Cd blindly. On a completely unrelated note: I saw Larry McCray last fall on the recommendation of the erstwhile listowner Dave Pimmel. Needless to say, I really enjoyed the evening. He is a big man, and it is always nice to see big men handle subtle guitar runs! The one thing I remember of the evening was the sound of his voice. -- -- Cheers V.C.Tirumalai tirumala@cae.wisc.edu ========================================================================= Date: Tue, 1 Aug 1995 13:59:49 -0500 From: Richard Shurman Subject: Re: MUD MUD MUD I wasn't picking on Pat specifically; she didn't know. But I am concerned that we stay away from negative threads that can reflect ignorance and personal tastes as much as they reflect any real insights. ========================================================================= Date: Tue, 1 Aug 1995 15:28:16 -0400 From: Dick Waterman Subject: Re: Sunflower; Radio; Gig Amazingly enough, there is a tiny AM radio just east of Clarksdale that plays stone blues (Muddy, Wolf, Hound Dog, Big Mama, etc.). It is located in Marks, Miss. and can be reached at 1520 AM. Radius is only about 50 miles or less but it will carry you right into Clarksdale in the right mood. If you are coming up from the south and driving through Jackson (Miss.), tune to 90.1 FM. Blues and Gospel and the local ads are terrific ("Neck bones is on sale at just nineteen cents a pound!"). ========================================================================= Date: Tue, 1 Aug 1995 15:29:33 -0400 From: Dick Waterman Subject: Sunflower hotel rooms If anyone is coming to Clarksdale for Sunflower this weekend and needs a room, I double-booked and have two extra rooms for Friday/Saturday/Sunday nights. They are at the Lady Luck Casino, about 30 minutes away. It's the newest hotel in the area. The rooms are $69.00 per night and they'll go to the first two people who contact me. dick waterman ========================================================================= Date: Tue, 1 Aug 1995 14:30:03 -0600 From: Don O Subject: michael hill > From: VT > Might I suggest that people should listen with an open mind and > decide for themselves? Absolutely. The only two critics you should ever trust are attached to the side of your head. They're called ears. I think this band is another example where people's opinions will vary widely. The EC thing all over again. > Like Michael Hill says "We honor the tradition of the blues, but at > the same time we take it to other places...." and there is where the disagreements begin. Some folks, me included, would rather they not take it to other places, but rather make new blues. The big argument comes in over just how far they can change something from the traditional form and still have it be considered blues. To me, personally, what they are doing is not blues. The Living Blues critics poll can tell me it's blues, but that doesn't mean I have to agree with or believe them. I don't. Tutu Jones was a runner-up. He's not taking the blues to new places, he's making new blues. Major difference. Let's look back in 10 years time at it. > We lament the stagnation of the blues. But what I see is many of today's > Blues bands unfortunately only "cover" the classic material from the 50's > and 60's, and even their "originals" seem to be imitation of the art of > the 50's and 60's. Many of them are imitators. But the creators are out there, doing it within traditional forms and making some great new blues. Larry Garner, Charlie Sayles, Joe Louis Walker, Johnny Copeland, and many more. I don't hear much lamentation about the stagnation of the blues. Particularly on this list. > It is entirely reasonable NOT to like what they are doing or not be > impressed with them, but it is misleading to call them funk or > anything other than BLUES. Call me entirely reasonable. They are something other than blues to me, personally. If you consider them blues, great. No they are not funk. I don't know what they are. Closer to rock, I think. They are talented musicians. This is a band that we can argue over endlessly without changing anyone's mind. I agree 100% with Vincent, give it a listen and form your own opinion. Don O. ========================================================================= Date: Tue, 1 Aug 1995 14:32:41 -0600 From: Ranko Vujosevic Subject: Jessie Maw Hemphill Allright! Since I got $70 already pledged for buying A/C for Jessie Maw Hemphill, I announce official start of the action. Dick Waterman offered to organize A/C delivery to Jessie this weekend - he will be in Clarksdale for Sunflower Fest and will make sure she gets it if we collect money. Now, I invite everybody interested to participate to pledge money to me and send check payable to Ranko Vujosevic IMMEDIATELY. I will collect pledges until tomorrow evening and then send check on pledged amount to Dick Waterman. He will buy A/C and deliver to Jessie. I thought if I collect pledges and send money to Dick before I actually get them would be easier than if money are sent to him directly. Although, I am open to (more efficient) suggestions. I will post pledged amount and names of people Thursday morning. People who already pledged need not do it again - just send checks to: Ranko Vujosevic Johnson County Blues Society PO Box 2114 Iowa City, IA 52244 ========================================================================= Date: Tue, 1 Aug 1995 14:30:16 -0600 From: Don O Subject: lucky peterson addendum > To: phertel@cmc.doe.ca > >> as "The Texas Thriller" and one of the numbers >> he did was (I think) his - "Stuck on You" >> >> Who he? Was it Gregg Smith??? Husky guy with sort of a cherub face? Also called the Texas Blues Wailer. Don O. ========================================================================= Date: Tue, 1 Aug 1995 14:34:42 CDT From: L W Subject: ----------------------------Original message---------------------------- >Funerbergh, Anson, 08/04/95, Atlanta, GA, Lou's Blues Revue >Funerbergh, Anson, 08/05/95, Raliegh, NC, Loafer's >Funerbergh, Anson, 08/06/95, Charlston, SC, Port Authority >Funerbergh, Anson, 08/10/95, Fayetteville, AR, LJ's Restaurant >Funerbergh, Anson, 08/11/95, Hot Springs, AR, Convention Center >Funerbergh, Anson, 08/12/95, Dallas, TX, Poor David's Pub Who typed this..? Buckwheat...Anson Funerbergh is gweat :-) LW btw: no harm intended, me trashing someone's spelling is like Sugar Blue telling another harpist to use restraint. ========================================================================= Date: Tue, 1 Aug 1995 14:54:24 -0500 From: Jeff Seale Subject: Blues-L meeting in SA OK. Here's the deal: TEXAS JOHNNY BROWN will be playing at Billy Blues here in San Antonio on Saturday, August 12. The cover is $7 and the show starts at 9:00pm. Bill Shute and I are urging everyone within a reasonable driving distance of SA to meet us there for the show (all you AUSTIN people listening? ;-) ). Once again, TJB was in the Duke/Peacock stable in the 50's and played with Bobby Bland among others. I have seen his show 3 times now and it is worth every bit of time and $ to see. His band is known as the Quality Blues Band and if anyone deserves this name, it's these guys. So, if you are planning on meeting us there for the show, email me privately so we'll know who to look for. Also, if you need directions, just let me know. -Jeff (got that Bruce, James, Geoff, Don O. and anyone I forgot?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Tue, 1 Aug 1995 15:52:41 +0000 From: "P.W. Fenton" Subject: Re: MUD MUD MUD > I wasn't picking on Pat specifically; she didn't know. But I am > concerned that we stay away from negative threads that can reflect > ignorance and personal tastes as much as they reflect any real insights. > That's the way I understood your remarks, and I agree. My "MUD MUD MUD" reply was just to convince Pat to stop kicking herself. We've all made dumb mistakes. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 21:59:23 --100 From: Vincent Vialard Subject: Help needed on Black Cat Bone Lyrics... Hi all, You know we froggies have a hard time tryin' to get down all these blues lyrics... As I'm gettin' tired of hearing the singer of my band sing what we call yogourt (sounds like english but ain't nothin' but sounds...) I decided to try to get the lyrics right. Later on we'll be workin' on his pronounciation... Anyway we are covering Black Cat Bone in a way very close to the version to be found on the Collins/Copeland/Cray 'Showdown' on Alligator Records. And I am stuck on a few words... Here's what I got : I BELIEVE MY BABY'S GOT A BLACK CAT BONE I BELIEVE MY BABY'S GOT A BLACK CAT BONE SEEMS LIKE EVERYTHING I DO SEEMS LIKE I DO IT WRONG I TRIED SO HARD TO GET ALONG WITH MY WOMAN OF MINE YES I TRIED REAL HARD TO GET ALONG WITH MY WOMAN OF MINE SEEMS LIKE THE HARDER I TRY THE MORE SHE WALKED AROUND (CHEATIN'N LYIN')? I WALKED FROM DALLAS TEXAS DOWN TO ??? GOT THINKIN' ABOUT THE BIG LEGGED WOMAN ???? I BELIEVE MY BABY'S GOT A BLACK CAT BONE SEEMS LIKE EVERYTHING I DO SEEMS LIKE I DO IT WRONG Any helpful yankee out there ? Vincent. ========================================================================= Date: Tue, 1 Aug 1995 16:13:56 -0500 From: Patti Bowman Subject: Re: MUD/Pat >> My name is MUD >> >Nah... man. Don't sweat it. You didn't mean any harm... you >goofed... you apologized. Everyone should be so easy to deal with. > >Your name is Pat. > and a cool name it is too. -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 16:14:13 -0500 From: Patti Bowman Subject: Re: Riverfront Blues Festival >The Riverfront Blues Festival in Fort Smith, Arkansas is set for >September 14 through the 16th. The line-up is as follows: > >Keb Mo >Joanna Conner >Kenny Neal >Larry McCrawl >Chris Smither >Satan & Adam >Buddy Guy > Thoughts on Satan & Adam? -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 16:14:22 -0500 From: Patti Bowman Subject: Re: FUNK >I don't know what "funk" is but I love when Hound Dog Says "Do You feel funky >Mr. Brewer, let's get Funky"..... > >I think ALbert King is funky.... > >I have no idea what funk is, but if the above is an indication, then call me >a "Funky Mud Head' > >Slapping bass notes...Is that funky ? Yes LW, that's very Funky. Right, Shannon? ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 15:22:23 -0500 From: Jeff Seale Subject: Re: Help needed: Black Cat Bone lyrics... On Tue, 1 Aug 1995, Vincent Vialard wrote: > I believe my baby's got a black cat bone > I believe my baby's got a black cat bone > seems like everything I do, > Seems like I do it wrong. > > Walked down from Dallas Texas > Down to ???? Wichita Falls (a town in N. Texas) > Got thinkin' about the big legged woman > ???? And it wadn't no walk at all >From Dallas to Wichita Falls is a couple of hundred miles. Hence, when he started thinkin about his big legged woman, that long walk wasn't as bad. Hope this helps. -Jeff (Texas Jeffrey, that is) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Tue, 1 Aug 1995 15:22:17 -0500 From: Bill Balcerzak Subject: Re: Sunflower; Radio; Gig On Tue, 1 Aug 1995, Dick Waterman wrote: > Amazingly enough, there is a tiny AM radio just east of Clarksdale that > plays stone blues (Muddy, Wolf, Hound Dog, Big Mama, etc.). It is > located in Marks, Miss. and can be reached at 1520 AM. Is this still on the air? Last time I was in Clarksdale - about a month ago - I couldn't find it. I assumed the station had folded but maybe I just caught them at a bad time. There's also the King Biscuit Time program on AM radio from Helena which airs 12 noon to 12:30 each day. Anybody know where they are on the dial? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bill Balcerzak (Ball-sir-zak) /* bill@gis.mces.msstate.edu Extension GIS, Box 9642 /* TEL: 601.325.8321 Mississippi State, MS 39762 /* FAX: 601.325.7844 ========================================================================= Date: Tue, 1 Aug 1995 16:29:02 EDT From: Mike Annis Subject: Rochester, NY Smokey Wilson WITR in Rochester, NY will be devoting an hour of Gary Reinhard's "Bad Dog Blues" show on Sunday, August 6 to the music of Mr. Smokey Wilson from 1-2 pm, including CD giveaways and a 1:30 phoner w/ Mr. Wilson. WITR is the station at the Rochester Institute of Technology. Tell your friends. ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Tue, 1 Aug 1995 16:26:42 -0400 From: Ted Dames Subject: Ry Cooder Here's a quick defense of Rys' elecric work....it's great! He is a gifted guitarist and de ole man 'lectricity done him right. I like his historical/ethnic forays like "Borderline' or "Jazz" but he really shines when ya' put the juice to him like "Bop 'till you Drop" or his work with John Hiatt solo OR Little Village. He's not beyond gettin' strange either.....that I LOVE! Check out his early stuff with Capt. Beefheart. as Dennis Miller says,"It's just my opinion,.......I could be wrong!" Ted - just got a pocket fulla pennies and thought I'd drop a couple on you. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Tue, 1 Aug 1995 16:26:45 -0400 From: Ted Dames Subject: Tom Principato I'm not gonna get on a soapbox here BUT,................ Tom Principato What's the deal? Too rockin' or too Hendrix for ya'? go ahead, you have the floor. I'm waiting................................. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Tue, 1 Aug 1995 16:26:48 -0400 From: Ted Dames Subject: Re: don't bug me when I'm woikin' Don Cicchetti mentioned, "....Which view do you guys hold?" Being a former sound mixer I'd suggest politely telling the soundman (If there is one) or the manager of the joint. Then get the hell out of their face! Ted bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Tue, 1 Aug 1995 16:28:48 -0400 From: Ted Dames Subject: Ellen Mac Just wanted to make you aware of her presense on an album by a band called Fear Itself from the late 60's. Good Luck! bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Tue, 1 Aug 1995 16:32:28 -0400 From: Barry Silverberg Subject: Re: One man's opinion-TuTu Jones. Eric LeBlanc-CISTI (leblanc@DAO.NRC.CA) wrote: : re: JSP 252 : TUTU JONES - I'M FOR REAL : I SECOND THAT EMOTION. ! Lately I have had the good fortune of listening through most of JSP's current catalog & I must say they have winner after winner after winner. In addition John Stedman the JS in JSP takes his work for real. He really is interested in putting out good discs, good blues and from what I can guess he goes after artists early in their career, as well as artists that are being avoided by the rest of the industry. This is very clear in the 3 discs he put out with Buddy Guy during all of the years BG was not being recorded. In addition these discs are treasures (must admit I have only heard DJ Play My Blues and Live At The Checkerboard Lounge and so far haven't heard Breaking Out). My posts over the last few weeks have been a set of reviews I've done for my newsletter on JSP's output & hope to be able to offer some more. The Eddie Vinson Disc (reviewed and posted earlier) JSP #253 Meat's Too High (+cuts from another session) is a comparably outstanding disc. Has anyone else heard this disc & care to share their views of it? EV has spoiled me for a lot of the sax work I've been hearing lately, except of course for them Memphis Horns. Looking to hear other opinions here ........... -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Tue, 1 Aug 1995 20:36:59 GMT From: Rennie Selkirk Subject: Re: Re[2]: Victoria Amp Review Jim wrote back: > >The Bandmaster was/is a 38 watt amp and the Bassman was/is about 50, and they >are voiced quite differently. > I believe the 38 watts is the blackface rating, i.e. the AA763 circuits and later. John Teagle and John Sprung's chapter on the Bandmaster line in their new book "Fender Amps: The First Fifty Years" describe the narrow panel tweed Bandmaster (model 5E7, schematic in Pittman's book) as "conservatively rated at 26 Watts." Power tubes 6L6 and replaced by 5881's in 1957. And yes, there were 3-10's in these until the introduction of the piggyback (model 6G7-A) in early '61, at which point the speaker cab was a ported 1x12. (This is somewhat confusing here since the 6G7 model schematic also shows only one speaker as well.) Anyway, the single 12 was changed to a 2x12 in 1962. Teagle and Sprung don't give wattage ratings for these later pre-blackface Bandmasters. However the plate voltages on the output tubes, for what they're worth, increased form 410V in the 5E7 to around 450 V in the 6G7 and 6G7-A amps. But with the air that you can move with 3-10's I would bet that head to head, the tweed would be louder than the single speaker configurations, albeit somewhat more distorted. Anyway the Victoria amp is a tweed Bandmaster type of amp by all accounts. Rennie ========================================================================= Date: Tue, 1 Aug 1995 22:37:55 +0200 From: Peter Gallagher Subject: Re: ANNOUNCEMENT P.W, Great name! Now if only you'd a' made a 'z' of that 's' I'd a' felt rightly honoured! All joking aside - ( I hope you get my little joke), best wishes and success with the record label and the release!!! regards, PeterG > > I am very pleased to announce the formation of a new Blues record > label, who's first planned release will be of my own "P.W. Fenton & > The Second Ward - LIVE at The Blues Ship". In tribute to this place > where so many Blues lovers gather it will be named... > > Blueselle > > Sounds kind of French, doesn't it? > > I spent a good deal of time trying to come up with clever and > memorable names that hadn't already been taken by someone, when the > one and only choice jumped up and bit me. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@cftnet.com > WWW = http://www.webweaver.com/pwfenton (soon to change) > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 22:50:07 +0200 From: Peter Gallagher Subject: Re: Muddy's House (aaaaagh!!!!) 1) Great point LW - what a dilemma! I'd love a splinter too, even though I don't have a Mojo to put it in (what a power that'd be!) 2) I so much appreciated what Mary Katherine has to say about this! The place should become a shrine - it should at LEAST be prtected from everyone "chipping it away to nothing" [no offence LW - see (1), above] 3) God - the very thought of it disappearing by eenchy-weenchy bits ... (think of what termites can do! Ever heard of the death of a thousand cuts!?) Regards, PeterG Mary Katherine had said, among other SENSIBLE things: This is a real hard issue for us all to think about. > > Taking a piece out of Muddy's cabin, be it a splinter or half a wall (like > those fine folks from ZZ Top did) reduces what's left of a historic monument. > Soon it will be all gone. Yes of course you want your souvenir, yes of > course it means a lot to you. It means a lot to all of us to have what > little is left of this building still standing in place. > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 1 Aug 1995 16:00:59 PDT From: "R. J. Bauman" Subject: Re: Luther Allison >I was privileged to see Luther Allison here last Friday night. What an >incredible show. While I can't imagine that the energy and the spirit of >his live show can be captured on a recording, what would anyone recommend >for someone who has no Allison in their collection as a good starting point? > >Thanks, >Maria >mwegsche@libby.rbls.lib.il.us > Live In Paris (Buda 82469-2) excellent live show but no slide playing Love Me Papa (Evidence ecd 26015-2)all around great studio material Love Me Mama (Delmark) don't know if it's on CD, I've got an LP. RJ Bauman ========================================================================= Date: Tue, 1 Aug 1995 16:05:40 PDT From: "R. J. Bauman" Subject: Re: yer blues & stop breaking down ================== and also, do you think we're sentimental about the original or the first we've heard of a song?=================== I can't get past Etta James version of "Baby, What you Want Me to Do." Not even the original does it for me. Elvis' version on the comeback special is on the right track, though. RJ Bauman ========================================================================= Date: Tue, 1 Aug 1995 16:58:56 +0000 From: "P.W. Fenton" Subject: Re: ANNOUNCEMENT > P.W, > Great name! Now if only you'd a' made a 'z' of that 's' I'd a' felt > rightly honoured! > All joking aside - ( I hope you get my little joke), best wishes and > success with the record label and the release!!! > regards, > PeterG Thanks, Peter. Assuming that the second sentence is the joke, it was a head scratcher... I didn't get it. Now that I ruined it, explain it so I can feel dumb. Obviously it has something to do with using an "s" instead of a "z". I did think about the spelling of it (it's been spelled every way possible on Blues-L at one time or other). I decided on the spelling because it had the word Blues in it (maybe I'll color it differently), and to me it "looked" more like a real word than some of the variations. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 1 Aug 1995 16:08:41 CST From: JBards Subject: Pick of the Week: The Bluebirds My pick of the week: "Swamp Stomp" by the Bluebirds, Icehouse Records (ICD 9407). The Bluebirds are 3/4's of the old "A-Train", if any of y'all remember them, but minus Mickey Honeycutt the Brothers Flett (Bruce on bass and vocals and Buddy on vocals and lead guitar) step to front and center stage. Kerry Hunter drums onthis CD but I think he has recently left the group and been replaced by their previous drummer from the Voodudes (Bruce and Buddy at one point were also the Voodudes.) This is probably the best swamp-blues-rock-boogie I've heard since I discovered Jim Suhler and Monkeybeat, and some of the more groove-oriented numbers sound like the bands could interchange material. Buddy sings about 3/4s of the numbers and plays slide on about 1/2: some awfully mean, tasty tones are produced. Other numbers, like "Chasha" seem to pay tribute to Elvis's roots here in Shreveport. ( Did I mention the Bluebirds are based in S'port?) Anyway, despite the cheap looking packaging, this Cd is worth the price, and if you get a chance to see the Bluebirds ( hear this, Dallasites?) make the effort, you'll be happy you did. -Jim in S'port ========================================================================= Date: Tue, 1 Aug 1995 17:11:52 -0400 From: Steve Levine Subject: Re: Sunflower; Radio; Gig +If you are coming up from the south and driving through Jackson (Miss.), tune +to 90.1 FM. Blues and Gospel and the local ads are terrific ("Neck bones is +on sale at just nineteen cents a pound!"). + And can't you still buy Sonny Boy cornmeal and flour there? ========================================================================= Date: Tue, 1 Aug 1995 17:33:57 -0400 From: Eric Ferry Subject: Re: Management Directory Here is a sample of The 1995 Music Management Company Directory: BIG FD ENTERTAINMENT, INC. 10801 National Blvd., Ste. 530 Los Angeles, CA 90064 PH:(310)441-2484 FAX:(310)441-4908 PERSONNEL: Doug Goldstein Chris Jones John Reese ARTISTS: Blind Melon Dag Danzig Guns N' Roses My Little Funhouse Stone Roses The 1995 Music Management Company Directory contains over 1700 professional music management companies including address, phone and fax numbers, contact names and artists they represent. The Directory is available in book or computer disk forms. The Directory retails for $59.95, but you can purchase it directly through the manufacturer for only $29.92. This is THE MOST INFORMATIVE DIRECTORY of its kind. For more information call (818) 781-0238 or e-mail Eric Ferry@aol.com ========================================================================= Date: Tue, 1 Aug 1995 16:55:51 -0500 From: Rob Varak Subject: Pick of the Week An old favorite: Robert Johnson "Complete Recordings" You can't go wrong with the classics. Rob PS I hate sound surly, but gosh, being the target of an unsolicited attack can do that to ya. Those of you who have been around hear long enough are _well_ aware that my sig is simply a little crack,(kinda like Jeff Stier) and I rarely try and stir up any racial/political issues. For those of you so thin skinned that simply reading it causes a problem, tough shit. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 1 Aug 1995 16:57:32 -0500 From: Rob Varak Subject: Re: - more doings in & around Boston I incorrectly named Jeff Stier as the impaired individual who had a problem with my sig. I apologize _strenuously_!! It was Jeff who sprung to my defense. A thousand pardons. It's the other guy who's a little crack :)!! Sorry Jeff!!! Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 1 Aug 1995 15:52:02 PDT From: Gordon Fehlman Subject: Re: jammin the blues Fellow zellers'lookin for anybody that digs playing the blues to join us for jammin and even trying to get something off the ground as a group. Were interested in anybody from beginner to advanced. We got patience and time. Lets learn these great tunes together. So if you love the blues and want to play with other players and live with driving distance to the beautiful Monterey Peninsula call me at 1-408-648-3247 or e-mail me at gjf5@pge.com. Lots of places to play around the area and there is a shortage of blues bands. Gotta go the *&^%& boss wants me to do something. Later Gordon Fehlman ========================================================================= Date: Tue, 1 Aug 1995 18:48:54 +0000 From: Ian Angus Subject: Re: Blues Trivia... > Unless it's on some long out of print LP, I haven't seen "I > Wonder" anywhere. There's a lot of Cecil Gant material that > hasn't been re-issued...I'm waiting. > I too would like to see more Cecil Gant come out on CD. He's almost forgotten today. His first hit came for two reasons: 1. It's a good song. 2. The label had the inspiration of billing him as Pfc Cecil Gant, just at the end of the war. Lots of sales resulted from the "welcome the boys back home" atmosphere of the time. There is lots of Gant material in various vaults somewhere. After his brief bout of fame, Gant had no record contract. He was an alcoholic -- used to show up at a studio and offer to play for cash to support his habit. He'd play for several hours, improvising quite a bit, take his money, and go. Much of this was never released, some was released under various label-invented names. If you see anything by him, and you like piano-based R&B, buy it!. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 1 Aug 1995 18:02:46 -0600 From: Don O Subject: black cat bone help I tried to send this privately but it bounced back. > From: Vincent Vialard > Walked down from Dallas Texas > Down to ????...... (Wichita Falls) > Got thinkin' about the big legged woman > ????...... (weren't no walk at all) This is an interesting little line that has been used several times with variations by several blues artists. The first I'm aware of was Blind Lemon Jefferson in "Long Lonesome Blues" (First two lines the same) If I lost my good girl I would not walk at all Then Howlin Wolf in "Walked from Dallas" I walked from Dallas I'm going to old Camp Hall My baby's gone Ain't gonna be no more walkin at all Then Hop Wilson in "Blackcat Bone" (first two lines the same) Got to thinkin' about my baby weren't no walk at all Interesting how it changes. Wichita Falls is a city about 100 miles northwest of Dallas so that was quite a walk. I have no idea where Wolf was going. Anyone else know of other versions of the long walk from Dallas? I'd be interested to hear about them. Don O. near the grassy knoll ========================================================================= Date: Tue, 1 Aug 1995 18:47:46 -0500 From: dwhite Subject: A Blues' Shade >From the Austin American Statesmen July 18, 1995 reprinted w/o permission: At the afternoon rehersal for the Cobras Reunion show at Antone's on July 11, sax player Joe Sublett sensed an eerie mood. "It feels like Stevie's here, doesn't it?" he said to bassist Alex Napier. A few minutes later, singer Paul Ray arrived and said the same thing. "Since Stevie (Ray Vaughan) was such a big part of the Cobra's, we always think of him when we get together," Napier said, "but this was different. You could cut it with a knife." At about midnight, when the Cobras were on stage, Antone's bartender Michael "Hobo" Coble was out in back of the club, near the alley, when he almost tripped over something. It was a belt or strap of some sort, and when he picked it up and examined it in the light of a near-full moon, he saw that it was a guitar strap that had "Double Trouble" written in marker on the front. On the back side it was signed "SRV". Chris (Layton, Stevie's longtime drummer) was in the backroom and I brought it to him, and his eyes lit up," Coble said. Where'd you get this? he asked, then verified that it was indeed Stevie's. He said he hadn't seen that strap in more than 10 years." The easiest explanation was that the strap had fallen out of the cars of either Layton or fellow Double Trouble member bassist Tommy Shannon, who had unloaded equipment in preparation of Storyville's set that night. But Shannon also hadn't seen that strap in several years. I'm tellin' ya man, there was something spooky happening on that night," Napier said. "The spirit of Stevie was definitely there." A day or two later they printed "There's no truth to the rumour that Robert Stack is coming to Austin to film an Unsolved Mysteries segment on Stevie's strap" Yours in moderate disbelief, Dana ========================================================================= Date: Tue, 1 Aug 1995 19:06:12 -0500 From: Pam McMillan Subject: Re: Son Seals Son Seals will be performing at B.L.U.E.S., 2519 N. Halsted (in Chicago) on Saturday, August 12, 1995. For more information the club's number is listed as (312) 528-1012. He's also performing at B.L.U.E.S. Etcetera located at 1124 W. Belmont on Wednesday the 2nd of August. Their phone number is (312) 559-8989. Son Seals is not short on work here in Chicago. He is very popular and in high demand. Pam McMillan Graphic Designer "Have guitar, will travel" Fax me: (312) 995-2816 ========================================================================= Date: Tue, 1 Aug 1995 14:03:24 -0400 From: Barry Silverberg Subject: Re: Luther Allison Maria Wegscheid (mwegsche@LIBBY.RBLS.LIB.IL.US) wrote: : I was privileged to see Luther Allison here last Friday night. What an : incredible show. While I can't imagine that the energy and the spirit of : his live show can be captured on a recording, what would anyone recommend : for someone who has no Allison in their collection as a good starting point? I am sure you will get recommended his CD Soul Fixin' Man but as an owner of that one and also his CD Love Me Papa, there's no comparison for me - Love Me Papa hands down is awesome. He does an 11 minute version of Last Night, an 11 minute version of It's Too Late (he wrote), a top version of Junior Parker's I Wanna Ramble (Feelein' So Good on the disc) as well as sev- eral more that take my breath away. Although you wouldn't do bad owning both - give a start with LMP. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Tue, 1 Aug 1995 20:31:58 -0400 From: BBGInc@AOL.COM Subject: Rod Piazza at HoB Cambridge Wow, I hope there's no rule against having too much blues fun in one week. First the Newport R&B Festival (see my earlier post), then Rod Piazza & the Mighty Flyers at the House -- excuse me The **Original** House of Blues, as they tell you repeatedly -- on a Monday night (7/31) in Cambridge. I won't say too much, because you all probably know about Rod, but that band is great live. The joint was jumpin' for sure. The band is very tight, the new guitarist was excellent. Nice sound with one of those hollow body electric jobs. Not a weak link instrumentally, and all the bandmembers contribute, but not with boring solos, rather with great songs suitable for their style or instrument. The stage show is varied, and of course that 'Mississippi saxaphone' of Rod's never sounded better. Honey does a little showing off too on the piano. Andrew Gordon Publisher Blues Buyer's Guide For more info about the Guide, email me at BBGInc@aol.com ========================================================================= Date: Wed, 2 Aug 1995 10:27:50 +1000 From: Richard Holliday Subject: Re: Muddy's House Hi all, when I first saw this, I thought it must be a joke! >Is it OK to take a piece of wood from Muddy's house....? I've noticed folks >say they got a "splinter" or "chip".....I'd like to get a piece that is large >enough for a guitar bridge (for the Mudbox :-))......A lot of my friends are >wood workers and could make it work, so that'd be neat.. > >Will I be able to get a piece large enough.....? It seems that it's not, judging from some of the other responses. By the way, I've already got a bit of his house, as have 1532 of my friends here in Sydney alone - it's a wonder there's any left at all!! :-) Richard ========================================================================= Date: Tue, 1 Aug 1995 18:17:19 -700 From: Your Name goes here Subject: blues-l Robert Norstad I am interested in the blues list from:love@gargamel.ptw.com ========================================================================= Date: Tue, 1 Aug 1995 21:28:00 -0400 From: Jacquelin Katz Subject: Re: ANNOUNCEMENT Count me in for a copy Jackie Katz jkatz@mcls.rochester.lib.ny.us On Mon, 31 Jul 1995, Ron Wack wrote: > Item Subject: Message text > On 95/07/31 P.W. Fenton wrote: > > > I am very pleased to announce the formation of a new Blues record > > label, who's first planned release will be of my own "P.W. Fenton & > > The Second Ward - LIVE at The Blues Ship". In tribute to this place > > where so many Blues lovers gather it will be named... > > > > Blueselle > > > > Sounds kind of French, doesn't it? > > > > I spent a good deal of time trying to come up with clever and > > memorable names that hadn't already been taken by someone, when the > > one and only choice jumped up and bit me. > > > > P.W. Fenton > > Tampa, Florida > > e-mail = pwfenton@cftnet.com > > WWW = http://www.webweaver.com/pwfenton (soon to change) > > > > P.W. Fenton, > > Congratulations! I'd be real interested in purchasing a signed copy of > your disc when it's released. Any other Blues-L'ers interested? > > RW > Wack_Ron/rfh@sask.aecl.ca > ========================================================================= Date: Tue, 1 Aug 1995 20:33:57 -0600 From: David Silberberg Subject: Re: Blues Trivia... >He was an alcoholic >-- used to show up at a studio and offer to play for cash to support >his habit Didn't he wind up committing suicide in the early fifties? Damn - now I've GOT to find that song somewhere.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Tue, 1 Aug 1995 20:39:00 CDT From: Bonnie Kalmbach Subject: Jack Jr. Black Does anyone have the address or phone number of Milwaukee Blues DJ: "Jack Jr. Black" or could you tell me what station he's on... "Thanks much" as they say much in Wisconsin, -Bonnie Kalmbach ========================================================================= Date: Tue, 1 Aug 1995 21:41:42 -0400 From: Jacquelin Katz Subject: Re: BLUES-L Web Page How about a lyrics section: or would space be a problem for something so extensive? Jackie Katz jkatz@mcls.rochester.lib.ny.us On Mon, 31 Jul 1995, David Zarnitzky wrote: > Well, I've been busy most of the summer, but starting soon, I'll > really start putting some work into the BLUES-L Web Page that > I've been trying to work on. > > So far, I have the following sections that I plan to TRY to put > up: > > BLUES-L Hall of Fame Results > Suggested CD's (alltime, of the year, of the week, whatever) > Blues Events and Happenings > New Blues Releases > Top Selling Blues Albums > > > Any suggestions? > > -- > +--[From the Brilliant Mind of David Zarnitzky, Scary Huh?]--+ > | Phil Gramm for President | > +--[Vote for a Democrat, its easier than getting a job]------+ > ========================================================================= Date: Tue, 1 Aug 1995 21:43:28 EDT From: William Pollak Subject: Eddie Hinton Ian, Unfortunately, I can confirm Eddie Hinton's death. He was 50 years old. I saw it in the Pittsburgh Post-Gazette on Sunday. My guitar player is from Muscle Shoals, and his dad promised to send him the stories from the local paper. When they arrive, I will post details to the list. Bill P. ========================================================================= Date: Tue, 1 Aug 1995 21:04:37 -0600 From: Ranko Vujosevic Subject: Jessie Mae Hemphill Fond Well, currently we have $200 pledged for buying A/C for Jessie Mae Hemphill. Let's collect about $100-200 more. Any money left after buying A/C will be given to Jessie. So far, the following people pledged donations (if I missed anybody, please let me know): 1. P. W. Fenton $10 2. Oded Maron $10 3. Ranko Vujosevic $10 4. Bonnie Kalmbach $20 5. Mark and Ellen Naftalin $50 6. David Silberberg $10 7. Don O $10 8. Dana White $10 9. jmf@das.harvard.edu $10 (please, send your name) 10. Bluzman Ed $10 11. East Michigan Blues Society $10 12. Paul and Beth Garon $20 13. Gary Joneson (Island) $20 Total: $200 I ask these guys (and anybody else interested to help) to send checks RIGHT NOW to: Ranko Vujosevic Johnson County Blues Society PO Box 2114 Iowa City, IA 52244 Again, Dick Waterman took on himself to buy A/C and deliver to Jessie. We'll try to get everything done this weekend. ========================================================================= Date: Tue, 1 Aug 1995 21:12:44 -0500 From: dwhite Subject: Canray Fontenot Passes Canray Fontenot was born in l'Anse des Rougeaux, La. in 1918. He came from a musical family. His father was Adam Fontenot, a great accordionist. Canray became interested in the fiddle instead. He made his first fiddle from an old wooden cigar box and wires from a screen door. He worked in CCC camps, farming, and other jobs for many years. In 1948, he joined up with Bois Sec Ardoin and played house dances as the Duralde Ramblers. His best known song was "Barre de la Prison" but he could just as easy play "The Yellow Rose of Texas" or some other crowd favorite. He played the 1966 Newport Folk Festival with a fiddle a friend and sanitation worker had salvaged from the trash. He had been out of music for some years and didn't even have a fiddle of his own. I saw Canray at the Continental Club here in Austin a few years back and he had the biggest grin and was full of life and wonderful stories. His was a life full of celebration in the face of hardship and hard work. He never made much money and if you would like to help out his family, contributions may be sent directly to: Mrs. Artillie Fontenot (Canray's wife) 1106 N.W. Railroad Avenue Welsh, LA 70591 Si un monde chante, tant dur sa vie est, ca le fait oublier la durete. If a man sings, he can forget how hard his life is. Canray Fontentot 1918-1995 Sources: Ancelet, B. "Makers of Cajun Music", 1984 Univ of Texas Press Post to Alt. Cajun culture by Suzy Thompson of the California Cajun Orchestra Dana White ========================================================================= Date: Tue, 1 Aug 1995 22:42:13 -0400 From: "...... Poxyman" Subject: Re: Virginia Blues Festival It is true there is no Elizabeth River Blues Fest this Sept but theere will be a BLUES at The BEACH in Va Beach Oct. 14-15 Free and at the 24th St Park Stage. Could be that ROOMFUL will be the headliner on Sunday . Stay tuned.......... Pat Seay ========================================================================= Date: Wed, 2 Aug 1995 00:25:39 -0400 From: James Leftwich Subject: curious about 78s Hey, A fellow at the Poconos Blues Festival was selling blues 78s that were mostly fairly modern. How much do the old 78s (Patton, R. Johnson, S. House, etc.) go for? And are there unfound copies out there or have they all been picked clean. A friend told me he used to go to juke box companies and would buy their records en masse... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Wed, 2 Aug 1995 00:00:44 PDT From: "R. J. Bauman" Subject: Re: Jessie Mae Hemphill Fond I'd like to help. I've got a practically brand new room air conditioner that is clean and well charged. It's been in the garage since I bought my new house. I'd be happy to send it down there. It's worth atleast $250.00, but I'd take $100.00 if you'd consider this my little contribution from a big fan. (hey, that's funny. Fan, get it) RJ Bauman ========================================================================= Date: Wed, 2 Aug 1995 00:00:04 +0500 From: Bill Morgan Subject: Canray Fontenot Passes The following is excerpted from the New Orleans Times-Picayune and written by music writer Scott Aiges; (any mispellings or grammatical errors likely are mine): ************************************************************************ *********************************** Canray Fontenot, considered the last of the great fiddlers in the Creole tradition, died Saturday of lung cancer at his home in Welsh. He was 73. He fought illnesses including diabetes and pneumonia to perform as long as he could; he toured the Pacific Northwest in early July. "He did what he wanted to do until the very end," said Ward Lormand of the band File. Mr. Fontenot was revered among musicians and fans alike for his lust for life as well as his "phonographic" musical memory. "He knew everything," D'Jalma Garnier (of File) said. "He knew thousands of tunes in his head... He was a traditionalist, but in that mode he was very eclectic because he knew fiddle tunes from all over the world: Mexican polkas, Appalachian tunes, Bob Wills tunes, Haitian tunes , New Orleans rags -- he loved jazz." Friends say Fontenot made it through a hard life with a smile. Born in Basile in 1922, Mr. Fontenot learned music from his father, noted accordion player Adam Fontenot. By age 18, both of Canray's parents were dead, and he took care of his sister, Addie, by cutting sugarcane. "He was a good provider," said Artille Fontenot, his wife of 50 years, with whom he raised six children. She said he was proud of being able to send all their children to college. Mr. Fontenot made his first fiddle from a cigar box, using wire from a screen door for strings. As a teen-ager he was asked by Amedee Ardoin, one of the fathers of Cajun music, to record in New York, but Mr. Fontenot's mother wouldn't let him go. Unlike his father, who clung to the belief that a person's music should die with him, Canray had no objection to leaving a recorded legacy. One collection of his works, "Canray Fontenot: Louisiana Hot Sauce," is available on the Arhoolie label. Mr. Fontenot wasn't a professional musician. He was a rice farmer for 30 years and also spent many years working in the feed and grain store in Welsh. He was discovered by folk music afficionados in the early 1960s, and after his debut at the Newport Folk Festival in Rhode Island in 1966, he traveled the world performing at dances and festivals. Mr. Fontenor received a National Heritage fellowship from the National Endowment for the Arts in 1986. Last year, he played a command performance for England's Queen Elizabeth. ************************************************************************ *************************************** Bill ========================================================================= Date: Wed, 2 Aug 1995 07:07:42 GMT From: Salli Foote Subject: ATTENTION BOISE BLUES FANS Boise Blues Fans: Fine band, LI'L LYNNE AND THE SMOKIN' SOLES, coming to Blues Boquet on SUNDAY, AUGUST 6th. Do yourselves a favor and check out this band from Eugene, Oregon: Li'l Lynne, bass & vocals, Suburban Slim, guitar & vocals, Jeff Shuffleberg, drums. Accompanying the band on this trip, in place of Dr. Joe Blow, their sax player, will be James "Soup" Bradshaw on keyboard, guitar, and vocals. Some of you may remember that he played with The Johnny Otis Show for a number of years. This promises to be one of those rare, special events that you won't want to miss!!! A Eugene Blues Junkie - Phil Rickel (c/o footes@osshe.edu) ========================================================================= Date: Wed, 2 Aug 1995 02:24:28 -0600 From: Don O Subject: SRV strap at Antone's > Yours in moderate disbelief, > > Dana I was there that night and that story was going around the club. I suspect it had been dropped at load out the previous night. There were a bunch of musicians onstage that evening, including Doyle Bramhall II, who I hear has several Stevie straps. The jam went on until 3:30 am on Monday night. My bet is it's Doyle Jr's. Who knows though. It could have belonged to any of the dozens of guitar players onstage that evening and then wasn't encountered until Tuesday night. The curious thing is that nobody has come forward to claim it. Don O. ========================================================================= Date: Wed, 2 Aug 1995 07:29:33 GMT From: Tony Burke Subject: Re: curious about 78s Re 78rpms: You can buy themn from a little as #2 depending on what they are. yep you can still get juke box stuff cheap if they are unplayed they are worth a few bob, and if they are "juked" ie well worn or well worn on one side (old Juke boxes only played one side of a record) then they are worth much less. As for pre war and Johnson and House 78rpms - if you see some email me!!! ========================================================================= Date: Wed, 2 Aug 1995 05:02:36 EST From: "Steven G. Toney" Subject: Re: Help needed: Black Cat Bone lyrics... I'm going from memory here, but maybe if a couple other bloozellers out there will assist, there will be enough to piecemeal the whole thing together. I don't know about the first (cheatin'n lyin') Down to (from) Wichita Falls Go to thinking 'bout my big legged woman Weren't no work at all! I think that's about right. You have good taste in your song selection...one of my all time favorites. Steve Toney ______________________________ Reply Separator _________________________________ Subject: Help needed: Black Cat Bone lyrics... Author: Vincent Vialard at INTERNET Date: 8/1/95 3:33 PM Hi, You know we froggies have a hard time gettin' these blues lyrics, but I can't stand any longer my singer singin what we call yogourt (you know it sounds like english but it ain't nothin' but sounds...). So I decided to try to get all this straight. Later on we'll start workin on his pronounciation.. Well anyway, I'm stuck on Black Cat Bone. I got the lyrics from the Collins/Copeland/Cray 'Showdown' on Alligator records, and can't figure out some of the words... Here's what I got : I believe my baby's got a black cat bone I believe my baby's got a black cat bone seems like everything I do, Seems like I do it wrong. I tried so hard to get along with that woman of mine Yes I tried real hard to get along with that woman of mine Seems like the harder I tried, The more she walked around (cheatin'n lyin' ??) Walked down from Dallas Texas Down to ???? Got thinkin' about the big legged woman ???? I believe my baby's got a black cat bone seems like everything I do, Seems like I do it wrong Any helful yankee out there ? -- Vincent. ---------------------------------------------------------------------------- Vincent VIALARD vialard@lim.univ-mrs.fr Laboratoire d'informatique de Marseille, CNRS URA 1787 Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 2 Aug 1995 10:56:36 +0000 From: Pat Hertel Subject: Re: lucky peterson addendum On Tue, 1 Aug 1995, Don O wrote: > > To: phertel@cmc.doe.ca > > > >> as "The Texas Thriller" and one of the numbers > >> he did was (I think) his - "Stuck on You" > >> > >> Who he? > > > Was it Gregg Smith??? Husky guy with sort of a cherub face? > Also called the Texas Blues Wailer. > > Don O. > It's possible. He was what you MIGHT call husky. Also had on a truly ugly green suit which might also have been more or less a trademark. I really couldn't make out the name and it may also well have been "Wailer" instead of "Thriller". Lucky's horn section was keeping up a ruckus through it all. The guy had a fair voice and looked as though he had been around for some time. The style was kind of Jimmy Witherspoon. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/8/95 6:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 2 Aug 1995 11:00:28 +0000 From: Pat Hertel Subject: Re: MUD MUD MUD On Tue, 1 Aug 1995, Richard Shurman wrote: > I wasn't picking on Pat specifically; she didn't know. But I am > concerned that we stay away from negative threads that can reflect > ignorance and personal tastes as much as they reflect any real insights. > I will not comment on the rest of this. I learn slowly but I do learn. Just that "she" is "he". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/8/95 6:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 2 Aug 1995 11:01:58 +0000 From: Pat Hertel Subject: Re: Rounder Artists On tour [D [D [T [C [C [C On Tue, 1 Aug 1995, Mike Annis wrote: > Please contact the venues directly for specific information. > All dates subject are to change. > > Rishell & Little Annie, Paul, 08/15-08/18/95, Nantucket, MA, The Brotherhood Just curious. Who is "Little Annie"? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/8/95 6:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 2 Aug 1995 11:10:13 +0000 From: Pat Hertel Subject: Re: Tom Principato On Tue, 1 Aug 1995, Ted Dames wrote: > I'm not gonna get on a soapbox here BUT,................ > Tom Principato > > What's the deal? Too rockin' or too Hendrix for ya'? go ahead, you have the > floor. > > I have seen him several times in the past and he does tend to the rock end of things, but Hendrix? ... He may suffer in comparison as to technique etc. He puts on a pretty good show. Personally though, I find his stuff too invariable. A lot of times it just doesn't have that "hook". I must qualify this opinion by saying that it's been three years since I've seen him last and a lot can change in three years. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [2/8/95 6:34 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 2 Aug 1995 07:44:43 +0000 From: Ian Angus Subject: Re: Cecil Gant David Silverberg wrote: > > Didn't he wind up committing suicide in the early fifties? > According to The Big Book of Blues, Cecil Gant died of pneumonia in 1951. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 2 Aug 1995 08:59:10 -0400 From: Barry Silverberg Subject: Re: Rounder Artists On tour [D [D [T [C [C [C Pat Hertel (phertel@CMC.DOE.CA) wrote: : Just curious. Who is "Little Annie"? "A little skinny babe with a big mouth." :) (not from the liner notes) Actually she is wonderful harpwoman, who can really bellow. She was just at the Bucks County Barbecue and several times she turned my head. Mostly in that she appears to be quite tiny and thin seated on stage but some of her licks were so big it was hard to believe it came from this smallish woman. Give both her and Paul Rishell some of your time - they are both worth it. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 2 Aug 1995 09:02:49 -0400 From: Ray Kellogg - Telecommunications - SCSU Subject: Re: BLUES-L Digest - 31 Jul 1995 to 1 Aug 1995 Lyle Lovett ..............and his LARGE band Saw them Sat. night at Oakdale in Wallingford Connecticut. Lyle played for 2 hours non-stop in 90+ heat and humidity. This place is a big tent-like structure with a round revolving stage. He had 4 powerhouse horns....2 of the guys were from the Muscle Shoals horn section, 4 guys from L.A. doing great backup vocals (although no-one can replace Francine Reed [who has a new album out])....a GREAT drummer.....a large lady playing fiddle....standup bass.... pedal steel guitar....lead guitar.....percussionist....and celloist...whew! The band looked like they were having fun...even though they were sweating like pigs. A large portion of the middle of the show was devoted to slow or slower songs...perhaps to be able to last 2 hours would be my guess. I don't care how much fun people make of him, ole Lyle has a great voice, a great style....he's a very good story-teller with his lyrics and I really like his blues-oriented stuff. Just once I'd like to hear him really let go and belt out a song. Go see him ========================================================================= Date: Wed, 2 Aug 1995 08:40:20 -0600 From: James Foster Subject: EDDIE HINTON "TRIBUTE" I am by no means an "expert" on Eddie Hinton. Just one guy who loved his music and was sorry to hear about his death. Read on... Sadly, the news is true. Eddie Hinton died at his mother's home in Birmingham, Alabama on Friday, July 28, 1995. He was fifty years old. Hinton was well-known and revered on the southern soul scene for being an extraordinary guitar player and, perhaps more significantly, a powerful songwriter and singer. He made a life-long reputation for himself as guitarist at Rick Hall's FAME studio in Muscle Shoals, Alabama. He contributed stellar guitar work to the recordings of Aretha Franklin, Wilson Pickett, Joe Tex, Boz Scaggs first album (with additional dazzling work by Duane Allman, a close friend and roommate of Hinton's...Allman originally asked Hinton to play second guitar and be lead singer of what would become the Allman Brothers Band), and many others, including the fantastic album "Toots In Memphis", produced by Jim Dickinson (this album is a must buy for Memphis soul fans, or fans of great music in general). Hinton's own recordings are few: four albums, of which three are currently available. His first album, "Very, Extremely Dangerous", is easily his best (though, of course, out-of-print!). The first song is "You Got Me Singing" and, man, we are glad for that! Often described as the "white Otis Redding" or a very-bluesy John Fogarty, Hinton has a gruff, soulful voice that projects much of the bitter sadness of his songs quite well. However, this song and the entire album are much more than Hinton singing. The time is 1977 (the album was released in 1978) and this is Muscle Shoals, with players such as Barry Beckett, Roger Hawkins, David Hood, and, of course, the great Jimmy Johnson. These guys, along with the Muscle Shoals horn section, hook a groove so quick and then its just THAT sound. Hinton followed his first album with extended period of no recording. His second album, "Letters From Mississippi" (recorded in 1985), was, for many years, only available as an import, but now has been issued domestically by Mobile Fidelity as well as anothe domestic company. Again, Hinton hits the mark with this album and, like its predecessor, features his remarkable song writing and guitar-playing. Such Muscle Shoals luminaries as Jimmy Johnson are present for many of these cuts as well. Hinton's last two albums were cut by the Bullseye label and, while not as consistent as his first two albums, feature some brilliant moments. In fact, listening to "Very Blue Highway" last night I was struck at the great work of the Memphis Horns as well as the rhythm section on this recording. But one only has to read Robert Gordon's liner notes to "Very Blue Highway" to get a picture of the demons that were pursuing Eddie. Gordon, who wrote the recent, fascinating history of Memphis music "It Came From Memphis", is sympathetic to Hinton, but, in the end, its clear that Hinton is struggling. All of Hinton's recordings are essential listening for those with an interest and love of deep southern soul music. Someday we may have a list of where to find all of his great work on other folks' albums. Eddie Hinton Album Discography Very, Extremely Dangerous (1978) Capricorn 0204 Letters from Mississippi (1987) Mobile Fidelity 749 Cry & Moan (1991) Bullseye 9504 Very Blue Highway (1993) Bullseye 9528 CELEBRATE THE LIFE OF EDDIE HINTON BY LISTENING TO SOME OF HIS MUSIC!!! James Foster ========================================================================= Date: Wed, 2 Aug 1995 15:54:38 0200 From: Vincent Vialard Subject: Re: Bass Player mystique Patti Bowman wrote: >> But since I've always been hopelessly attracted to bass players, I >>thought by learning to >> play the thing, I'd crack the mystique. >> >> Shannon > >You, too? That is exactly why I bought my bass. The things we do...... > >Patti Now, you girls must be kiddin'... I've heard about this attraction for a while now, but never noticed it... Maybe I'm no sexy bass player :) Vincent. - ---------------------------------------------------------------------------- Vincent VIALARD vialard@lim.univ-mrs.fr Laboratoire d'informatique de Marseille, CNRS URA 1787 Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 2 Aug 1995 09:00:57 CDT From: L W Subject: Getting to Clarksdale I'm making sure I have the right idea on getting to the Fest from B'ham.... Go down 78 like I would go to Memphis, but when I get to Tupelo area get on 6 (???) and go right into Clarksdale..... Is that right....sort of.....nearly....maybe....not even close Is there a better way.... LW ========================================================================= Date: Wed, 2 Aug 1995 16:22:59 0200 From: Vincent Vialard Subject: Steve Roux anyone ? Does anybody out there know anything about Steve Roux ? I've got his first CD on Point Blank interestingly called 'Steve Roux'. All I know comes from the CD's booklet and that ain't much. I figured out he's british 'cause he recorded in a studio called 'Abbey Road' and this name seems familiar to me :) Anyway, it's a very nice piece of modern white blues, and any info on this guy would be appreciated... Vincent. -- ---------------------------------------------------------------------------- Vincent VIALARD vialard@lim.univ-mrs.fr Laboratoire d'informatique de Marseille, CNRS URA 1787 Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 2 Aug 1995 13:53:27 +0000 From: Martin Adamson Subject: Re: Blues Trivia... > It _may_ be on the Hoy Hoy label CD 'Rock Before Elvis,' which I dimly > recall as having been reviewed on Blues-L during the past year or so. > It would certainly fit there. I do have it on an LP in the 100-volume > 'La Grande Storia del Jazz' series the Italian Curcio label put out in > Italy in the eighties (the one with the large silver "J" and tourist > postcard photos on the cover). It's the volume with lots of Harry "The > Hypster" Gibson tracks on it -- Gibson is another artist worth > investigating, with his Slim Gaillard/Babs Gonzales mannerisms! Harry the Hipster! I am glad to see his name in print because I used to think that I had dreamt him up. Channel 4 TV here in Britain used to show late night a program compiled of old jazz and R&B "soundies" - short film clips from the 40s and 50s produced as fillers or for some kind of primitive video jukebox device. Anyway, this bizarre Harry the Hipster character - a white jazz pianist with a uniquely mannered style - was in some of them. I was always amazed that someone with a style as obviously drug-based as his could make a living in respectable 1940s entertainment. Martin ========================================================================= Date: Wed, 2 Aug 1995 10:20:00 EDT From: edward c liu Subject: Luther Allison's Advice to Would-Be Guitarists Howdy all, I met and spoke to Luther Allison last night just before his set at Manny's Car Wash. Absolutely a 110% class act. I asked him if he had any advice for a wanna-be guitar player as he was signing my copy of _Soul Fixin Man_, and he responded, "YES!": 1. Play what you feel. 2. Listen to a lot of records. 3. Go to as much live music as you can. And all kinds of music, too (I imagine this applies to #2 as well). 4. If you want to take the time to read and write music, that's a good thing to do. It's also something he wishes he could do. After all that, he said, "And then you come back to me in 2 weeks and say, 'Luther Allison, this is what I've done!' " and flashed that great big grin of his (those of you who've seen him, you'll know what I mean). I also asked him which of his discs was his favorite, and he said, "The one you're holding in your hands right now." He said _Soul Fixin' Man_ was his FAVORITE, but his FAVORITE FAVORITE was _Hand Me Down My Moonshine_, on the Inak import label, which is the acoustic album someone else mentioned here in an older post (which I snagged after the show at the Luther Allison merchandising shop that had opened up on stage after the 1st set). I'd give a review, but it's all been said before. A high point was when the drummer was having some difficulties with his rig, and Luther did a Delta-ish solo guitar/vocal on stage. Move heaven and earth if he's coming to your town, but DO NOT miss him. -- Ed Edward C. Liu | "You people veer dangerously close to sanity. edwick@cc.bellcore.com | But fortunately, you never quite make it all | the way there." -- H. Ellison The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 2 Aug 1995 09:52:00 -0600 From: Ranko Vujosevic Subject: Jessie Mae Hemphill Fond So far we collected $260. List of donators at the end. I suggest that we buy A/C from RJ Bauman for $100 (I'll talk to him today about transportation), and use the rest of money to prepay her electric bill (as Bob vanArsdall suggested) or help her by buying something else she needs. She called Catfish Keith and talked with his wife two days ago. They say she really needs help. I'll talk to Catfish today to see if she needs something else we can buy for the rest of money, or just give her cash. Meanwhile, I expect some more donations. I will close this action tonight, and send on Blues-L final report. Those who pledged money should send their checks to me ASAP. Ranko 1. P. W. Fenton $10 2. Oded Maron $10 3. Ranko Vujosevic $10 4. Bonnie Kalmbach $20 5. Mark and Ellen Naftalin $50 6. David Silberberg $10 7. Don O $10 8. Dana White $10 9. jmf@das.harvard.edu $10 (please, send your name) 10. Bluzman Ed $10 11. East Michigan Blues Society $10 12. Paul and Beth Garon $20 13. Gary Joneson (Island) $20 14. Karen Johnson $20 15. Bob vanArsdall $10 16. Gary Constantine $20 17. Garry Segal $10 Total: $260 Send checks to: Ranko Vujosevic Johnson County Blues Society PO Box 2114 Iowa City, IA 52244 USA ========================================================================= Date: Wed, 2 Aug 1995 09:52:15 CST From: William Shute Subject: Larry Garner: pick of the week! From: Bill Shute *** Forwarding note from WSHUTE --SACADMIN 08/02/95 08:34 *** Date: 02 Aug 95 08:35:06 CST From: William Shute To: blues-l@brownvm.brown.edu Subject: Larry Garner: pick of the week! From: Bill Shute LARRY GARNER "You Need To Live A Little" VERVE/GITANES No time today for a review, but RUN DO NOT WALK to score a copy of this fine third album from Garner. It's by far John Snyder's best-ever blues production (even better produced than the Memphis Horns album I raved about), and the rich, fully-layered sound gives Garner's memorable AND relevant songs, REAL vocalizing, and thoughtful but stinging gtr work an even better environment in which to shine than did his excellent JSP albums. The songs are taken from a real life many of us know all too well, and Garner approaches the incidents with a wisdom that can only come from experience yet he is still "one of us." He is one of our BEST blues songwriters, from both a musical and ESPECIALLY a lyrical standpoint. Yeah, I like love and I like partying and I like sex (the three most common topics in lyrics), and so does Larry, but it's amazing how many topics today's blues artists DON'T deal with, which becomes clear while listening to this diverse lp. And he can still do a beautiful love song like "Miracles of Time." I can't remember a bluesman under 45 (that's "young" in blues terms) displaying this much talent and unlimited potential since the first few albums of Jimmy Dawkins 25 years ago! Time will tell if Garner is, like Dawkins, too much of a "free spirit" (I'm being euphemistic there!) to become a "big star," but Larry Garner is, to me, the future of REAL blues. David Williams' fine liner notes to the album, which you can read while listening to it AFTER you buy it, say it all much better than I could. Still haven't seen Larry Garner live, though I've bugged the local clubs for five years! They hadn't heard of him, they said, no one would come. Hell, now he's probably too BIG to play our little venues! Oh well, I'll travel to see him in Austin/Houston, etc. Bill Shute San Antonio, TX ps, want to know how devoted THIS blues fan and his family are? We drove 65 miles last night to see Blues Boy Hubbard at Austin's Aquafest, stood in the rain for 45 minutes waiting for the gates to open, slogged through mud that rivalled Woodstock, took a half hour finding the tiny, uncovered "R&B stage" (the only stage without a tent over it!), only to meet Mr. Hubbard and Matthew Robinson as they were attempting to get their equipment off the stage and into a van without getting it totally destroyed by the rain or having it fall into a sea of mud. We had a few laughs and they told us when they'd be playing over the next weeks, and the kids got to meet the guys I had been raving to them about..... Oh well!Had the rain not continued to fall and had they not had to risk electrocution, I think they would have played just for me and my two children, devoted bluesmen that they are. I wouldn't put up with that to see a reunion of the 3 remaining Beatles, to meet the President, or for a case of Shiner Bock (well, maybe), but I'll gladly do it for the blues. And I know that's the way most of you all are too... ========================================================================= Date: Wed, 2 Aug 1995 10:52:32 -0400 From: Ed Mezynski Subject: interesting WWW site For all you web surfers that might have an interest in BMI, here's their web site: http://bmi.com/ ...kinda cool, lists of songs that have gotten 1 million thru 6 million plays on the radio. Be sure you've got lots o'time to waste. ed If you want a do-right, all day woman, You gotta be a do-right, all night man. -Dan Penn ========================================================================= Date: Wed, 2 Aug 1995 11:01:05 -0400 From: Tom Morgan Subject: Harry the Hipster In another time and place, Martin Adamson said: > > > postcard photos on the cover). It's the volume with lots of Harry "The > > Hypster" Gibson tracks on it -- Gibson is another artist worth > > investigating, with his Slim Gaillard/Babs Gonzales mannerisms! > > Harry the Hipster! I am glad to see his name in print because I used to > think that I had dreamt him up. Channel 4 TV here in Britain used to > show late night a program compiled of old jazz and R&B "soundies" - short > film clips from the 40s and 50s produced as fillers or for some kind of > primitive video jukebox device. Anyway, this bizarre Harry the Hipster > character - a white jazz pianist with a uniquely mannered style - was in I love to play Harry the Hipster's stuff on my show. Much of it is from a Musicraft LP (if memory serves me right). "Who Put The Benzedrine, In Mrs Murphy's Olvotine(sp?)", "Stop All That Dancing Up There" and a personal favorite, "I stay Brown All Year Round." Fats Waller was a big influence on Harry, I've never seen any videos though I think maybe Stash Records was selling one a year or so ago. Tom My home page: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM 91.1 Charlottesville, VA Author--From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music, 1895-1930 ========================================================================= Date: Wed, 2 Aug 1995 17:08:08 +0200 From: Peter Gallagher Subject: Re: ANNOUNCEMENT What I meant was if you'd called it "Bluezelle" instead of "Blueselle". By way of explanation: some time ago, I started referring (playfully) to fellow blues-l members as "bluezellers" ... It seemed to catch on for a while and I felt I'd sort of "coined a phrase". "Blueselle" is a great name and yes it does sound sort of French. Also, as you said, it has "blues" in it and that's a strong point. Sorry for being so vague... All the best and good luck! PeterG (I'll go back to lurking now... :-) ) > Thanks, Peter. Assuming that the second sentence is the joke, it was > a head scratcher... I didn't get it. Now that I ruined it, explain > it so I can feel dumb. Obviously it has something to do with using > an "s" instead of a "z". I did think about the spelling of it (it's > been spelled every way possible on Blues-L at one time or other). I > decided on the spelling because it had the word Blues in it (maybe > I'll color it differently), and to me it "looked" more like a real > word than some of the variations. > > > P.W, > > Great name! Now if only you'd a' made a 'z' of that 's' I'd a' felt > > rightly honoured! > > All joking aside - ( I hope you get my little joke), best wishes and > > success with the record label and the release!!! > > regards, > > PeterG > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 2 Aug 1995 10:09:25 CST From: JBards Subject: Re: SRV strap at Antone's Hey, uh, wait, uh, that was my Stevie Ray memento strap! ( yeah, um, that's the ticket...) Thanks for finding it. Will pay return shipping to: (etc etc.) -Jim _______________________________________________________________________________ Subject: SRV strap at Antone's From: don.o@CHRYSALIS.ORG at INTERNET-SH Date: 8/2/95 2:54 AM > Yours in moderate disbelief, > > Dana I was there that night and that story was going around the club. I suspect it had been dropped at load out the previous night. There were a bunch of musicians onstage that evening, including Doyle Bramhall II, who I hear has several Stevie straps. The jam went on until 3:30 am on Monday night. My bet is it's Doyle Jr's. Who knows though. It could have belonged to any of the dozens of guitar players onstage that evening and then wasn't encountered until Tuesday night. The curious thing is that nobody has come forward to claim it. Don O. ========================================================================= Date: Wed, 2 Aug 1995 10:09:50 -0500 From: "John M. Schepers" Subject: Re: Help needed: Black Cat Bone lyrics... In message <3vltcs$bb9@unix13.u-3mrs.fr> Vincent Vialard writes: > Hi, > > You know we froggies have a hard time gettin' these blues lyrics, but > I can't stand any longer my singer singin what we call yogourt (you know > it sounds like english but it ain't nothin' but sounds...). So I decided > to try to get all this straight. Later on we'll start workin on his > pronounciation.. Well anyway, I'm stuck on Black Cat Bone. I got the lyrics > from the Collins/Copeland/Cray 'Showdown' on Alligator records, and can't > figure out some of the words... > > Here's what I got : > > I believe my baby's got a black cat bone > I believe my baby's got a black cat bone > seems like everything I do, > Seems like I do it wrong. > > I tried so hard to get along with that woman of mine > Yes I tried real hard to get along with that woman of mine > Seems like the harder I tried, > The more she walked around (cheatin'n lyin' ??) > > Walked down from Dallas Texas > Down to - Witchita Falls - > Got thinkin' about the big legged woman > - And it weren't no walk at all - > I believe my baby's got a black cat bone > seems like everything I do, > Seems like I do it wrong > > > Any helful yankee out there ? > > -- Vincent. > ---------------------------------------------------------------------------- > Vincent VIALARD vialard@lim.univ-mrs.fr > Laboratoire d'informatique de Marseille, CNRS URA 1787 > Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 > 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 > ---------------------------------------------------------------------------- John M. Schepers | I used to be down, but now I'm up | schep001@gold.tc.umn.edu | You just tip your hat at me | schepers@ima.umn.edu | and call me Mister Luck | | - Jimmy Reed - | ========================================================================= Date: Wed, 2 Aug 1995 10:16:05 CST From: JBards Subject: Re[4]: Victoria Amp Review I exchanged emails with Mark Baier of Victoria Amps last night and he says he will provide a detailed reply when he gets a chance- however, his comment was that Pittman's book tends to underestimate the output of many of the amps reviewed, and by his (Mark's) measurements the Bandmaster is "at least 35 watts". Use and listening tests from this humble ear would tend to confirm that. I think that although many of us took the Tube Amp Book as gospel for a long time because there were no other resources on tube amps, one has to remember that it was written to promote Groove Tubes by promoting tube amps, which were not nearly as popular at the time as they are now. I'm not dissing Aspen Pittman's work, but there are probably references out there now that are more carefully researched. -Jim _______________________________________________________________________________ Subject: Re: Re[2]: Victoria Amp Review From: Rennie Selkirk at INTERNET-SH Date: 8/1/95 5:23 PM Jim wrote back: > >The Bandmaster was/is a 38 watt amp and the Bassman was/is about 50, and they >are voiced quite differently. > I believe the 38 watts is the blackface rating, i.e. the AA763 circuits and later. John Teagle and John Sprung's chapter on the Bandmaster line in their new book "Fender Amps: The First Fifty Years" describe the narrow panel tweed Bandmaster (model 5E7, schematic in Pittman's book) as "conservatively rated at 26 Watts." Power tubes 6L6 and replaced by 5881's in 1957. And yes, there were 3-10's in these until the introduction of the piggyback (model 6G7-A) in early '61, at which point the speaker cab was a ported 1x12. (This is somewhat confusing here since the 6G7 model schematic also shows only one speaker as well.) Anyway, the single 12 was changed to a 2x12 in 1962. Teagle and Sprung don't give wattage ratings for these later pre-blackface Bandmasters. However the plate voltages on the output tubes, for what they're worth, increased form 410V in the 5E7 to around 450 V in the 6G7 and 6G7-A amps. But with the air that you can move with 3-10's I would bet that head to head, the tweed would be louder than the single speaker configurations, albeit somewhat more distorted. Anyway the Victoria amp is a tweed Bandmaster type of amp by all accounts. Rennie ========================================================================= Date: Wed, 2 Aug 1995 10:25:53 -0500 From: Pat Seger Subject: L** Z** sound alikes? I know I risk the wrath of many participants of the list by even mentioning L** Z**,(please send all flames privately. I do NOT want to start another brushfire on the list). I have a friend that was listening to one of my tapes and commented that he sorta liked what he heard (ok, it was a live tape of UO's recent blues tour). But he said what he REALLY liked was the early Led Zepplin stuff. So I was wondering if anyone could suggest some _real blues_ that might have a similar feel that I could introduce to my friend and improve his musical taste? thanxs Red ========================================================================= Date: Wed, 2 Aug 1995 17:26:33 0200 From: Vincent Vialard Subject: Re: Luther Allison Maria Wegscheid (mwegsche@LIBBY.RBLS.LIB.IL.US) wrote: > I was privileged to see Luther Allison here last Friday night. What an > incredible show. While I can't imagine that the energy and the spirit of > his live show can be captured on a recording, what would anyone recommend > for someone who has no Allison in their collection as a good starting point? My favorites are my old LPs 'Live in Paris', recorded in 1979 at the Chapelle des Lombards, as far as I remember. There were 2 LPs with the same title on different labels, and different parts off the show. I don't remember what were the small labels, maybe a bluebird or something like that. I found a CD containing material from both LPs, including BB's wonderfull 'Thrill is Gone' that still raise hair on my forearm after all these years... It is called again 'Live in Paris' and Luther's picture on the cover is more recent than the recordings. If you can get it just go for it ! Vincent. -- ---------------------------------------------------------------------------- Vincent VIALARD vialard@lim.univ-mrs.fr Laboratoire d'informatique de Marseille, CNRS URA 1787 Facult\'e des sciences de Luminy, case 901 tel: +33-91-26-93-14 163 avenue de Luminy, 13288 MARSEILLE cedex 9 FRANCE fax: +33-91-26-92-75 ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 31 Jul 1995 08:48:26 -0700 From: Jeff Birk Subject: Report on Snowbird Blues Fest The Blues Festival last Friday at Snowbird, Utah was a big success. It was the first time in its 8-year history that the event was sold out. Great weather, good food, and lots of people. I'm pretty new to the blues scene, so I hope all you veterans out there don't mind me sharing some thoughts about the performers. Four bands performed. The first was a local band from Ogden, Utah called the Raybans. They are a local favorite and performed at the festival last year. They did four songs and ended with a cover of "Let me love you baby." That last song got the blood pumpin for most everyone. Second was Nick Gravanites. I had never seen him before. His band was pretty good and they generally did a good job, but I found myself wishing that the Raybans would've played a few more tunes. Third was John Hammond. One word: unbelievable. I was floored. Out on the stage comes this guy armed with only his guitar, a harp, and a microphone, no backup band, nothing. He just sat there and absolutely rocked the house. He played for a good 50-60 minutes and I could've easily handled another hour. Time to start adding some of his CDs to my collection. Lastly, The Robert Cray Band. First song was "Smoking Gun", everyone on their feet and that's the way it stayed for the rest of his set. I was impressed by the clarity of Cray's guitar matched with the clarity of his voice. I've never heard anything like it. A great performance, these guys are real pros. They played for about an hour and then did a two song encore. Anyway, if you have a chance to see Cray or Hammond, don't miss it. Cheers. Jeff Birk ========================================================================= Date: Wed, 2 Aug 1995 11:49:09 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Blues Trivia... Item Subject: Message text >> It _may_ be on the Hoy Hoy label CD 'Rock Before Elvis,' which I dimly >> recall as having been reviewed on Blues-L during the past year or so. >> It would certainly fit there. I do have it on an LP in the 100-volume >> 'La Grande Storia del Jazz' series the Italian Curcio label put out in >> Italy in the eighties (the one with the large silver "J" and tourist >> postcard photos on the cover). It's the volume with lots of Harry "The >> Hypster" Gibson tracks on it -- Gibson is another artist worth >> investigating, with his Slim Gaillard/Babs Gonzales mannerisms! > >Harry the Hipster! I am glad to see his name in print because I used to >think that I had dreamt him up. Channel 4 TV here in Britain used to >show late night a program compiled of old jazz and R&B "soundies" - short >film clips from the 40s and 50s produced as fillers or for some kind of >primitive video jukebox device. Anyway, this bizarre Harry the Hipster >character - a white jazz pianist with a uniquely mannered style - was in >some of them. I was always amazed that someone with a style as obviously >drug-based as his could make a living in respectable 1940s entertainment. > >Martin > There is a documentary out on Harry the Hipster which is available on video. If I remember correctly the project was overseen by members of his famity and also included some of his soundies. Jim Smith ========================================================================= Date: Wed, 2 Aug 1995 15:48:16 GMT From: C Bauer Subject: Re: Rochester, NY Smokey Wilson Mike Annis wrote: > >WITR in Rochester, NY will be devoting an hour of Gary Reinhard's "Bad Dog > Blues" show >on Sunday, August 6 to the music of Mr. Smokey Wilson from 1-2 pm, including CD >giveaways and a 1:30 phoner w/ Mr. Wilson. WITR is the station at the Rochester > Institute of >Technology. Tell your friend Thanks for the info, I live just a bit to far west of the city to pick up Gary's show but when I'm in town and can listen I do. He has interviews on a regular basis and he does a wonderful job of supporting the artists on his show. Smokey was in town last fall and had a great show just as he did in the Poconos this past weekend. Cat - C BAUER RWHD17A@prodigy.com CatBauer@vivanet.com ========================================================================= Date: Wed, 2 Aug 1995 12:08:09 -0400 From: Peter Welch Subject: Harry "The Hipster" Gibson I read recently that Delmark Records is going to release a compilation of Harry "The Hipster" Gibson's stuff....I've got the Musicraft release on CD...Fantastic stuff...The Hipster could really play some fine boogie piano as well... "Hey, Stop that Dancin' up there!" -Peter W. ========================================================================= Date: Wed, 2 Aug 1995 12:17:34 -0400 From: bob unger Subject: PKUNZIP & Etta! Thanks to all who responded to my query on where I can download PKZIP/PKUNZIP I got a ton of responses. I ended up getting it from the PKWARE ftp site. I've forgotten who sent the address to me, but thanks! I also got LOTS of responses on quintessential Etta. "Rocks The House" was the clear winner, then Essential Etta, then "Sweetest Peaches 1 & 2" I found Rocks The House and Sweetes P. 2 for ten bucks each, so that's what I got, but after listening to 'em, I'm clearly gonna have to get me some mo'. Got my eye out for the one Dick Waterman found "Masters of the Blues" I'm stalking the aisles at K-Mart, Caldors, Woolworths, etc..... BU bob@bnkst.edu ========================================================================= Date: Wed, 2 Aug 1995 16:15:27 GMT From: Doug Watson Subject: Re: Ry Cooder Yes, but does anyone else sound like this, poignant and atmospheric? Or is he a total pioneer in this regard? ========================================================================= Date: Wed, 2 Aug 1995 08:22:14 PST From: Chuck Schrier Subject: Re: Charlie Musselwhite live query Kurt Derbyshire asked: >Has anyone seen Charlie Musselwhite live recently? Any impressions or >assessments of the gig(s) would be appreciated. I've seen Charlie play at least twice a year for the past five (he lives in my area). My impression - a master muscian backed by a tight, professional band. And, a style of their own. I'd say, if you're ever able to see them, DON'T MISS THE OPPORTUNITY! But then, maybe you did, weren't satisfied and are setting me up. Why do you ask Kurt? Speaking of Charlie -- Pat Ford was a guest on Bill Bowker's blues show last Sunday night (local Santa Rosa, CA radio station KRSH, FM 98.7). They were promoting this weekend's Sonoma County Blues Festival, at which the Charles Ford Blues Band will re-unite for the first time in ten years. During the interview, Pat was talking about when he was Charlie Musselwhite's drummer. Pat said he tried to convince Charlie to bring in his brother, Robben Ford. Charlie thought Robben, as a guitar player, hit too many notes. He was MORE impressed with Robben's saxophone playing. Charlie finally agreed, if Robben would play sax for half the show. I think Pat said Robben played in Charlie's band for about a year. Later... Chuck ========================================================================= Date: Wed, 2 Aug 1995 13:23:19 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Re[2]: FUNK Yep, slapping the bass is definitely funky! :) So is popping the strings. Patti and I have determined that we are NOT the same person, by the way...we're separate bass addicts. Just in case you bass players are interested. ______________________________ Reply Separator _________________________________ Subject: Re: FUNK Author: Patti Bowman at INTERNET_KDC Date: 8/1/95 5:32 PM >I don't know what "funk" is but I love when Hound Dog Says "Do You feel funky >Mr. Brewer, let's get Funky"..... > >I think ALbert King is funky.... > >I have no idea what funk is, but if the above is an indication, then call me >a "Funky Mud Head' > >Slapping bass notes...Is that funky ? Yes LW, that's very Funky. Right, Shannon? ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Wed, 2 Aug 1995 10:45:56 -0800 From: Jeff Avila Subject: None Subject: Time:10:38 AM OFFICE MEMO None Date:8/2/95 SET BLUES-L mail ========================================================================= Date: Wed, 2 Aug 1995 12:41:30 CDT From: L W Subject: Are you stopping by Schwabs ???? My wife needs a favor from anyone who may be coming to the Sunflower Fest and stopping by Schwabs in Memphis before they get to Clarksdale.... It's a gift for Alabama Bluesman Little Whitt, who's house burnt down some time back, she really wants to give him a statue that Schwabs carries (I'm probally spelling Schwabs wrong, but you get the idea).....We bought one for ourselves and will no doubt give him ours if that's what we have to do... It doesn't cost much and of course we'll repay you at the fest..... So if you are PLANNING on going by there, please contact me private mail Sorry to use the list, but Little Whitt means a lot to us...My wife is crazy about him and wants to help make his new place a HOME (her words not mine). Thanks LW ========================================================================= Date: Wed, 2 Aug 1995 14:00:03 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Help needed on Black Cat Bone Lyrics... _____ Reply Separator _____ Author: INTERNET:vialard @ LIM.UNIV-MRS.FR@CISHUB Received: 08/01/95 04:26:00 PM Subject: Help needed on Black Cat Bone Lyrics... Hi all, You know we froggies have a hard time tryin' to get down all these blues lyrics... As I'm gettin' tired of hearing the singer of my band sing what we call yogourt (sounds like english but ain't nothin' but sounds...) I decided to try to get the lyrics right. Later on we'll be workin' on his pronounciation... Anyway we are covering Black Cat Bone in a way very close to the version to be found on the Collins/Copeland/Cray 'Showdown' on Alligator Records. And I am stuck on a few words... Here's what I got : I BELIEVE MY BABY'S GOT A BLACK CAT BONE I BELIEVE MY BABY'S GOT A BLACK CAT BONE SEEMS LIKE EVERYTHING I DO SEEMS LIKE I DO IT WRONG I TRIED SO HARD TO GET ALONG WITH MY WOMAN OF MINE YES I TRIED REAL HARD TO GET ALONG WITH MY WOMAN OF MINE SEEMS LIKE THE HARDER I TRY THE MORE SHE WALKED AROUND (CHEATIN'N LYIN')? I WALKED FROM DALLAS TEXAS DOWN TO ???"Wichita Falls" GOT THINKIN' ABOUT THE BIG LEGGED WOMAN ????"And it wasn't no walk at all..." I BELIEVE MY BABY'S GOT A BLACK CAT BONE SEEMS LIKE EVERYTHING I DO SEEMS LIKE I DO IT WRONG Any helpful yankee out there ? Vincent. ========================================================================= Date: Wed, 2 Aug 1995 14:02:34 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Kansas City singer There's another "Goin' to Kansas City" floating around -- Lowell Fulson recorded it in the later Fifties: the chorus is something like, "I'm goin' to Kansas City [repeat 3x] Sorry but I can't take you..." I'm curious if anyone else recorded it. Turtle _____ Reply Separator _____ Author: INTERNET:Rudi.Vandermeiren @ PING.BE@CISHUB Received: 07/14/95 06:03:00 PM Subject: Re: Kansas City singer The James Brown version on Live at the Apollo is great.And it is (as David Silberberg wrote) a Leiber/Stoller song. Rudi Vdm. >Although not strictly a blues song, who recorded the most popular >version of "Goin' to kansas City." I heard it in a bar last night and >need to get a copy of it. > >"Goin' to Kansas City, Kansas City Here I come >Goin' to Kansas City, Kansas City Here I come >They got some crazy little women there and I'm gonna get me one " >i > >-- > >Paul L. "Pro" Pearson >President, Kurt Rambis Fan Club (unofficial) >Ames, IA Chapter > > ========================================================================= Date: Wed, 2 Aug 1995 11:33:30 PDT From: Eric LeBlanc-CISTI Subject: A T R I B U T E T O M A R K N A F T A L I N : part 1 of 4 A TRIBUTE TO MARK NAFTALIN : PART 1 (OF 4) Blues piano/organ player & songwriter MARK NAFTALIN was born Wednesday, August 2, 1944, Minneapolis, MN. I've never met Mark but I was lucky enough to see The Paul Butterfield Band in the early years - in those crazy, lazy, hazy days! The first time was when they were just starting out, circ. 1965/66. I had arranged for The Paul Butterfield Band to play at McGill University ; the 2nd time in 1967, when they played The New Penelope (see WINNER CD 446). On records, you can hear him accompanying/ recording with everyone from Duane Allman, Big Brother & The Holding Company, Van Morrison, Mother Earth, New Riders Of The Purple Sage, Quicksilver, Bill Wyman, even Peter Paul & Mary (!) and let's not forget - (Mark, you think I would forget?) the hit recording of "One Toke Over The Line"! After leaving The Paul Butterfield Band (1968), he moved to the San Francisco Bay area, playing/recorded with Michael Bloomfield. From March 1979, to Sept 1983, he hosted his own "Mark Naftalin's Blue Monday Party", resulting in 3 TV specials (see VIDEOTUNES/Rhapsody Films in Discography), and 86 live KTIM-FM radio broadcasts (see INTERMEDIA/WINNER in Discography) featuring everyone from Albert Collins to Irma Thomas. He's also been responsible for setting up blues festivals, including the annual Marin County Blues Festival. In 1988, he started his own WINNER Recording, which to date has 3 wonderful releases. Before I post a few personal tributes (part 2), discography (part 3) & reviews (part 4), we shouldn't forget Paul A. Rothchild, original producer of the early Elektra material, who passed away early this year. Paul Rothchild was born April 18, 1935, Brooklyn, NY., and died March 30, 1995, Los Angeles, CA. Just before his death, Paul Rothchild was working on a Paul Butterfield Blues Band CD for Rhino Records, which has just been released as RHINO CD 73505 : PAUL BUTTERFIELD BLUES BAND - ORIGINAL LOST ELEKTRA SESSIONS, which features the classic line-up of Paul Butterfield (vocal, harmonica), Mike Bloomfield (guitar), Mark Naftalin (piano, organ), Elvin Bishop (guitar), Jerome Arnold (el. bass) and Sam Lay (drums). Mark, you old road warrior (:-), Happy Birthday! And one day we'll meet & look up at the stars! I'd like to thank Vincent T (for his reviews), Carl F. Cerco, Tom Rossen, Charles Sawyer (author of the best book on B.B. KING - The Arrival of B. B. King - which he's now updating) and Gary Joneson (of THE KING BISCUIT TIME Web Site - the best blues site on the Web!) who shared his notes with me - visit his site often as he's always adding something. For example, look out for the upcoming Butterfield "East-West" issue of Al Handa's e-zine, DELTA SNAKE BLUES NEWS. ========================================================================= Date: Wed, 2 Aug 1995 19:01:29 GMT From: Paul L Pearson Subject: Lyrics help=ACREED, Mayall I need help on lyrics for a couple of songs. AC REed's-I'm in the Wrong Business. verse 5 "Played 40 years and now I can see what's holdin me back I gotta (bite this paddle like man washington and ??? ack) People talks against me and I tell you I don't think they's bein fair Best Blues saxophonist in (>>>>>>????????)" That second line makes absolutely no sense to me. dsk The other one is from John Mayall's song Nature's Disappearing Verse 2: Garbage goin' nowhere, I got a landfill at my door (The lakes are very stagnant ?????? like years before ???????????? no more" Thanks for your help. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Wed, 2 Aug 1995 15:12:53 -0400 From: Steve Levine Subject: Re: Rounder Artists On tour [D [D [T [C [C [C +> Rishell & Little Annie, Paul, 08/15-08/18/95, Nantucket, MA, The Brotherhood + + Just curious. Who is "Little Annie"? + Harmonica player Little Annie Raines, one of the few well known female blues harp players. ========================================================================= Date: Wed, 2 Aug 1995 15:21:13 -0400 From: BBGInc@AOL.COM Subject: CD Reviewers Wanted !! So, you want to be a critic. Everybody likes to give their opinion. Here's your chance. The Blues Buyer's Guide is looking for reviewers of CDs. We will supply you with a review form to fill in for each CD that you listen to (we do not supply CDs). For each CD you listen to, you will fill in a review form and send/fax to us. Your comments will be combined with the opinions of others who have reviewed the same CD, and then added to our Guide. Some of your comments will be printed in our Guide, and each new edition will feature a brief bio of a few of the participating Reviewers. *** NO PURCHASE NECESSARY *** We just want a lot of participants so we can establish a large database of opinions about blues CDs from regular folks in the blues CD buying public. No record label, distribution company, pr/ad, or talent agency employees or family members may contribute reviews. For sign-up info and sample review form, send your regular mail address to BBGInc@aol.com, and we'll mail it out the same day. Andrew Gordon Publisher Blues Buyer's Guide For Info about the Blues Buyer's Guide, email to BBGInc@aol.com ========================================================================= Date: Wed, 2 Aug 1995 16:15:00 -0400 From: Ed Mezynski Subject: Re: CONTEST CONTEST CONTEST Weeeeeell, Elvis has been a stiff for a long time, but is he really blues.... ========================================================================= Date: Wed, 2 Aug 1995 15:46:39 -0400 From: Willy Evans Subject: Hey there, I'm back! I'm back from Ireland and it was a very interesting trip. To all of the Blues-l'ers that I met at the Temple Bar Blues Festival, I apologize for not talking longer. We were beset with logistical problems that included haveing a bunch of our gear and our set lists in a lock up with no available key! All of my tapes that I had intended to sell were locked in there as well, so I may have a fire sale on Willy Evans Blues Trio Tapes! Anyways, thanks for coming out, we had a real good time and it is good to be back on Blues-l! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Wed, 2 Aug 1995 13:33:34 PDT From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO MARK NAFTALIN : PART 2 (OF 4) A TRIBUTE TO MARK NAFTALIN : PART 2 (OF 4) Tributes : ======== From: Charles Sawyer =============================================================================== T R I B U T E T O M A R K N A F T A L I N I first knew Mark Naftalin as a brooding presence behind the keyboard in a band that changed the face of American popular music and changed my life. I'm speaking, of course, of the Paul Butterfield Blues Band. One thing that marked this band was the vertuosity of every musician in it. I hung on every riff Mark played and wondered how one could prepare oneself to play such music. My only answer, woefully inadequate, was to trade in my Wultizer electric piano for a Hohner electric piano, exactly like the one I saw him play at the Unicorn Coffee House in Boston in 1966. This gave me the illusion that I was progressing toward the Naftalin sound and skill. It took another 25 years for me to meet him in person. I went to San Francisco for a software trade show. I knew only that he had a weekly radio program Monday nights and I had the number in the studio where he broadcast his show. I was in luck when I rang and he agreed, without hesitation, to meet. He told me I would recognize his station wagon by the huge dent in the side, but I recognized it by the brooding presence behind the wheel. We talked until the small hours about the music that was the passion of our lives and I found that this hooded look he has worn, apparently, all his life, veils a sense of humor as dry as what you get when you whisper "vermouth" over a glass of gin. Mark has many accomplishments to his credit and we are all in his debt, but I will mention just these two for which we all owe him deeply: his part, as a member of the Butterfield Band, in making urban blues common place in America, and his contribution as curator to the great blues institution we know as Percy Mayfield. Much of Percy's music and what we know of him as a person we know because of Mark. The beautiful documentary film about Percy is Mark's doing. Mark appears in the film, sort of. You see, so determined was he that Percy Mayfield should always hold the spot light that Mark kept his back to the camera whenever he was in the shot. The role of the Butterfield Band in bringing blues out of the shadow land of the ghetto into middle America is one I should not try to describe -- it's the great neglected story in the history of this music and if I start telling it, this tribute will become a book. Here's to Mark Naftalin, musician, producer, curator, my friend. >From : Tom Rossen =============================================================================== "My lasting debt to Mark is for that beautiful warm and relaxed "last session" CD he produced and performed with/for Percy Mayfield. If he never did anything else, that would be enough." >From : Gary Joneson' KING BISCUIT TIME Web Site =============================================================================== Some people know Mark Naftalin as the keyboardist with the Paul Butterfield Blues Band and have been listening to him for thirty years. Some know him for his solo piano art or his rhythm and blues revues. Others know him for playing on blues and rock albums or for his radio shows and festival productions. Recently people have been hearing about him because of the historic releases on his Winner Label, which consists of three albums: * Strawberry Jam (WINNER CD 446) The Paul Butterfield Blues Band * Percy Mayfield Live (WINNER CD 445) The Poet Laureate Of The Blues. * Just Like A Devil (WINNER CD 444) Ron Thompson, singer-guitarist-harmonicist. Planned for future release on Winner: * "Percy Mayfield - Portrait Of the Man", a collection of Percy's private recordings, including never-before-released Mayfield compositions. * "Blues For Friends", an album of Mark Naftalin compositions and improvisations. * The company is also making plans to market two thirty minute "Blue Monday" party videos (one with John Lee Hooker and Charlie Musselwhite and the other with Lowel Fulson and Percy Mayfield) along with the videodocumentory "Percy Mayfield - Poet Laureate Of The Blues." * Also among the rare sounds in the Winner vaults: a collection of duets and other collaborations between Micheal Bloomfield and Mark Naftalin, and more live Butterfield (including three versions of East-West).... Whether these sounds find their way to market is not yet known. Winner Producing Company Tel (415) 453-7712 Fax (415) 258-0692 Mail Order Info (415)453-5995 E-Mail : wpc@netcom.com From: VT =============================================================================== Happy Birthday to the YOUNG 51 year old Mark Naftalin. I haven't known Mark for a long time - meeting him first only last September, during the 2nd Westport Blues Festival in Connecticut. He is the originator and organizer of that Festival. I always had doubts about the commercial viability of this festival - so this was a very gutsy move on Mark's part. The first ever festival was rich in introducing or exposing local talent to us. But it was an organization disaster. Too many acts, too little time between sets. The second was a bit better - fewer acts but still too little time between sets. Audience's views were favorable, but was mixed in the number of acts - some liked it for the sheer variety (count me as one). Others felt it was too long, because of the sheer number of acts. Of course Mark's resume is much more extensive than the Westport Blues Festival I am sure others more qualified will tell us more on these. However, the most notable is that he was an original member of the ground breaking Paul Butterfield Blues Band. (and recently he release on his own Winners Label "Strawberry Jam" a CD of LIVE Butterfield Blues Band recordings between 1966-68). My "contribution" to Mark has been to get him onto the Internet - the only thing I wish to say here is: As a computer user - he is a good keyboard player (ambiguity intended :-) ========================================================================= Date: Wed, 2 Aug 1995 16:50:43 -0400 From: Dick Waterman Subject: Re: CONTEST CONTEST CONTEST Is Elvis really blues? Come down to Oxford, Miss., and find out. There is an Elvis Conference being held here next week and a panel on "Elvis & The Blues" includes Rev. Gatemouth Moore, Clarksdale DJ Early Wright and . . . mois. Hopefully, we can talk about what Elvis might have listened to on Tupelo radio back around 1950-1953 or so. Don't forget the great quote from Elvis in Peter Guralnick's outstanding biography where the (circa. 1956) young Elvis says something on the idea of ". . . if I could get to the point where I could play it and sing it like ol' Arthur Crudup, then I'd call myself a music man for sure!" dick waterman ========================================================================= Date: Wed, 2 Aug 1995 16:57:27 +0000 From: "P.W. Fenton" Subject: Re: Harry the Hipster > I love to play Harry the Hipster's stuff on my show. Much of it is from a > Musicraft LP (if memory serves me right). "Who Put The Benzedrine, In Mrs > Murphy's Olvotine(sp?)" Hi, Tom. It's Ovaltine, and I used to drink it. It was a powder you mixed with milk to make a chocalate malted kind of drink. I also sent in some labels to get my Captain Midnight decoder ring. His show was sponsored by Ovaltine. P.W. Fenton Tampa, Florida email - pwfenton@cftnet.com WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 2 Aug 1995 14:01:25 PDT From: Gordon Fehlman Subject: Re: Andrew Gordon Andrew, please e-mail me about your offer. My message to you keeps coming back, undeliverabe. Please send me info to gjf5@pge.com Thanks, Gordon Sorry for having to post this to the list. :] ========================================================================= Date: Wed, 2 Aug 1995 16:09:26 EST From: "CATHI N." Subject: Greeney Well blow me down for a closet Peter Green lover, but does anyone know what the story is on the CD by Gary Moore...Tribute to Green? I was told it was out in Europe, but I can't get it anywhere and no one seems to know if it has been released in the U.S. Any leads from y'all? I'd go a good distance to hear Gary Moore put a little more space in his guitar solos and play tributes to Peter Green on his own (Peter's) guitar...as this CD is rumored to demonstrate... Help? Cathi N. ========================================================================= Date: Wed, 2 Aug 1995 16:03:27 CDT From: L W Subject: Re: CONTEST CONTEST CONTEST ----------------------------Original message---------------------------- >Is Elvis really blues? Well I'm a firm believer in letting the performer/artist decide whether or not HIS/HER music is blues. I don't really think you can define blues and it has to be up to the individual. Some would say Buddy Guy's version of 'Some Kind Of Wonderful" is not blues, but it's up to Buddy....At one point Elvis was very much blues and like a lot of TODAYS and YESTERDAYS artists he did whatever it took to get some "coins in his cup"....So I would suggest reading the book by Peter G. "Last Train To Memphis" before you discount Elvis and his relationship to blues.....IMHO he was probally more of a blues artist than alot of artists that are called blues today. One of the very few people that my wife and I disagree on is Elvis....... LW 'IMHO with no regard to facts' "That ain't the blues, that's monkey junk" ...... Son House ========================================================================= Date: Wed, 2 Aug 1995 17:20:52 -0400 From: Garry Segal Subject: Re: Elvis/Blues/Girls Dick Watermans post on Elvis mentions Peter Guralniks book "Last Train To Memphis". I HIGHLY reccommend this book to anyone seeking a non glossed over account of Elvis in his early years. He was a big gospel fan and myths about him degrading blacks are dispelled . The biggest thing that put Elvis on the map was sex appeal! He would draw huge crowds of girls black and white . His carreer was built much more on exploiting his sex appeal than the the notion of him exploiting blues. The book is a great look into the South in the 50s and 60s. Check it out! Garry email BlueSngr@aol.com Homepage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 2 Aug 1995 14:44:10 PDT From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO MARK NAFTALIN : PART 3 (OF 4) (Discography) A TRIBUTE TO MARK NAFTALIN : PART 3 (OF 4) MARK NAFTALIN : A SELECTED ALBUM/CD/VIDEO DISCOGRAPHY ===================================================== ABC 720 : JOHN LEE HOOKER - ENDLESS BOOGIE ABC 736 : JOHN LEE HOOKER - NEVER GET OUT OF THESE BLUES ALIVE ABC 768 : JOHN LEE HOOKER - BORN IN MISSISSIPPI, RAISED UP IN TENNESSEE AJK CD 5006 : MICHAEL BLOOMFIELD - LIVING IN THE FAST LANE ATLANTIC CD 82367 : OTIS RUSH - MOURNING IN THE MORNING BLACK MAGIC CD 9001 : JAMES COTTON - FROM COTTON WITH VERVE BLIND PIG CD 3589 : ROY ROGERS - BLUES ON THE RANGE BLIND PIG CD 3790 : AL RAPONE & HIS ZYDECO EXPRESSMEN - ZYDECO TO GO BLIND PIG 73790 : AL RAPONE & HIS ZYDECO EXPRESSMEN - ZYDECO TO GO BLUE THUMB 14 : SAM LAY - IN BLUESLAND BULLFROG 301 : OTIS RUSH - RIGHT PLACE, WRONG TIME COBRA CD 001 : BLOOMFIELD, GRAVENITES, NAFTALIN FRIENDS - DIGITAL SHOCK COLUMBIA 9883 : MICHAEL BLOOMFIELD - IT'S NOT KILLING ME COLUMBIA 9889 : NICK GRAVENITES - MY LABORS COLUMBIA 37578 : MICHAEL BLOOMFIELD - A RETROSPECTIVE COTILLION 9006 : OTIS RUSH - MOURNING IN THE MORNING DEMON FIEND 92 : MICHAEL BLOOMFIELD - I'M WITH YOU ALWAYS ELEKTRA 294 : PAUL BUTTERFIELD BLUES BAND ELEKTRA 315 : PAUL BUTTERFIELD BLUES BAND - EAST-WEST ELEKTRA 2005 : PAUL BUTTERFIELD BLUES BAND - GOLDEN BUTTER ELEKTRA 74015 : PAUL BUTTERFIELD BLUES BAND - RESURRECTION OF PIGBOY CRABSHAW ELEKTRA 74025 : PAUL BUTTERFIELD BLUES BAND - IN MY OWN DREAM HIGHTONE CD 8007 : OTIS RUSH - RIGHT PLACE, WRONG TIME INTERMEDIA 5008 : BIG JOE TURNER - ROCK THIS JOINT (LIVE) * INTERMEDIA 5010 : PERCY MAYFIELLD - PLEASE SEND ME SOMEONE TO LOVE (LIVE) * INTERMEDIA 5026 : BIG JOE TURNER - VERY BEST OF (LIVE) * INTERMEDIA 5027 : ROY BROWN - GOOD ROCKIN' TONIGHT (LIVE) * INTERMEDIA 5030 : BIG JOE TURNER - BOSS BLUES (LIVE) * INTERMEDIA 5036 : BIG JOE TURNER - EVERYDAY I HAVE THE BLUES (LIVE) * INTERMEDIA 5043 : BIG JOE TURNER - ROLL ME BABY (LIVE) * KICKING MULE 159 : WOODY HARRIS - SHOW OF HANDS LIBERTY 7618 : CANNED HEAT - HALLELUJIA MCA CD 10413 : JOHN LEE HOOKER - ENDLESS BOOGIE MCA CD 10539 : JOHN LEE HOOKER - BEST OF, 1965-1974 MCA CD 31361 : JOHN LEE HOOKER - NEVER GET OUT OF THESE BLUES ALIVE MGA CD 12 : MICHAEL BLOOMFIELD - BETWEEN THE HARD PLACE AND THE GROUND PILZ ENTERTAINMENT CD 449300 : PERCY MAYFIELD - BLUES SUMMIT WITH JOE TURNER RHINO CD 73505 : PAUL BUTTERFIELD BLUES BAND - ORIGINAL LOST ELEKTRA SESSIONS ** SOLID SMOKE 8009 : VARIOUS - SAN FRANCISCO BLUES FESTIVAL, V. 1 (live) SOLID SMOKE 8010 : VARIOUS - SAN FRANCISCO BLUES FESTIVAL, V. 2 (live) SOLID SMOKE 8011 : VARIOUS - SAN FRANCISCO BLUES FESTIVAL, V. 3 (live) SONY LEGACY CD 57631 : MICHAEL BLOOMFIELD - ESSENTIAL BLUES 1964-1969 TAKOMA 1059 : MICHAEL BLOOMFIELD - ANALINE TAKOMA 7070 : MICHAEL BLOOMFIELD - BETWEEN THE HARD PLACE AND THE GROUND THUNDERBOLT CD 76 : MICHAEL BLOOMFIELD - BETWEEN THE HARD PLACE AND THE GROUND VERVE 3060 : JAMES COTTON - COTTON IN YOUR EARS VERVE CD 314-527-371 : JAMES COTTON - BEST OF THE VERVE YEARS VIDEOTUNES : MARK NAFTALIN'S BLUE MONDAY PARTY - w/Hooker, Musselwhite, etc VIDEOTUNES : MARK NAFTALIN'S BLUE MONDAY PARTY - w/Mayfield, Fulson, etc. VIDEOTUNES : PERCY MAYFIELD - POET LAUREATE OF THE BLUES WATERHOUSE 11 : MICHAEL BLOOMFIELD - LIVING IN THE FAST LANE WINNER CD 444 : RON THOMPSON - JUST LIKE A DEVIL (live) WINNER CD 445 : PERCY MAYFIELD - LIVE WINNER CD 446 : PAUL BUTTERFIELD BLUES BAND - STRAWBERRY JAM (live) NOTE: * The INTERMEDIA (bootleg) albums were recorded by Norman Dayron and are NOT from Blue Monday Party radio broadcasts ** Mark Naftalin only plays on "Love Her With A Feeling", recorded on the first day with the band. Piano on most of the cuts is played by Bloomfield. ========================================================================= Date: Wed, 2 Aug 1995 16:03:40 PDT From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO MARK NAFTALIN : PART 4 (OF 4) A TRIBUTE TO MARK NAFTALIN : PART 4 (OF 4) Reviews : ======= WINNER CD 445 : PERCY MAYFIELD - LIVE (w/Mark Naftalin) ------------------------------------------------------------------------------ The best part of being a reviewer is when the mail brings you a disc that you might go out and buy yourself. In other words, one with Percy Mayfield doing a dozen of his songs -- a disc just like this, his only live recording. The tunes were taped between l981 and 1983, the last about a year before Mayfield died at age 63. He was still in fine voice, and drew on his 30-year repertoire. Those whose notion of the blues follows the Chicago formula, or the guitar-harmonica raveup, may at first scratch their heads at Mayfield's unique, sassy voice, humor, intelligence and laid-back phrasing. Virtually every song is slow to medium tempo, leaving him time and space to glide lovingly over his lyrics, which were among the best in the blues tradition. This was the man, after all, who wrote "Hit the Road Jack" and "The Danger Zone" for Ray Charles, and "Please Send Me Someone to Love" for the whole world. Found here are versions of "Please Send Me Someone to Love," "The River's Invitation," and "Don't Start Lying to Me." Mayfield gets sympathetic backing from guitarist Bobby Murray on "My Jug and I," saxman Julien Vaught on "The Flirt," and saxman Dr. Wild Willie Moore on a couple of tracks. Throughout, he's accompanied by pianist Mark Naftalin, formerly a member of the original Paul Butterfield Blues Band. Naftalin produced the sessions and promises a follow-up disc of unreleased material from Mayfield's personal library. The closing medley of "My Bottle is My Companion" and "The Highway is Like a Woman" is a gem. Naftalin switches to organ and Mayfield makes a rare appearance on piano. For eight minutes, they swim through the blues, with Naftalin's solo fusing the two songs together. The atmosphere and Mayfield's voice almost conjure up classic Ray Charles -- no surprise, since classic Ray Charles surely owed something to classic Percy Mayfield. ~ John Douglas, Blues Access MAYFIELD*PERCY LIVE Winner 445 ----------------------------------------------------------------------------- Percy Mayfield has been described as "The Poet Laureate of the Blues", certainly some of his songs have become blues standards. So how do these songs sound when Percy performed them himself? Especially when he was in his 60's (up to a year before he died.) All these recording were live from 1981 through 1983 at Mark Naftalin's Blue Monday Party in the San Francisco Bay Area. Naftalin plays acoustic piano on all the tracks except for the last. Without exception the lyrics are great and matched by really bluesy melodies - they are just great songs. Never Say Naw - Great bluesy piano intro, the opening chords just sets the mood - the overall sound is late night jazzy blues, really great feel to this song. (actually as an aside, the piano "riff" kind of reminds me of "Goodbye Pork Pie Hat" - couple of points to those who know the composer of that one). Real blue. The River's Invitation - one of his hits, Percy hits that opening deep note well, and mid way through the verse he chuckles. Yes, the voice has signs of age, but this one I think is enhanced by that maturity. The band really cooks on this one especially the sax solo by Dr. Wild Willie Moore. Strange Things Happening - more up beat, swings and swings. There are 2 saxes giving a fuller sound and the guitar solo is by Pee Wee Crayton. Mark Naftalin's piano playing is just right. Don't Start Lying to Me - lights dim and turn blue, you'll notice the guitar by Pee Wee Crayton and Bobby Murray, I think the better fills are Murray's. Nice piano break and Percy says "Mark Naftalin,...... that's my son". Percy again chuckles between verses. You can tell that he was enjoying himself on these tracks. Loose Lips - more up tempo, catchy melody, reminds me of another song (er, um.....got it, it's sort of like "Money Honey" taken at a slower pace, swinging rather than rockin') again a great sax solo by Dr. Wild Willie Moore. My Jug and I - good guitar intro by Bobby Murray - the piano continues to do sterling stuff. This is a great song and oh, so blue. But Percy must have been in a good mood and pleased as he is heard laughing/chuckling in parts. Please Send Me Someone to Love - justifiably his best known song - this is a classic. Percy doesn't hit the opening notes right, but this doesn't spoil the beauty of the song, and there is something to be said for the "older" voice with experience singing this song some 31 years later. (Not meaning to take away from this performance - I urge you to listen to the version that Gladys Knight did with B.B. King on the video B.B. King & Friends "A Night of the Red Hot Blues" HBO/A.Vision 50203 - simply a stunning performance of this song) My Mind is Trying to Leave Me Too - yes, this is the same song that Sonny Rhodes called "Crazy Fool Blues" at the 2nd Westport Blues Festival and titled on his latest album. I like this title more, the words are great: "....... like any crazy fool would do, (you see) my woman going away from me (people), now my mind is trying to leave me too..." Now you know why he's called the Poet of the Blues. The Flirt - swinging, great piano, wonderful. P.M. Blues - slow blues pleading with his woman to return to him: "...my heart is like a prisoner, I need your love to set me free....". The guitar playing is generally good by Ron Thompson, but when he plays chords, it's too choppy and sharp sounding, (perhaps it's just a bit too loud in the balance) which I felt didn't suit, his runs however are very good. Medley: My Bottle is My Companion, The Highway is Like a Woman - Percy plays piano on these and the slightly hesitant intro is great, it just sets the scene. Mark Naftalin is on organ and this combination is really bluesy, outstanding. Slow blues about drinking after his woman's gone. Really good organ solo 3:15 into the track, it'll turn your lights blue. Again the guitar playing is really nice by Bobby Murray after the medley switches to the next song. Clever lyrics: "Highway's like a woman, Soft shoulders - dangerous curves" Blues should always be this good. There's an overall feel of affection and harmony throughout - perhaps that's just my wishful/wistful imagination. But I think this is a gem. As Tina (Mrs. Percy) Mayfield is quoted in the sleeve notes: "this is the man as he really was" I guess there isn't any better testimony. Rating: 9 Vincent posted 8 Oct 1994 PAUL BUTTERFIELD BLUES BAND STRAWBERRY JAM 1966-68 Winner 446 ------------------------------------------------------------------------------- OK, I've had an early copy of this that Mark gave me on cassette, the sound quality and mix was very rough, but the music shone through, and I was ACHEing to tell you guys about it.... but Mark made me promise to keep quiet (see, I CAN be quiet if only you asked nicely in the first place...:-) So despite others writing about this release on the Blues-L I kept silent. Well my vow of silence is now released on the receipt of this CD - which Mark has personally autographed for me (well he wanted to have someone else sign it for him....:-) Two words: GET IT! Just to Be with You - Everything you'd expect the Butterfield Blues Band to be - I nearly hugged Mark when he played me the rough mix (but he's too ugly! :-), joke, joke, sheeesh!:-) That harp tone will blow you away, and the overall sound is menacing, they have that lowdown Muddy sound and no 2 ways about it. Mystery Train - yes, well along with the Elvis version, the Butterfield first album version are the two I rank - the Butterfield version has the great Sam Lay of freight train drums with the Butterfield piston harp. Well this is the East-West version of the Band with the "monster" Billy Davenport on drums, and Elvin Bishop on lead guitar. This one is a runaway train. (Oh! how could I forget this, up with my 2 favorite versions is also the one Butterfield did with the Band on the Last Waltz - check it out, especially the harp intro and the way The Band joins in....) Tollin' Bells - Nice ringing guitar - Butterfield's vocal entrance is loud and agonized, listen to this one build. Cha Cha in Blues - this one always makes me laugh - I have the version by Junior Wells with Syl Johnson and Dave Myers. Wailing, has the feel of one my favorite instrumentals by the Butterfield Band - "Screaming" off their first album....... Rock Me - Slow smoldering, but not as sexy as Francine Reed :-) That sounds like lots of hiss there - but I think it's the drums doing a single stick roll on the snare - clever stuff, must be a JAZZ(?) drummer..... yeah! this builds into something - all 9 minutes of it, again it's the harp that leads but the guitar gives fine support and account of itself - that's Elvin Bishop here. Great keyboard work in the background, by my man, your man (and actually anybody's man) Mark Naftalin - the producer and the man who brought you this album. This and the next 2 tracks have the "Resurrection of Pigboy..." line up of the Butterfield Band. One More Heartache - great rhythm. Butterfield's vocals sounds as if he's singing through his harp mike, but doesn't detract. Here you can hear horns, but the harp is so strong. Lovely playing by Naftalin - I would say this even if he NEVER sent me this album. Again the guitar is the UNDER-rated Elvin Bishop. Great drumming by Phillip Wilson. Strawberry Jam - written by our man on the keyboard this is a long jam at 10 minutes and has David Sanborn on alto sax. The keys are "featured", but the overall sound reminds me of Country Joe and the Fish's "Section 43" - this is NOT typical Butterfield stuff - it almost sounds psychadelic, er-man...... Come On on this House - another Junior Wells thing - this is simple and simple-ly great :-) Born In Chicago - loud and brash - everything you'd expect of the Butterfield Band at their peak - BLOW! Rating: the Butterfield Band has a special place in my heart they were the ones who kindled my interest in Chicago Blues - this album is just SO good - it really captures the special thing that's the Butterfield Blues Band - so it SHOULD - Mark Naftalin has done a labour of love on this - it's a very special project for him - and it SHOWS. Has to be right there with a 9. Vincent posted 5 May 1995 ========================================================================= Date: Wed, 2 Aug 1995 19:32:40 -0400 From: Bob vanArsdall Subject: Re LW's Birmingham to Clarksdale Posting to the list rather than LW alone, because it is fun to read maps and has to do with the history of the blues. Going from Birmingham through Tupelo, Oxford, Batesville, Marks, to Clarksdale may be the most direct, but it isn't a whole lot further to go from Birmingham to Columbus MS, Greenwood (Robert Johnson's graves (intentional plural) and up Hwy 49-E to Clarksdale. If you cut over to 49-W, which comes up from Indianola, you can pass Parchman Farm outside of Drew and join back to 49-E at Tutwiler (memorial to WC Handy's first recorded hearing of the blues at the old railroad station, Sonny Boy I's grave). All are well worth the visit. Depends on how much time you have, but the road from Columbus to Greenwood is also a bit faster than the road from Tupelo to Clarksdale, as I remember. Bob ========================================================================= Date: Wed, 2 Aug 1995 16:48:06 PDT From: Eric LeBlanc-CISTI Subject: RE : EDDIE HINTON "TRIBUTE" James, thank you for an excellent tribute to the late EDDIE HINTON. Some of us on BLUES-L, the more R&B types, will know him for his songwriter skills. Percy Sledge's "Cover Me" (1967) & "It's All Wrong But It's Alright" (1968), Bobby Womack's "A Little Bit Salty" (1976), Dusty Springfield's "Breakfast In Bed" (1969) & the Amazing Rhythm Aces' "I Got The Feeling", were all written/co-written by Eddie Hinton. He was also a wonderful guitarist, playing lead guitar on Wilson Pickett's "Sugar, Sugar" (1969) & joining Ry Cooder on his soundtrack to "The Southern Comfort", Also, he's also on the John Hammond's Capricorn album. eRIC ========================================================================= Date: Wed, 2 Aug 1995 21:00:58 -0400 From: Greg Hermanns Subject: Too Many Drivers... Exactly, ?!@# (ya,right), who wrote "Too Many Drivers at the Wheel" Tab Beniot CD 'What I Live For' credits Willie Love and Globe Music Publishing(BMI) Rod Piazza's LP 'SO Glad to Have the BLUES' lists L.Fulson. Who's right? Who cares?;-} Who's Willie Love? KoKo Taylor Sat.Aug 5th, P&G pavillion (Cincy Blues site) Free...Free 4p-10p Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Thu, 3 Aug 1995 01:19:14 GMT From: Art Schuna Subject: Is Elvis Really Blues? (was Re: CONTEST CONTEST CONTEST) In article <950802165041_46457152@aol.com> Dick Waterman writes:> >Is Elvis really blues? >Come down to Oxford, Miss., and find out. >There is an Elvis Conference being held here next week and a panel on "Elvis >& The Blues" includes Rev. Gatemouth Moore, Clarksdale DJ Early Wright and . >. . mois. This reminded me of a reproduction of a feature from an uncredited magazine that was published in Blues Unlimited Nov/Dec 1977 on BB King. Here's a quote from the feature: According to "Bebop" Edwards, B.B.'s man Friday, "That Presley is an all right cat. He likes Negroes better than some Negroes like themselves. Listen to him play guitar and see if he doesn't sound just like B.B. He should; the learned from each other. Elvis, B.B. and Fats Domino always hang out together when they meet on the West Coast." I'm not sure I can agree that they sound anything alike, but thought it was an interesting comment. BTW, what's Rev. Gatemouth Moore doing these days? I have an old LP of his from the early 60s which is a favorite of mine. Art Schuna ========================================================================= Date: Wed, 2 Aug 1995 21:36:12 -0400 From: "" Subject: newsgroup Would some kind soul out there in blues-l land please tell me how to view blues-l via the newsgroup. What's the code I have to use: rec.music.? or alt.music? The volume of mail even in digest form can be a real hassle to download when you can't get to your computer on a daily basis. Thanks in advance. And I'll be seeing y'all through the newsgroup. Hopefully. Later, Dave ******************* Where we pay the dues, We play the Blues ******************* ========================================================================= Date: Tue, 1 Aug 1995 23:25:43 PDT From: "R. J. Bauman" Subject: Re: Luther Allison ====================Live In Paris (Buda 82469-2) excellent live show but no slide playing=================== I'm wrong, ofcoarse. There's plenty of good slide here. A great album. RJ Bauman ========================================================================= Date: Wed, 2 Aug 1995 21:29:28 PDT From: "R. J. Bauman" Subject: Re: newsgroup Set up your web browser for your news reader on your internet account and then go to News:bit.listserv.blues-l (your provider may need a small mod. to this ) or subscribe to it through any newsreader software. Eudora can handle e-mail AND news both. It looks great on Netscape. I use Internet Chameleon, but there are zillions of shareware alternatives. RJ Bauman (prefer the immediacy of direct e-mail) ========================================================================= Date: Wed, 2 Aug 1995 22:44:12 +0000 From: Ian Angus Subject: RE : EDDIE HINTON "TRIBUTE" James, let me add my thanks for your tribute to Eddie Hinton. He's a real loss. His label promoted him as "the white Otis Redding" at one point. but I don't think that was fair to Redding or Hinton. His voice was very distinctive, and his songs were excellent. By the way, this is one reason I spend time on Blues-L. If I relied on other sources, it would be weeks or even months before I'd learn of the passing of someone like Hinton (or Floyd McDaniwel last week). The news gets here first. As a result of James' information, the Blue Soul show on CKLN tonight included a tribute to Eddie Hinton, and we played to of his songs. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 2 Aug 1995 22:51:00 -0700 From: "Ian C. Angus" Subject: Colin Linden Website If you have a Web browser, check out: www.interlog.com/~pinhead/colin/home.htm That's the home page for Canadian blues legend Colin Linden. Lyrics, music, sound samples, information and more. And unlike most professional musicians' sites (but like Paul Fenton's) this one is actually created and maintained by Colin himself. Usual disclaimer ... I hav no connection with etc etc. Ian Angus Built for Comfort Not for Speed ========================================================================= Date: Thu, 3 Aug 1995 00:17:53 -0500 From: Kevin Boyle Subject: Pick O' The Week Elvin Bishop: "Ace In The Hole" We just got this in the studio in time for our Tuesday Night Blues show on WFWM in Frostburg MD (shameless plug) I went nuts! Elvin plays with great soul and his great sense of humor shines on his tune called Fishin' ( I may be biased since I am a fishing fanatic) Going back to a recent thread on baseball references the third track on this release "Give Me Some Of That Money" comments on the excessive amount of money ball players make. This CD may not be for traditional Blues fans, but if you like good electric guitar and enjoy a good sense of humor you'll bust a gut and won't be able to help but smile, smile, smile after listenin to this CD!! By the way this is Elvin's 3rd CD on Alligator Keep the Blues Alive Peace! Kevin Boyle ========================================================================= Date: Thu, 3 Aug 1995 01:05:25 -0400 From: Dick Waterman Subject: Re: Sunflower; Radio; Gig I didn't answer this immediately because I was driving to Clarksdale on Wednesday to deliver boxes of Son House and Mississippi John Hurt shirts to the Blues Museum. As soon as I passed I-55, I tuned to 1520AM and heard: "You are listening to the Delta Blues Request Line on WQMA brought to you by the Otis Williams Funeral Home and Garden of Perpetual Care and now we're going to hear a song by Clarksdale's own Mister Muddy Waters and this is 'Long Distance Call' . . . ." And how is the blues radio where YOU live ? dick waterman ========================================================================= Date: Thu, 3 Aug 1995 05:17:55 GMT From: zaphkiel@IX.NETCOM.COM Subject: Blues On The Bayou >>> Tarpon Springs, Florida Hey ya'll Another wonderful event coming to you from The Florida Blues Network! Blues And Chilli.... hot and even hotter. Come and join us for a great day of blues. RL Adams PS..... Should you attend, be sure to come by my jewelry booth! Let me know you saw this post and I give you a discount on my stuff. It would be terribly cool to meet ya'll. ........Robin Adams Blues on the Bayou 3 East Tarpon Avenue, Tarpon Springs, Florida 34689 This event officially sanctioned by the Florida Sesquicentennial Commission in support of Celebrate Florida (1845 - 1995) ____________________________________________________________________________________ July 10, 1995 PRESS RELEASE The Main Street Association of Tarpon Springs, Florida, is pleased to announce the first annual Blues On The Bayou festival scheduled for Saturday, October 7, 1995, at Craig Park, located downtown in historic Tarpon Springs, Florida. This festival will feature national and regional blues music and will be centered around a chili cook-off supported by the International Chili Society. Set in beautiful Craig Park, the event will attract thousands of patrons and blues fans to the Tarpon Springs community. An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, guitarist Lonnie Brooks and the Lonnie Brooks Band, featuring the father and son combination of Lonnie and Ronnie Brooks. Lonnie's recent CD's, Bayou Lightning Strikes and Satisfaction Guaranteed, indicate the type of performance blues fans have come to know from the Lonnie Brooks Band. The State of Florida welcomes back, from California, guitarist Chris Cain, an electrifying talent who won rave reviews in Tampa on his last appearance in March/1995. The fact that Chris Cain's mother is of Greek heritage adds a special quality to this music festival in an area rich in Greek traditions. The Chris Cain Band features rich, impressive vocals, intelligent guitar phrasing, and a very tight rhythm unit which features organ and horn section performing all original material. Award-winning guitarist Jimmy Thackery and The Drivers roll into Tarpon Springs to join this great musical line-up. Jimmy Thackery is at the forefront of today's thriving blues scene nationwide and tours full-time due to demand for his special talent. Jimmy's three-piece band "cooks", as the saying goes. The fact that Jimmy Thackery recently purchased a home in the Tarpon Springs area adds another special quality to this music festival. Florida favorite Bill Wharton, known as "The Sauce Boss", and his band, The Ingredients, will open the show. Guitarist Bill Wharton concocts his own exotic gumbo during his blues performance and invites the audience to sample the delicious mixture. This fact adds another special quality to this music festival. Tampa favorites James Peterson and 13-year old female guitar sensation, Clearwater's D.D. Dunn, appearing with BirdDog Bobby and the Honey Hounds, round out this great event. The music will begin at 11:00 a.m. and continue through 10:00 p.m. providing a day-long backdrop to the flavors of chili. Food and beverages will be served throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. The Main Street Association of Tarpon Springs is a non-profit organization whose membership supports many programs in the community. A portion of the proceeds from this event are earmarked for the Tarpon Springs Public Library Building Fund. Blues On The Bayou intends to be a yearly event. Tickets are available at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $15.00 at the gate. Make plans to spend a fun-filled day in one of Florida's natural settings.....historic Craig Park, downtown Tarpon Springs, Florida. For further information: Tarpon Springs Main Street Association Hotline & Recorded Message: 813-944-3364 Ammon Gant/Main Street Association/Event Chairman 813-938-2287 Jerry Ross/Florida Blues Network, Inc./Director of Operations & Promotion 941-377-8220 ========================================================================= Date: Thu, 3 Aug 1995 05:09:13 GMT From: zaphkiel@IX.NETCOM.COM Subject: Sarasota Labor Day Music Festival Hello to all ya'll blues fans, Here is the latest press release on the Sarasota Florida Blues Network presents Labor Day Music Festival! Come join us for a great day of blues. RL Adams PS... If you do show up, make sure to find my jewelry booth and say hello! I'll give a discount to anyone saying they saw my post on Blues-L. How cool that would be! ..........Robin Adams ____________________________________________________________________________________ August 1, 1995 PRESS RELEASE Jerry Ross of the Florida Blues Network is pleased to announce the inaugural Labor Day Music Festival scheduled for Sunday, September 3, 1995 at Ed Smith Stadium, located at 12th and Tuttle Avenue in Sarasota, Florida. This festival will feature national and regional blues music and will feature 9 hours of continuous music. Set on Florida's West Coast, the event will attract many music lovers and blues fans to the Sarasota community for this last big party of the summer. A portion of the proceeds from this exciting event will go to the Suncoast Center for Independent Living, one of Sarasota's most important non-profit organizations providing comfort for handicapped citizens of the community. >From Jerry Ross of the Florida Blues Network: "We wanted to provide the opportunity for people to come together, dance, make new friends and re-acquaint themselves with old friends. Labor Day Weekend has provided a great musical tradition in Sarasota." An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, Grammy-winning harmonica wizard Sugar Blue, who won the coveted award with The Rolling Stones for "Miss You" with his trademark riff identifying the song. Sugar Blue previously appeared in Sarasota earlier this summer at a jam packed Gator Club performance as part of the Florida Blues Network's Summer Roots 'N Blues Series and blues fans are elated over his return to headline this festival. Rightly so, Sugar Blue has been called the "Charlie Parker and Jimi Hendrix of the harmonica". In addition, the immensely popular Chicago funk/blues guitarist Joanna Connor returns to Sarasota to perform for loyal Florida fans who have developed an intense love for Joanna's impressive guitar style and her strong vocal presence. Connor also appeared earlier in the year at the Florida Blues Network's Summer Series and was immediately booked for the festival during her red hot performance. Making his first ever appearance in Sarasota, Texas harmonica master Gary Primich will make this festival a guaranteed "don't miss" event. Primich, who lectures and gives master class instruction on his chosen instrument, will perform tunes ranging from Duke Ellington's "Caravan" to T-Bone Walker-styled jump and swing blues. Gary Primich is considered the "musician's musician" when it comes to harmonica. His band is constantly rated among the nation's best. Also included on this show will be a 13-year old female guitar sensation, Clearwater's D. D. Dunn, making her first appearance in Sarasota. Dunn, a four-foot dynamo will knock out audiences out with her display of jazz and blues theory as well as her impressive "chops". She will appear with Dunedin's BirdDog Bobby and his Honey Hounds, who will also be making a rare Sarasota appearance. Sarasota itself boasts a very strong musical history, and this festival would not be complete without showcasing a portion of the rich talent found inside the city limits. Guitarist Bobby G, voted the area's No. 1 musician by Sarasota Magazine, will be appearing with slide guitarist Paul Galestro and The Blynders. Galestro has written many blues classics and has gained a national reputation on slide guitar while Bobby G, who founded the early 70's rock group, Frigid Pink, is an impressive guitarist of enormous talent. Rounding out this festival will be Gwen "Queenie" Fogt and the King B's Blues 'N Soul Revue, featuring the Eddie Kinder Horns. Gwen is a singer or rare ability and her stage show, coupled with the big band sound of the King B's, is a Sarasota favorite! Gates open at 11:00 AM. The music will begin at Noon and will continue through 9:00 PM followed by a giant Sarasota Red Sox Fireworks Finale. Many of the regions top restaurants will be on hand to serve food and beverages throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. Also included will be a Big Screen Satellite Football Tent, Arts & Crafts, and Children's Activities. The stage and viewing areas are under tents to provide a festival atmosphere come rain or shine. Please bring blankets and lawn chairs to this fun family event. No pets, glass, coolers or audio- visual cameras are permitted. Tickets for general lawn seating are available NOW at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $13.00 at the gate. A limited number of Gold Reserved Tent Seats (200) will be available for $25.00 through the Florida Blues Network only. ($20 for members of the Florida Blues Club). For further information regarding this event and the Florida Blues Club: Contact Jerry Ross/Florida Blues Network, Inc. 941-377-8220 rasota Labor Day Fest. ========================================================================= Date: Thu, 3 Aug 1995 00:09:36 -0700 From: Roberta Penn Subject: Re: "RL's Dream" Just finished up Walter Mosley's new blues novel "RL's Dream." I think there were a couple of other bluezellers also reading the book, what did y'all think of it? Pretty intense at times to me, but I think Mosley's language is authentic and his stories plausible, well, most of the time. He's touring behind the book, and will come on Seattle Blues as a guest DJ....Any questions for him for those of you who read "RL's Dream?" Roberta ========================================================================= Date: Thu, 3 Aug 1995 07:13:15 GMT From: Tony Burke Subject: Eddie Hinto/Canray Enough already!! Thanks to everyone for forwarding B&R stuff on Canray and Eddie Hinton. Full obits in B&R 103 TB ========================================================================= Date: Thu, 3 Aug 1995 07:16:23 GMT From: brad gekler Subject: Re: Hubert SUMLIN Interview - Pt.1 - Mojo VT wrote: > > Hubert Sumlin, Sat.95.07.22 @ the Turning Point, Piermont, NY. > questions as prompts, and let Hubert do the talking. > > Preface - some people have said that although Hubert is a sweet man and > a phenomenal guitarist, but he is not a reliable informant. Just thought I'd add that while over at a friends house the other night I mentioned this Mojo thing. Well he pulls out an Ann Cole album and plays Mojo Workin to which she literally tears. I browsed the liner notes and there is mention of the "appropriation" of the song by Muddy and kinda lends credance to Hubert's account of what happened. ========================================================================= Date: Thu, 3 Aug 1995 03:23:29 -0400 From: Fred Sokolow Subject: Re: Fats Domino I know there are big complete Fats Domino box sets, but in lieu of that I love my EMI CD called "My Blue Heaven" with 20 hits on it, Vol 1 of their legendary masters series. Fred S. ========================================================================= Date: Thu, 3 Aug 1995 03:30:47 -0400 From: Fred Sokolow Subject: Re: MUD MUD MUD If you're interested in a more constructive way of honoring Muddy, play his music...check out a book I collaborated on that has note for note transcriptions of 31 of his greatest tunes, with tab & music of all guitars, which means some Jimmy Rogers & lots more. Plus stories & musical notes about each song & an analysis of Muddy's style...E-mail me your snailmail address if you want a free catalog in which this book is included. Fred Sokolow ========================================================================= Date: Thu, 3 Aug 1995 03:35:44 -0400 From: Fred Sokolow Subject: Re: The Band's Blues Roots The band (without Robertson) did a great version of Muddy's "The Stuff You Gotta Watch" at the recent Woodstock event...naturally I'm gonna tell you I have a transcription book (tab & music) of Robbie Robertson's stuff with & without the Band, & you can Email me your snailmail address for details. Fred Sokolow ========================================================================= Date: Thu, 3 Aug 1995 03:42:39 -0400 From: Fred Sokolow Subject: Re: FUNK ! Not wanting to attempt to define funk I feel it would be helpful to pass on the following quote: when Miles Davis met John Lee Hooker & played with him at some recording session, he rasped: "John Lee, you must be the funkiest bluesman alive...you up to your neck in mud!"...Fred S. It's true...I edited a book of Hooker's stuff transcribed by my friend Lenny Carlson...Email your snailmail address for details & free catalog etc etc ========================================================================= Date: Thu, 3 Aug 1995 10:58:03 +0000 From: Pat Hertel Subject: Re: MUD MUD MUD On Thu, 3 Aug 1995 SokolowMus@aol.com wrote: > If you're interested in a more constructive way of honoring Muddy, play his > music...check out a book I collaborated on that has note for note > transcriptions of 31 of his greatest tunes, with tab & music of all guitars, > which means some Jimmy Rogers & lots more. Plus stories & musical notes about > each song & an analysis of Muddy's style...E-mail me your snailmail address > if you want a free catalog in which this book is included. > Fred Sokolow > P.Hertel P.O.Box 24075 Kanata Ont. K2M2C3 CANADA phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [3/8/95 6:15 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 3 Aug 1995 07:07:52 -0400 From: Bruce Houghton Subject: SKYLINE MUSIC BLUES TOUR UPDATES ALWAYS CALL TO CHECK THESE DATES!!!! DEBBIE DAVIES "07/28/95","","Coney Island Moonlight Gardens","Cincinatti","OH","(513) 232-8230" "08/01/95","","Slippery Noodle","Indianapolis","IN","(317) 631-6974" "08/02/95","","Monroe Ampitheatre","Grand Rapids","MI","(616) 345-6500" "08/10/95","","Blue Saloon","St Paul","MN","(612) 228-9959" "08/12/95","","Bay Front Blues Festival","Deluth","MN","(218) 726-0467" "08/12/95","","Schooner Beach Club @ Park Inn","Deluth","MN","(218) 727-8821" "08/22/95","","Veterans Park","Manchester","NH","(603) 624-6550" "08/25/95","","Maple Tree Cafe","Simsbury","CT","(203) 651-1297" "08/26/95","","Turning Point","Piermont","NY","(914) 359-1089" "09/01/95","","Buddy Guy's Legends","Chicago","IL","(312) 427-1190" "09/02/95","","Blues Festival/Miss. Nights","St. Louis","MO","(314) 838-3254" "09/06/95","","Brendan's Pub","Denver","CO","(303) 595-0609" "09/08/95","","San Diego Street Scene","SanDiego","CA","(614) 557-8490" "09/09/95","","Blind Melon's","San Diego","CA","(619) 483-7844" "09/16/95","","Sun Banks Basin Boogie","Grand Coulee City","WA","(509) 633-3786" "09/21/95","","Moe's Alley","Santa Cruz","CA","(408) 479-1854" "09/23/95","","San Francisco Blues Festival","San Francisco","CA","(415) 826-6837" "09/24/95","","Orange County Blues Festival","Dana Point","CA","(714) 366-1854" "09/28/95","","Mason Jar","Phoenix","AZ","(602) 956-6271" "09/30/95","","St. Phillips plaza","Tuscon","AZ","(520) 743-7347" "10/02/95","","El Madrid","Albuquerque","NM","(505) 242-0829" "10/06/95","","Fleetwood's","Alexandria","VA","(703) 739-7355" "10/07/95","","Warmdaddy's","Philidelphia","PA","(215) 627-2500" MIGHTY SAM MC CLAIN "07/28/95","","Colorado Club","Weirs Beach","NH","(603) 366-2300" "08/04/95","","Harper's Ferry","Allston","MA","(617) 254-9743" "08/11/95","","Bank Street","New London","CT","(203) 443-8280" "08/23/95","","Regatta Bar","Cambridge","MA","(617) 864-1200" "09/03/95","","St Louis Blues Festival","St Louis","MO","(314) 842-7775" "09/07/95","","J & J's Blues Bar","Ft. Worth","TX","(817) 870-2337" "09/08/95","","Blue Cat Blues","Dallas","TX","(214) 744-2293" "09/09/95","","White Rabbit","austin","TX","(512) 472-2221" "09/23/95","","Turning Point","Piermont","NY","(914) 359-1089" "09/27/95","","Scullers Jazz Club","Boston","MA","(617) 783-0090" SATAN & ADAM "08/01/95","08/02/95","Run Down Cafe","Kitty Hawk","NC","(919) 255-0026" "08/03/95","","Sit n' Bull","Maynard","MA","(508) 897-7232" "08/03/95","","Handlebar","Greenville","SC","(803) 233-6173" "08/25/95","","Cafe Lena","Saratoga Springs","NY","(518) 583-0022" "09/02/95","","Beloit College","Beloit","WI","(608) 363-2866" "09/02/95","","Memorial Union, Univ. of Iowa","Iowa City","IO","(319) 335-3364" "09/09/95","","North Star Bar","Philadelphia","PA","(215) 235-7826" "09/14/95","09/16/95","Riverfront Blues Festival","Fort Smith","AR","(501) 783-9575" "09/15/95","09/16/95","Old Town Frain & Feed","Ft Smith","AR","(501) 783-9575" "11/09/95","","Pittsburg Hilton","Pittsburg","PA","" RORY BLOCK "08/29/95","","Boulder Theatre, E-Town Show","Boulder","","(303) 786-7030" "09/06/95","","Freight & Salvage","Berkeley ","CA","(510) 548-7603" MICHELLE WILSON "08/26/95","","Loon Mt. Resort","Lincoln","NH","(603) 743-3085" WITH ROBERT CRAY !!!!! MERL SAUNDERS AND TRHE RAINFOREST BAND "08/03/95","","Double Diamond","Aspen","CO","(303) 920-6905" "08/04/95","","Mishiwaka Inn","Bellvue","CO","(303) 482-4420" "08/06/95","","Garton's","Vail","CO","(970) 479-0607" "08/08/95","","Johsha's","Breckenridge","CO","(970) 453-4146" "08/09/95","","Fox Theatre","Boulder","CO","(303) 447-0095" "08/10/95","","Fly Me To the Moon","Telluride","CO","(303) 728-6666" "09/08/95","09/09/95","Brewin' Beats","Arcata","CA","(707) 822-4950" "09/21/95","","Ritz theatre","Raleigh","NC","(910) 488-3620" "09/23/95","","Horn & The West","Boone","NC","(910) 488-3620" ALWAYS CHECK THE DATES FOR BOOKING INFO ONLY: FOR BOOKING CONTACT: SKYLINE MUSIC ~ Northeast/South/Midwest/International Bruce Houghton skylinebh@aol.com 508-463-8983 fax508-463-8967 Northeast/TX/AR/LA/Mountain/West Mark Lourie skylineml@aol.com 207-878-2330 fax 208-878-7625 Festivals/Fairs/Arts/Events Ronda Flashen 617-254-4310 ========================================================================= Date: Thu, 3 Aug 1995 08:30:47 EDT From: Robert Crocker Subject: Luther Allison on Motown Fans of Luther Allison should be warned away from an album called "Night Life" which is on the Motown label, as opposed to its Gordy subsidiary. There is little of the tasty guitar here which those who have experienced Luther live would expect -- nay, demand -- though "Night Life" finds other ways to disappoint as well. While the title track is a reasonably bluesy approach to a Willie Nelson song, there is really only one other blues song on the disc, and that's "Crosscut Saw". You'll go screaming to Albert King for a fix after listening to this soul-less and mechanical rendition. On most cuts, the horns are a lot more upfront than the guitar. There are several solos by the usually dependable David Newman, but, like Luther's licks on this LP, they are note-for-note perfect, clean, and devoid of feeling. Here's a track listing: Turn Back the Hands of Time -- B. Thompson / Jack Daniels (The band could of used some Jack Daniels; it might have loosened 'em up a bit!) I Can Make it Thru the Day (But Oh Those Lonely Nights) -- Ray Charles The Bum is Mine -- Allen Toussaint Hollywood be Thy Name -- Mac Rebennack (ARRGH! One of my favourite artist's worst compositions.) That's What Love Will Make You Do -- Milton Campbell (I'd have rather heard "Grits Ain't Groceries") Night Life -- Willie Nelson Full Speed Ahead -- David H. Jones Jr. / Wade Brown Jr. Cross-Cut Saw -- Ruth Ford Bloomington Closing -- Luther Allison I don't know whether this 1976 release has come out on CD or not. If you liked disco ... you might still hate this record. This one's a collector's item of the sort you'd want to file away with "Electric Mud". It was just never a good idea at all. Those who still wonder what all the excitement was about can find out pretty quickly with a listen to the two tracks which I know about, (Are there more out there somewhere????) from Ann Arbor, 1972. "Please Send Me Someone to Love" and "Walkin' the Dog" can be found on "Atlantic Blues -- Chicago. It's hard to believe we're listening to the same guy here. ========================================================================= Date: Thu, 3 Aug 1995 14:38:57 +0400 From: "Henrik R. Lassen" Subject: Greeney > >Well blow me down for a closet Peter Green lover, but does anyone know what the >story is on the CD by Gary Moore...Tribute to Green? > >I was told it was out in Europe, but I can't get it anywhere and no one seems >to know if it has been released in the U.S. Any leads from y'all? I'd go a >good distance to hear Gary Moore put a little more space in his guitar solos >and play tributes to Peter Green on his own (Peter's) guitar...as this CD is >rumored to demonstrate... > >Help? > >Cathi N. Yes, Gary Moore's newest, and probably once again commercially successful, attempt to cash in on the music which gave him a lift while he was growing up is definitely in the stores over here. It is called *Blues for Greeny* and is even displayed prominently in the window in several places. Moore did a festival here a couple of weeks ago, and apparently he concentrated on Peter Green material so my guess is that all the local fans are buying this release by the dozens. Like they did with the 'Cream' CD and the unmentionable albums which came before that. I'm afraid I can't give you much of an idea whether or not he is doing a good job here, but my guess is that he can make Peter Green's old guitar sound moorish without too much trouble ... (not that I'm fretting too much about it myself...). Interestingly enough, when you browse through the blues section in a record store in these parts at least half of what you find is actually soul covers (the Blues Brothers, the Commitments, that kind of thing) or Gary Moore albums. Not that I mind a whole lot - as we all know the customer is always right - it just seems a little puzzling that most people actually prefer these things to the real stuff, which is certainly available if you look hard enough. Still, I'd like to see what someone who has actually heard this CD makes of it. ======== Henrik Lassen ======== (passionate lurker) ==== Odense, Denmark ==== ========================================================================= Date: Thu, 3 Aug 1995 07:34:01 CST From: William Shute Subject: Charlie Christian,rehearsals w/ BG From: Bill Shute BENNY GOODMAN feat. Charlie Christian "The Rehearsal Sessions l940-41" Jazz Unlimited (Sweden) JUCD 2013 As a lover of both Charlie Christian's guitar playing AND the swinging Benny Goodman small groups, I flipped over this Swedish collection of BG/CC small group rehearsals. Contents are "Wholly Cats" 4 takes "Royal Garden Blues" 3 takes "Breakfast Feud" 5 takes "Gilly" 4 takes "Benny's Bugle" uninterrupted 28 minute (!!!) recording of the band doing take upon take, usually stopping partway through, lots of studio chatter personnel differ slightly from track to track here are collective personnel for the various sessions: Benny Goodman--clarinet, leader Charlie Christian--electric guitar Georgie Auld--tenor sax Cootie Williams--trumpet Count Basie--piano on most tracks (Ken Kersey on 2) Artie Bernstein--bass Harry Jaeger or Joe Jones--drums At their best (and they usually were), the small jazz groups of Benny Goodman in the l930s and l940s played some of the most exciting, swinging music of the swing era. Like most bandleaders with jazz backgrounds, Goodman used his orchestra to pay the bills and have the hits, and within the orchestra he had a small jazz group that would perform part of each show. Of course, the small groups would also make recordings...MANY recordings. These are the recordings which, for the most part, document Charlie Christian's work. CBS has issued a number of fine collections over the years featuring CC's gtr work in Goodman groups, and all are recommended, but this collection intended for the serious collector allows you to be a fly on the wall at actual sessions. Of course, Benny Goodman was a strict taskmaster and is always "in charge" (the "fish eye" he gave to band members who in one way or another annoyed him--often without knowing why themselves--is legendary among jazz/swing people), so don't expect to hear in-studio conversations with Charlie Christian jiving around. I don't think he says anything, though he may cough once or clear his throat. Though a tight, efficient little unit, the musicians do seem to be having fun from the laughs you hear, altho I wonder how much Cootie Williams is laughing after the 22nd time Goodman has him do the intro to "Benny's Bugle"! The basic form of each Christian solo seems to have been worked out in advance, but hearing the subtle changes and different improvisational directions an artist like Christian can take even within the strict parameters of a Goodman date is what will make this CD fascinating for the Christian fan. Another CC/BG oddity that I have somewhere is a privately-pressed album on Jerry Valburn's "Blu-Disc" label which has a jam called "Waiting for Benny" which is a long section of the BG group minus Benny playing around while literally WAITING FOR BENNY to arrive at the session! And of course, Christian appears on a number of "airchecks" of the Goodman band too. BTW, people who want to check out the OTHER great electric gtr pioneer (and let's don't forget Eddie Durham w/ the Lunceford band), BOB DUNN of Milton Brown and His Musical Brownies (who first recorded on electric in early '35--he doesn't play electric on the'34 BRown session for Bluebird that have been reished on RCA and Texas Rose), will be happy to know that Decca has promised a Milton Brown box set some time this year. Let's hope that settles this silly "who did what when" argument about the roots of electric gtr, and we can all just get down to enjoying ALL of the pioneers! Dunn's unique-sounding slide gtr playing should certainly interest many blues fans, as should Brown's largely blues-based repetoire within the western swing idiom. Finally, another interesting release on this Swedish "Jazz Unlimited" label is of l938 FLETCHER HENDERSON sides, two complete 30 minute radio broadcasts. Purists should be warned, however, that at this time Henderson was riding the wave of popularity he had as Goodman's arranger (he's referred to alternately on the shows as "The King of Swing"--which Goodman himself called "Smack"--or "The King of Swing Arrangers") and thus he's working clearly in the swing genre for a national lowest-common-denominator radio audience, recorded at a swank Chicago club. The "boy singer", as they were called then, on a few tunes is quite grating to today's ears...still, Smack and crew are in fine form, and ANY Henderson performances are precious to me. He always could swing, and his roots in "classic blues" never totally left him, whatever the environment. If I were a millionaire, I'd start a museum to Fletcher Henderson! Bill Shute, San Antonio, TX counting down the days until our blues-l San Antonio get-together with TEXAS JOHNNY BROWN!!! ========================================================================= Date: Thu, 3 Aug 1995 07:39:59 CDT From: Dave Kneifl Subject: Blues on PBS The PBS station in Madison, WI (21) is airing "BB King...Live from the Woods", featuring BB, Buddy Guy, Eric Johnson, Lonnie Brooks, Koko Taylor, Gregg Allmann and Junior Wells, this Saturday at 8 pm. Those of you in Madison may not want to miss this. (So as to not take away Bonnie's audience, set your VCRs so you can still listen to Two For the Blues ;-) ) Apparently the BB King show is a 1993 concert recorded at Cynthia Woods Mitchell Pavilion, north of Houston. Then at 9 pm will be Austin City Limits, this week featuring John Mayall, among others. These shows will probably make their way around the country in the next couple of weeks. Check your listings. DK Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning "A computer's attention span 432 N Lake Street Rm 104 is only as long as its Madison, WI 53706 power cord." - unknown ========================================================================= Date: Thu, 3 Aug 1995 08:45:18 -0400 From: "Peter K. Siegel" Subject: Muddy's House You're already living in Muddy's house. Enjoy it! Peter K. Siegel, Henry Street Folklore, Brooklyn NY ========================================================================= Date: Thu, 3 Aug 1995 08:04:01 CST From: William Shute Subject: Eckstine/Turner/Otis "completer" CD From: Bill Shute BILLY ECKSTINE/BIG JOE TURNER/JOHNNY OTIS "Completer Disc" R&B Reflections Series Savoy Jazz (Japan) SV-0278 (CD) The other day, I discussed the Savoy Jazz CD reissue of a late 70s/ early 80s 2-lp Vinyl "Savoy Jazz" reish of classic 40s/50s Johnny Otis sides called "The Original Johnny Otis Show" (Savoy Jazz, Japan, SV-0266) and mentioned that for CD time limitations, 5 of the lp-set's 32 tracks had been lopped off. Well, evidently, the Japanese Denon folks also did that with CD reissues of old 2-lp sets by Billy Eckstine and Big Joe Turner, so in methodical fashion they have issued this 15-track "completer disc" which has the five tracks lopped off of each CD! The Eckstine set and the CD begin with a string-backed ballad that most will skip through, but the other four tunes with a small jazz/ R&B combo featuring such greats as Sonny Criss and Wardell Gray (Mr. B always could put together great bands!)ought to interest anyone who likes the sometimes-lugubrious, sometime sonorous tones of this popular-with-the-ladies balladeer (my Mom always loved him... in fact, I ought to tape her these sides! In the l940s as a waitress at a cafe in Boston, my mother served Mr. Eckstine! Unfortunately, she doesn't remember what he ordered, but that he was a really nice guy (she told him "I'm a big fan of yours, Mr. Eckstine!" or something like that, he shook her hand and chatted with her for awhile)). And it's always great to hear another interpretation of Ellington's "Sophis- ticated Lady." The next five tracks feature l947 sides by Big Joe Turner (no, my mom never served him, sorry!). I had one of these, "Hollywood Bed" (another rewrite of "Cherry Red"), on an old l950s Savoy 12" album, and the rest are the kind of booting proto-rocknroll r&B that the master always servedup, whatever the decade. What can you say about Joe Turner, except that if you dig him you want all his recordings, and if you're not yet under his spell these PRIME l947 sides ought to hook you? As for Johnny Otis, my reason for mentioning this disc, these last five tunes unintentionally capture a cross-section of Otis' multi-faceted approach to R&B-- "Because I Love My Baby So" sung by Otis and Mel Walker, altho having a vocal group sound that made me think it was The Robins until I checked the personnel. "Beer Bottle Boogie" sung by Marilyn Scott, this is one of those tunes that, while R&B, is pure rocknroll too, altho from l950 (as all these are). "Uneasy Blues" (marilyn scott) and "Love Will Break Your Heart For You" (little esther" show that Otis' orchestra could handle mid-tempo heartfelt blues and the slower moodier pieces both convincingly and swingingly (if that's a word!). "Rockin' Blues" Mel Walker ends the CD with this fine and mellow anthem, with Otis' vibes-playing as always creating some interesting textures within the ensemble sound. What a band Johnny Otis had at this time! Whether on these Savoy sides under his own name or on the backing the band did for various journeymen vocalists that are now being reished on Night TRain, Otis' orchestra could probably record a dozen tracks a day (they may well HAVE on some days!) and never lose their freshness. undoubtedly, the constant road work and constant residencies at the Barrelhouse Club kept them at peak form at all times. BTW, when I was carrying an Otis CD down the hall at work the other day, one of my workmates, a guy in his mid 50s, stopped me and asked "is that Johnny "Hand Jive" Otis you have? I used to watch his TV show all the time when I lived in LA...what a hip guy...what a...." etc. etc. And this is a man who probably hasn't bought a record since l962! Yet the thought of Johnny Otis lit up his face and he asked for a tape of the CD! Bill Shute San Antonio, TX (who's waitin' for Buck Owens' two days at the Continental Club later in Aug...any other fans of the Bakersfield Sound out there? Wynn Stewart! Tommy Collins! Hag! ahhhhhhhh...nothing finer!) ========================================================================= Date: Thu, 3 Aug 1995 08:10:34 CDT From: L W Subject: My B'day Present (guitar chat) I got a 1970 Gibson J-50 acoustic for my B'day last night, from my wife, of course. I played it about a two months ago and then I took my wife by there to hear it. It was at another store, but they got it back for me. She bought this guitar over a month ago and said the only reason she went to the guitar show with me was to prevent me buying an acoustic.. We stopped by since then and I noticed the guitar was gone. I asked the guitar tech (who previously owned it) where did THE guitar go...He said 'What guitar you talking about'....he said "I don't know I think I sold it....etc So he was "in on it" also as was my best friend, he told me last night the wife dropped it off one morning and said "keep this for awhile, I'll explain later" ........... I knew he was acting funny, cause he knew exactly which guitar....The one with THE TONE,.....Incredible tone, fine, fine guitar LW ========================================================================= Date: Thu, 3 Aug 1995 09:18:30 +0000 From: "P.W. Fenton" Subject: Re: Blues on PBS Dave Kneifl tells us... > The PBS station in Madison, WI (21) is airing "BB King...Live from the > Woods", featuring BB, Buddy Guy, Eric Johnson, Lonnie Brooks, Koko > Taylor, Gregg Allmann and Junior Wells, this Saturday at 8 pm. Those > of you in Madison may not want to miss this. > (So as to not take away Bonnie's audience, set your VCRs so you can > still listen to Two For the Blues ;-) ) > > Apparently the BB King show is a 1993 concert recorded at Cynthia > Woods Mitchell Pavilion, north of Houston. By all means listen to Bonnie, and bother with the VCR only if you must. To give you an idea of how poor the performances are on this show, Eric Johnson plays the best Blues on it. (I'm serious) B.B. is the worst I've ever heard (worst guitar sound and worst playing, and strained singing). Junior Wells comes out on stage with a harp in the wrong key, and proceeds to TRY and bend all the notes right. He walks off and never returns. Buddy is the least effective that I've ever seen. It appeared to be very, very, hot there. They all look soaked with sweat and exhausted (or drunk). This was such a dissapointment, I taped over it.(And I have a copy of everything available by B.B.) It line-up sounded so good too. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 3 Aug 1995 08:27:16 -0500 From: Bruce Roberts Subject: Music & Heritage Celebration The 2nd Annual 6th Street Music and Heritage Celebration is this Friday, Saturday, and Sunday. There are three stages each night. Friday - Aug. 4: Larry McCray Little Sister Todd Snider Sunflower JACKOPIERCE Saturday - Aug. 5: Kenny Wayne Sheppard Robert Cray Miss Molly Popa Chubby BreedLove Storyville Sunday - Aug. 6 Ivan Neville Chris Duarte Joe Ely George Thorogood Jill Sobule Deep Blue Something Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 3 Aug 1995 09:22:49 EDT From: "Eric C. Shoaf" Subject: Blues in Russia Information from the WWW shows an interesting Blues music club has just opened in St. Petersburg and that Blues is becoming more popular in Russia. The club is called "Blues Brothers" but has nothing to do with HoB or Ackroyd. This is a strictly homegrown venture. Further information is available at the URL http://www.spb.su/lifestyle/112/music.html E. Shoaf ========================================================================= Date: Thu, 3 Aug 1995 09:44:49 -0500 From: VT Subject: Re: michael hill Thank you for your considered response Don. I would like to point out a contradiction - you say that you agree with me both at the beginning and the end of your post, and then spent the rest of your post DISagreeing with me :-) :-) No, I don't need people to agree with me all the time - in fact I think that some controversy is interesting. However I am still trying to understand some of your reasoning - you agree that people should listen with an open mind for themselves - then promptly tell them this is not blues to you. Yes, I do believe you when you say that you are entirely reasonable - but why the insistence that this is NOT blues? Like you said people are unlikely to convince each other on this. Then you objected to them taking blues to other places - why? they are just one band doing their thing - what's the danger? You then named others who do "new" blues, are these somehow "better"? - I think people should listen to them ALL. I know I will, and thank you for telling me about some of them. Surely as you said yourself - people should be the judge themselves - to listen to Michael Hill's BLUES Mob - without prejudice? In that way, I agree with you 100% too :-) :-) :-) Vincent p00061@psilink.com >DATE: Tue, 1 Aug 1995 14:30:03 -0600 >FROM: Don O > > > From: VT > > > Might I suggest that people should listen with an open mind and > > decide for themselves? > >Absolutely. The only two critics you should ever trust are attached to the >side of your head. They're called ears. > >I think this band is another example where people's opinions will vary widely. >The EC thing all over again. > > > Like Michael Hill says "We honor the tradition of the blues, but at > > the same time we take it to other places...." > >and there is where the disagreements begin. Some folks, me included, would >rather they not take it to other places, but rather make new blues. The big >argument comes in over just how far they can change something from the >traditional form and still have it be considered blues. To me, personally, >what they are doing is not blues. The Living Blues critics poll can tell me >it's blues, but that doesn't mean I have to agree with or believe them. I >don't. Tutu Jones was a runner-up. He's not taking the blues to new places, >he's making new blues. Major difference. Let's look back in 10 years time at >it. > > > We lament the stagnation of the blues. But what I see is many of today's > > Blues bands unfortunately only "cover" the classic material from the 50's > > and 60's, and even their "originals" seem to be imitation of the art of > > the 50's and 60's. > >Many of them are imitators. But the creators are out there, doing it within >traditional forms and making some great new blues. Larry Garner, Charlie >Sayles, Joe Louis Walker, Johnny Copeland, and many more. I don't hear much >lamentation about the stagnation of the blues. Particularly on this list. > > > It is entirely reasonable NOT to like what they are doing or not be > > impressed with them, but it is misleading to call them funk or > > anything other than BLUES. > >Call me entirely reasonable. They are something other than blues to me, >personally. If you consider them blues, great. No they are not funk. I don't >know what they are. Closer to rock, I think. They are talented musicians. > >This is a band that we can argue over endlessly without changing anyone's mind. >I agree 100% with Vincent, give it a listen and form your own opinion. > >Don O. ========================================================================= Date: Thu, 3 Aug 1995 15:48:23 +0200 From: Peter Gallagher Subject: Re: L** Z** sound alikes? If my bad memory serves me correctly (for a change :) ), "Gallows Pole" was a Leadbelly number. Back in the 70's(?), a band called Ram Jam did a version of "Black Betty", which my unreliable memory suggests was also written by Huddie "Leadbelly" Ledbetter, who apparantly charmed his way out of the pen no less than twice, with his songs and playing. Pity Leadbelly gets so little press here on the list - he was an enormous influence and IMHO very much under-rated/under-appreciated by his fellow countrymen and blues-lovers around the world. He had a giant of a voice and played great 12-string. regards, PeterG > I know I risk the wrath of many participants of the list by even mentioning L** > Z**,(please send all flames privately. I do NOT want to start another brushfire > on the list). > > I have a friend that was listening to one of my tapes and commented that he > sorta liked what he heard (ok, it was a live tape of UO's recent blues tour). > But he said what he REALLY liked was the early Led Zepplin stuff. So I was > wondering if anyone could suggest some _real blues_ that might have a similar > feel that I could introduce to my friend and improve his musical taste? > thanxs > Red > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 3 Aug 1995 09:51:20 -0400 From: Steve Levine Subject: BB King Commercial I saw a Wendy's commercial last night which featured BB King. In the commercial he's jamming with his band, eating some new Wendy's burger and doing a voice over of a letter to the owner of Wendy's about how much he and his band love this new burger. He says something like "It was so good me and Lucille played the blues all night." Then the Wendy's guy Wendy's guy writes back, telling him something about getting over the blues. I'm not much of a tv watcher but it was nice to see BB on a commercial and hear him play. ========================================================================= Date: Thu, 3 Aug 1995 08:50:27 CDT From: L W Subject: ----------------------------Original message---------------------------- >"Leadbelly" Ledbetter, who apparantly charmed his way out of the pen no >less than twice, with his songs and playing. JFTR: In my reading , I find that Huddie singing for his parole has never really been "confirmed".....I think it is based on "heresay"....I of course, never knew Ledbetter, so I'm just repeating what I read....I've also read different reasons why he got nicknamed "Leadbelly"...one being he had been shot so many times and the other was when he/them were working on the railroad line Huddie would sit down "on the job" a lot and they would say man you gotta lead belly or something like that....Goodnight Irene and Midnight Special are two of his tunes that stickout....Kent DuChaine's National is known as "LeadBessie" one of the best guitar names I've ever heard... LW ========================================================================= Date: Wed, 2 Aug 1995 20:18:00 -0400 From: JOSE LUIS DENTE Subject: thanks! Hello All! special greetings and thanks for Fred (I'll send you private e-mail soon), Dan (yes, my son Bruno, 6 years old, have a better English than me ;-) ), Steve, Jon and PW Fenton, who amiably sent me their opinions concerning with my former inquire! Think that I'll choose between a Strato and a Tele at the moment of the purchase, any day the next month. I love the way a Tele sounds, but also like the versatility of the Strato. The Les Paul isn't for me, definitively. My last Squire (made by Fender at Japan, they say :-) ), wasn't a bad guitar, but neither too good. Its price here rounds the 350$, while the original Tele 850$. I think that worth the difference. Now I'll be very glad if someone hints me blues musicians in the style of Lonnie Brooks, Johnny Walker, Jimmy Johnson, Eddie Shaw, Carey Bells, J.Lee Hooker, Big Mama Thornton and of course Muddy Waters or Robert Johnson. Have in mind that the blues is (unfortunately) a kind of music not easy to find here. I've got the Robert Johnson Coplete Recordings (Columbia), how "complete" is this? there should be more! At last: we (the average citizen in Argentina) only can access Internet via gophermail (NOT on-line, NOT www, NOT newsgroups...sigh!) Navigating about & about I found some sites with lyrics, "tablatures" and some other stuff of concern... but not toomuch blues. And ALL is important for me. Could anybody tell me something about this? Where can I go for more? I ask for the archives list in Blues-L, via "index" command, but no description is given there. Thaks a lot! I really like to read you all. Greetings Jose Luis Dente jldente@lancernet.com ========================================================================= Date: Thu, 3 Aug 1995 09:29:51 -0500 From: Roger Struve Subject: First Paying Gig Well, how about a discussion of everyone's first paying gig? I had mine Tuesday night. A friend (from St. Paul, MN) has this girlfriend who went to Moline (with her brothers, but not with my friend--he got a new canoe and headed north with it, while she headed south) and heard me play on Sunday at the Workshop tent at the Mississippi Valley Blues Festival. She came back up to the Twin Cities, and told Gib (my friend) she wanted me to play at her block party. (How sardonically ironic, that I had to go all the way to Moline so someone from up here in Minnesota could hear me) So, i went and played (still don't have much of a repertoire, but i'm up to 5 good songs i can play in open A)...and some neighbors of color came up to me when i finished my set, and told me they liked (?) my blues, and please not to stop...and i said, well, sorry, but i played everything i know...and they said, hey, we don't mind, play it again... SO, i ended up playing 3 sets (small changes each time...i forget and start playing other songs within the songs i am doing...sort of makes them sound the same and different at the same time, sometimes)...(about 45 minutes in all)... They gave me $3 for my efforts... It was the most fun $3 i ever earned. regards, delta doc roger ========================================================================= Date: Thu, 3 Aug 1995 09:31:17 -0600 From: Ranko Vujosevic Subject: Jessie Mae Hemphill Fund Allright! We collected $330 for Jessie Mae Hemphill. I talked to Dick Waterman last night and he will buy a new A/C in Oxford (Miss), big enough to handle her trailer room (estimated $150). A/C will be delivered by Patty Johnson from Clarksdale, who is in constant touch with Jessie. I suggest that the rest of money be given as cash to Jessie. It will be done unless I hear some other proposals. Some people suggested we prepay her electric bill, but I tought we better give her money and she will know what's best to do. This should all be done by the end of this weekend. I will report on this on Sunday evening. I want to thank everybody who participated in this action. The final list of contributors is: 1. P. W. Fenton $10 2. Oded Maron $10 3. Ranko Vujosevic $10 4. Bonnie Kalmbach $20 5. Mark and Ellen Naftalin $50 6. David Silberberg $10 7. Don O $10 8. Dana White $10 9. jmf@das.harvard.edu $10 (please, send your name) 10. Bluzman Ed $10 11. East Michigan Blues Society $10 12. Paul and Beth Garon $20 13. Gary Joneson (Island) $20 14. Karen Johnson $20 15. Bob vanArsdall $10 16. Gary Constantine $20 17. Garry Segal $10 18. Pat Seger $10 19. James Carmin $10 20. Gary Hudak $10 21. Lee C Spector $30 22. Craig Edmundson $10 Total: $330 Please, send checks IMMEDIATELY to: Ranko Vujosevic Johnson County Blues Society PO Box 2114 Iowa City, IA 52244 ========================================================================= Date: Thu, 3 Aug 1995 10:39:24 +0000 From: "P.W. Fenton" Subject: Bobby Blue Bland in hospital I just heard that Bobby Bland suffered a stroke and is in a Memphis hospital? Can anyone confirm this, or add details? P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 3 Aug 1995 09:43:16 CDT From: L W Subject: Jessie Mae Hemphill Fund ----------------------------Original message---------------------------- When I give the check (recieved it yesterday) to the DBM: If I do "touch on" what BLUES-L is all about, CAN I mention this fundraiser briefly ????????/ LW ========================================================================= Date: Thu, 3 Aug 1995 11:00:27 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Colin Linden Website I've added a link to Colin's page at That Blues Music Page at the Weightless Dog: http://www.charm.net/~turtle Be sure and also check out the many other blues and music-related links, as well as info on digital video, MPEG, and, well, weird stuff. Feel free to wander around! Turtle ========================================================================= == <> <> ========================================================================= Date: Thu, 3 Aug 1995 10:14:21 -0500 From: Bruce Roberts Subject: Alberta Hunter I was listening to NPR this morning and only caught part of a story about someone doing a play about the life of Alberta Hunter. Does anyone know anymore about this? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 3 Aug 1995 11:22:31 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Bill Broonzy question Item Subject: Message text A long time ago I had an LP of Bill Broonzy on which he played an instrumental solo version of "St Louis Blues" that sounded alot like a version done by John Fahey on his "Best of...". The label of the Broonzy tune was one of the old cheapy labels like "Sound Archives" or the like. Does anyone know of a Broonzy CD out there that contains an instrumental version of "St Louis Blues"? Jim Smith ========================================================================= Date: Thu, 3 Aug 1995 17:33:21 +0400 From: "Henrik R. Lassen" Subject: Gallows Pole >If my bad memory serves me correctly (for a change :) ), >"Gallows Pole" was a Leadbelly number. Peter Z Gallagher Leadbelly is given credit for this song, of course, and it is probably among the most exciting of his performances (IMHO). What's interesting, however, is that more-or-less identical versions of the self-same song can be found in English folk tradition going back at least 200 years. Not that I really think Plant & Page perused mouldy collections of English folklore..... ======== Henrik Lassen ======== (passionate lurker) ==== Odense, Denmark ==== ========================================================================= Date: Thu, 3 Aug 1995 15:34:00 +0000 From: Pat Hertel Subject: first singing gig Playing in front of a crowd of people is a sweaty experience but .. I don't really know how to phrase the question ... how do you sing in front of a crowd? How do you get through that first time? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [3/8/95 11:31 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 3 Aug 1995 10:33:43 -0500 From: Jeff Seale Subject: Re: Jessie Mae Hemphill Fund This is what makes this list so darn good. This isn't just a list of cyber-babble, but we try to make a difference about the thing that we all agree we love, BLUES. Give yourselves a pat on the back! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Thu, 3 Aug 1995 10:51:07 -0600 From: Ranko Vujosevic Subject: Big Bill Broonzy Well, about 10 days ago I went to Ames, Iowa, trying to find a trace of Big Bill Broonzy's stay and work at The Iowa State University. They could not find any information in the Personnel office. I called Janitorial services - they don't keep records for more than 5 years on anybody. I then went to Music School and found a professor who teaches "The History of African-American Music," hoping he might have heard about this and did some search. He was surprised to hear about that and said, "Well, I did not have any reason to do any reserahc on that." I had to walk around campus just about 5 days after knee surgery. Unfortunately, it did not pay off. Came back with no success in "searching for B.B. Broonzy." Ranko ========================================================================= Date: Thu, 3 Aug 1995 11:39:48 -0500 From: Mike Heidenberg Subject: Re: Greeny (note for those sensitive to flaming: this ain't a flame, not at all....) Hi there. Henrik asked about the Blues For Greeny CD. He expected it to be just like all of Gary's other blues albums. Well, speaking as someone who actually owns the CD, it is _not_ like all the rest. Gary plays with great taste and restraint, lovingly emulating his mentor and friend Peter Green. There is _no_ overplaying on this album, and Gary seems to have set PG's own playing speed (usually slow, but quite fast in his own right when he felt like it) as an upper speed limit for his playing. Gary's singing does not have that mixture of fire and longing that so characterized PG's voice, but he does a good job (occasionally better than good) on that front as well. As many of you know, I am a _very_ devoted Peter Green fan. I know what musical heights PG was (is?) capable of reaching, and I must admit that Gary's tribute to his mentor doesn't _quite_ attain that level of brilliance. But it's still light-years better than most other "tribute" CDs... Also, re "cashing in:" Gary's not cashing in on this. Think about it. Gary made his first attempt at a blues release _five years ago_ , _before_ there was this "blues bandwagon" that everyone accuses him of jumping on. In truth, it's probably due in no small part to the commercial succes of that first album that _others_ jumped on the "bandwagon" _after_ him. Additionally, if he'd _really_ wanted to cash in, he could have stayed on in BBM with Jack Bruce and Ginger Baker- lots of people would pay to see "son of Cream." Or he could have just continued making the "loud and fast" blues albums that had rejuvenated his career. And by _not_ playing loud and fast, Gary may well alienate his biggest fan base.... By recording an album entirely of PG songs, Gary receives _no_ songwriting royalties, so that's another way he stands to _lose_ money on this album. Also, hard though it may be for guitarists and blues fans to believe, a lot of people have _no idea_ who Peter Green is; he certainly doesn't have the name recognition of Michael Jackson, or probably even that of Buddy Guy. The public at large (and even many of Gary's fans) aren't automatically going to say (as I did) "Gary Moore plays the songs of Peter Green? Wow- gotta have _that_!" If you really stop to think about it for a minute, there is absolutely NO good commercial reason for Gary to have made this album. Much as we'd like to think that everyone loves the "real" blues, that's simply not true. No, I think I'm going to have to say that this album was a labor of love.... -Mike ========================================================================= Date: Thu, 3 Aug 1995 12:21:24 EDT From: Utpal Dholakia Subject: An interesting survey Hi: I am a graduate student in marketing at the University of Michigan. As part of a research project, we are looking at involvement, attitudes and feelings of people when buying different products. I have an interesting survey which asks different questions about a particular product. If anyone on this list would like to fill out the survey, e-mail me for a copy of the survey at paulmd@umich.edu or utpal_dholakia@ccmail.bus.umich.edu Utpal Dholakia, 2259, Business Administration Bldg., 701, Tappan Street, Ann Arbor, MI - 48109. P.S.: I have taken permission from your list-owner to post this message. ========================================================================= Date: Thu, 3 Aug 1995 09:37:49 -0700 From: James Carmin Subject: Pick of the week: UP WILSON Just picked up the new Wolf release, TEXAS BLUES PARTY, VOLUME 1: THE TEXAS TORNADO U.P. WILSON and it's a killer! It's my first U.P. and I'm wanting more now. Recorded live at a Dallas club, Schooner's, and produced by TopCat's Richard Chalk and Tom Loughborough, it's a hard-driving recording that features U.P. on lead slashing guitar and raw but effective vocals, and TUTU JONES on backup guitar who fits in real nice with U.P. Having some slow blues, but mostly some powerhouse guitar work, this fine recording is dedicated to T-Bone Walker so how could it be bad? This "controversial" disc (because U.P. wrote in Blues & Rhythm that this was a boot, but later retracted the statement) is sure to please lovers of electric Texas blues. And I don't buy Living Blues's critic's Bill Dahl's comment that the disc ending track, THE THRILL IS GONE, sung and led by Tutu is "totally superfluous." Instead, I see it as a bonus: more Tutu to listen to! James C. jcarmin@teleport.com ps: still, it's hard to get Henry Qualls out of my cd player! ========================================================================= Date: Thu, 3 Aug 1995 11:33:09 PDT From: "R. J. Bauman" Subject: Re: First Paying Gig =================Well, how about a discussion of everyone's first paying gig? I had mine Tuesday night.================ Mine was a week long engagement as a pit drummer (I called myself a percussionist) for a way off broadway production of "Caberet." Just me and an 8' grand piano. That was when I was 12 years old. I Made $20.00 The theatre was on an old airforce base and they reallocated the building to another use about 15 years ago. The piano we used in that production was still there. Funny thing was, it was RENTED in 1970 by a very rich (and none too smart, apparently) local philanthropist and the lady just kept paying rent on it month after month for 8 years for the theatre company to use. When she died the piano had been paid for many times over so the piano company let the local Arts Guild have it. It was in sad shape. My family bought it. It blew me away the first time I played a different piano that I didn't have to *pound* on to play a note. I think that damned piano is responsible for the way I treat computer keybords today! RJ Bauman ========================================================================= Date: Thu, 3 Aug 1995 11:37:57 CDT From: L W Subject: Weather In Clarksdale I suspect it will be stormin in Clarksdale....Does anyone near the area know what the forecast says.... Surely you don't think I'd stand in the rain just to see a bunch of blues performers do you :-) LW ========================================================================= Date: Thu, 3 Aug 1995 09:45:21 -0700 From: Jeffrey Taylor Subject: Re: First Paying Gig I don't know if this counts. My wife is doing an internship at Stanford Children's Hospital this summer. I transferred down to the Palo Alto office of my employer. I noticed a guitar case in the office of one of the other engineers. We got to talking and he invited me to sit in with them. They have a steady Thursday night gig in a neighborhood bar in Santa Clara. So I went. They didn't throw me off the stage, so every Thursday night I'm playing 2nd guitar covering blues and rock and roll tunes. They have books of lyrics, but no charts. My hand-eye coordination is okay, I can watch the other guitar and play the same chords, somewhere else on the neck when I'm feeling comfortable. When he solos, I'm left without a clue, my hand-ear coordination isn't up to speed yet. We are playing for drinks, fame, tips (none so far) and experience. I wore my BLUES-L T shirt, playing at the heart of the Silicon Valley. ===================================== Jeff T "Blues with a feeling... ===================================== On Thu, 3 Aug 1995, Roger Struve wrote: > Well, how about a discussion of everyone's first paying gig? > > I had mine Tuesday night. ========================================================================= Date: Thu, 3 Aug 1995 12:10:12 CDT From: Dave Kneifl Subject: Re: Blues on PBS Having never seen the show, the lineup sure sounded great when I read about it. Thanks for the insight anyway. I am a fan of all of the musicians listed, including Eric Johnson, although I was a bit surprised to see his name on such a blues-heavy bill. He is more or less a rock guitarist/showman. As far as the heat in Houston, I've only been there once, and I hope no one who lives there takes this the wrong way, but let's just say, if it was Houston, it *WAS* a hot night. DK -------------------------------- Dave Kneifl tells us... > The PBS station in Madison, WI (21) is airing "BB King...Live from the > Woods", featuring BB, Buddy Guy, Eric Johnson, Lonnie Brooks, Koko > Taylor, Gregg Allmann and Junior Wells, this Saturday at 8 pm. Those > of you in Madison may not want to miss this. > (So as to not take away Bonnie's audience, set your VCRs so you can > still listen to Two For the Blues ;-) ) > > Apparently the BB King show is a 1993 concert recorded at Cynthia > Woods Mitchell Pavilion, north of Houston. -------------------------------------- By all means listen to Bonnie, and bother with the VCR only if you must. To give you an idea of how poor the performances are on this show, Eric Johnson plays the best Blues on it. (I'm serious) B.B. is the worst I've ever heard (worst guitar sound and worst playing, and strained singing). Junior Wells comes out on stage with a harp in the wrong key, and proceeds to TRY and bend all the notes right. He walks off and never returns. Buddy is the least effective that I've ever seen. It appeared to be very, very, hot there. They all look soaked with sweat and exhausted (or drunk). This was such a dissapointment, I taped over it.(And I have a copy of everything available by B.B.) It line-up sounded so good too. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning "A computer's attention span 432 N Lake Street Rm 104 is only as long as its Madison, WI 53706 power cord." - unknown ========================================================================= Date: Thu, 3 Aug 1995 13:16:24 -0400 From: Marcia Grodsky Subject: Check for DBM and missed mail Well, in spite of the fact that I totally screwed up on mailing the money order (long boring story) it DID arrive according to LW. So presentation plans can go ahead (when Fed Ex told me they didn't have next day service to Springvale, Al. I envisioned being hung in effigy at the festival --- but apparently they lied). I've ben off work and I forgot to compress my email before I left and, of course, went over my quota, and some mail has bounced. I'm sorry if I've screwed things up for anybody and if you sent me mail yesterday or early this morning, please resend. ---Marcia ========================================================================= Date: Thu, 3 Aug 1995 12:23:10 EDT From: Toby Levy Subject: Re: Muddy's House In the process of moving offices I was about to put up my poster of Robert Johnson that was a centerfold of some guitar magazine a few years ago, when I noticed that on the back there was an article about the guitar that ZZ Top made from Muddy's house. When I read the messages about taking splinters from Muddy's house and saw that ZZ Top was accused of taking a whole wall, that kind of upset me since I am rather fond of the bearded ones. Anyway, here's the story, directly from the mouth of Billy Gibbons as told to Dan Forte of whatever magazine it was in: [Gibbons was escorted to Muddy's house by Sid Graves of the Delta Blues Museum] "As we were departing, a roof beam that was in the pile of trash to be hauled off was donated as a souvenir. Subsequently, on the ride back to Memphis, it dawned on us to have a guitar fashioned out of this piece of wood. Upon completion, it was donated back to the museum, as a sort of our contribution focal point -- paying homage to this American Art Form." So there! Toby ========================================================================= Date: Thu, 3 Aug 1995 13:40:23 EDT From: Robert Crocker Subject: Two Luthers Mike Heidenberg has written to correct me, and he's quite right. Although the outer sleeve of my cassette version of "Atlantic Blues: Chicago" wrongly attributes both cuts to Luther Allison, in fact, and as the more detailed interior notes have it, that is Luther Gtr. Jr. Johnson and the New Hawks' version of "Walkin' the Dog". Atlantic got a lot of mileage out of this one, since it's also on the "Blues Explosion" lp from the 1982 Montreux Jazz Festival, along with J.B. Hutto. Makes you that much hungrier for a more complete '72 Ann Arbor set, doesn't it? Mea culpa, robo ========================================================================= Date: Thu, 3 Aug 1995 13:05:12 -0400 From: Willy Evans Subject: Re: first singing gig On Thu, 3 Aug 1995, Pat Hertel wrote: > Playing in front of a crowd of people is a > sweaty experience but .. I don't really > know how to phrase the question ... how do > you sing in front of a crowd? How do you > get through that first time? > You just got to do it. You never get over being nervous, entirely, but you get used to doing it and you get more comfortable in front of people. You've got to remember that the crowd wants you to be good and are usually on your side! I will restate, and I know that a lot of people disagree, but do not drink to calm your nerves. I never drink when I gig (and it ain't because I don't like drinking!) and I find that it is easier to deal with stuff. If you get used to haveing a drink, it becomes part of your routine and you can convince yourself that it is necessary to your performance. I don't know of anyone who is better when they have been drinking! Let me off this soapbox, I'm getting dizzy! Keep playing!!! It's fun!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Thu, 3 Aug 1995 10:31:04 -0500 From: VT Subject: Re: Greeney (RE-post of REVIEW) >DATE: Thu, 3 Aug 1995 14:38:57 +0400 >FROM: Henrik R. Lassen > >> >>Well blow me down for a closet Peter Green lover, but does anyone know what the >>story is on the CD by Gary Moore...Tribute to Green? >> >>I was told it was out in Europe, but I can't get it anywhere and no one seems >>to know if it has been released in the U.S. Any leads from y'all? I'd go a >>good distance to hear Gary Moore put a little more space in his guitar solos >>and play tributes to Peter Green on his own (Peter's) guitar...as this CD is >>rumored to demonstrate... >> >>Help? >> >>Cathi N. > > Yes, Gary Moore's newest, and probably once again commercially >successful, attempt to cash in on the music which gave him a lift while he >was growing up is definitely in the stores over here. It is called *Blues >for Greeny* and is even displayed prominently in the window in several >places. Moore did a festival here a couple of weeks ago, and apparently he >concentrated on Peter Green material so my guess is that all the local fans >are buying this release by the dozens. Like they did with the 'Cream' CD >and the unmentionable albums which came before that. > I'm afraid I can't give you much of an idea whether or not he is doing a >good job here, but my guess is that he can make Peter Green's old guitar >sound moorish without too much trouble ... (not that I'm fretting too much >about it myself...). > > ======== Henrik Lassen ======== OK, for Cathi N. and my friend Henrik - here's the little review I posted back in June on this CD: ==================RE-post of REVIEW================================ Date: Sun, 4 Jun 1995 15:59:05 -0500 From: VT Sender: Blues Music List Subject: Mini REVIEW Blues CD - UNsolicited Opinion There are many on this list who have a great deal of respect for PETER GREEN guitarist/vocalist extrordinaire with the early version of FLEETWOOD MAC. (yes, it was him who went crazy in the late 70's....) There appears to be many who have very little time for GARY MOORE - apparently dismissed for shredding guitar work and is classified as a heavy metal rock guitarist with no idea of restraint..... although I think many who posted LIKE expressing their disapproval for the "correct image" (I really am into more AUTHENTIC blues - BECAUSE I DON'T like so-&-so....) I have long advocated "listening withOUT prejudice" - so here's your chance to be BROADMINDED, or will statements of DISlike blind us from truly HEARING? GARY MOORE BLUES FOR GREENY Virgin (U.K.) ~Sterling 11pds Fellow Blues-L'er Mike (who shall remain nameless) Heidenberg asked me to pick up a copy of this CD while I was in the U.K. (I *was* there, and you didn't even notice......see, the place is still there, so you CAN'T always attribute major disasters to me :-) :-) I had forgotten but standing in line at the airport I saw a whole rack of these CDs staring at me, and I went "ah! I remember!" Thank goodness - I took a listen and you know what? I really liked it. Gary Moore does manage to sound like Peter Green - at his peak - of course, owning Peter's famous out-of-phase curly maple top Gibson Les Paul helps - but to get all that feel and sound withOUT being a slavish copyist is something else. There is a lot of space between notes and RESTRAINT. Yes, on surface listening one might be fooled into thinking this IS Peter Green, but very slightly more care consideration will tell you it is not, the tone is clearer/cleaner "sharper", some of the "warmth" isn't as full as Green, and the most telling are of course the vocals. Green is very UNDERrated as a vocalist - he has this agonized quality that very few can attain (somewhat like Otis RUSH). Gary cannot reach these standards - but he is more than just acceptable (most telling track, for those who like to be NEGATIVE - "Need Your Love So Bad"). Yes, of course this CD made me scramble for my Green Peter tracks...... I will say this - Moore's guitar playing *is* OUTSTANDING - don't believe me? well you only have to listen for yourself.....:-) Vincent p00061@psilink.com ========================================================================= Date: Thu, 3 Aug 1995 20:00:02 +0200 From: Rudi Vandermeiren Subject: Fabulous Thunderbirds Live Lokerse Feesten in Lokeren,Belgium (August 4 to 13) On tuesday August 8 : - Bob Margolin Band & Billy Boy Arnold - The Fabulous Thunderbirds (all concerts are FREE!) Rudi Vdm. PS : Could I get some info on Bob Margolin Band & Billy Boy Arnold. Thanks. ========================================================================= Date: Thu, 3 Aug 1995 14:08:10 +0000 From: "P.W. Fenton" Subject: Got to Unsubscribe Some time this evening I will be signing off of Blues-L officially. Later, I will be re-subscribing with a new internet address. pwfenton@tpa.cent.com This will be my third incarnation on Blues-L. This new access will make Blues-L cheaper to access from home, and harder to access from work. Which is the way it should be... if I'm ever gonna get any work done. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 3 Aug 1995 14:34:55 -0400 From: Ted Dames Subject: Lindley (was Cooder) >Date: Wed, 2 Aug 1995 16:15:27 GMT >From: Doug Watson >Subject: Re: Ry Cooder > >Yes, but does anyone else sound like this, poignant and atmospheric? Or >is he a total pioneer in this regard? Isn't David Lindley a candidate for this category? Ry Cooder isn't the only slide player on the Paris, Texas soundtrack! Which one is which? I can't tell. Ted bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Thu, 3 Aug 1995 14:40:59 -0400 From: Garry Segal Subject: Re: First Paying Gig Playing trumpet in the JR.High Jazz Band. We were hired to play an Elks Club dance, without the teacher ! We thought we were so cool. I was a mediocre trumpet player thus was chosen to sing a few songs. I sang Blueberry Hill and I hear You Knockin than they said, hey your not so bad on the trumpet ! My band still cringes though when I occaisionally pull out the trumpet for a rousing version of Last Night, and prefer that I stick to singing and harp, how things change. Garry and those darn MOODSWINGERS email BlueSngr@aol.com Band Home page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Thu, 3 Aug 1995 14:41:32 -0400 From: Marcia Grodsky Subject: Meant to send this to the list From: AXPVMS::MARCIAG 3-AUG-1995 14:39:57.33 To: IN%"dcicchet@VEGA.LASIERRA.EDU" CC: MARCIAG Subj: RE: Karaoke Hell Well, Carlos O'Brien's is going to Karaoke. The Decade is becoming a chain Mexican restaurant. Tipitina's is being bulldozed (not literally) by HOB. Somebody told me the other night that Sully's has closed. Is 1995 turning out to be a blues nightmare? As fate would have it Rod Piazza was, last night, one of the last blues acts to ever appear at the Decade (8000 nights down and 19 to go, as one of the bartenders said when introducing them). Rod kept introducing songs with "well, this will be the last time we ever play this song at the Decade." Honey was reminiscing about her favorite Decade memories and she said her very favorite was the night Los Lobos showed up to jam with them. A lot of old Decade favorites and friends have been passing through the past couple of weeks. Many of them have sent pleas out to the audience for somebody to open up a place for them to play in town. While they've been concentrating on bringing back regulars for these last few weeks, I did get to see a great show by Wolfman Washington the week before last (I think). That was a first for most of us. That same weekend Jimmy Thackery and Chubby Carrier came down to jam with Bill Wharton. The only national blues or other roots bands still scheduled to appear are: August 8 Kenny Neal AUgust 15 Tino Gonzales August 17 Belmont Playboys (wonderful rockabilly) But there are going to be some great reunions of local bands and jam sessions the last two weekends. The final night, August 21, will be an Iron City House- rockers reunion, by invitation/advance ticket. Don't know what I'm gonna do this fall for music. I've called Wilbert's in Cleveland to get on their mailing list. Anybody know any other places in driving distance of Pittsburgh? Thanks for letting me whine. I'm one unhappy girl right now. ---Marcia ========================================================================= Date: Thu, 3 Aug 1995 13:49:00 CDT From: Paul Garon Subject: Re: curious about 78s >Hey, > >A fellow at the Poconos Blues Festival was selling blues 78s that were >mostly fairly modern. How much do the old 78s (Patton, R. Johnson, S. >House, etc.) go for? And are there unfound copies out there or have they >all been picked clean. A friend told me he used to go to juke box >companies and would buy their records en masse... > >Jim Leftwich I quit collecting 78s several decades ago (!) when I decided 78s were costing too much. By that time I had a nice collection with RJ's, Patton, et al. RJs go for $200 - $800 among collectors, and up to $2000+ among non-collectors. Recently a Tommy Johnson Victor went for $1200 but that's very high for a blues 78; a Son House might fetch that or more, but a more common Patton (DOWN THE DIRT ROAD?) might only fetch $200 or less if it's only in so-so shape. Nonetheless, many blues 78s change hands daily, for sale or at auction, in the $3 to $25 range: Muddy's, Peetie Wheatstraw, late Minnie's, etc. Early Minnie's may go as high as $200+. Juke box surplus used to be a good source; if they still are, I don't know. You'd have to talk to someone plugged into the CURRENT scene to find out exact current prices, who to see, etc. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Thu, 3 Aug 1995 15:00:16 +0000 From: "P.W. Fenton" Subject: Drinking and gigging > ...do not drink to calm your nerves. I never drink when I gig > (and it ain't because I don't like drinking!) and I find that it is > easier to deal with stuff. If you get used to haveing a drink, it becomes > part of your routine and you can convince yourself that it is necessary > to your performance. I don't know of anyone who is better when they have > been drinking! > I usually drink a beer per set, mostly to keep myself "wet". I dislike sodas and such. I never get to where I "feel" it though. I agree with Willy that it should never be part of what calms your nerves, or builds your courage. That's asking for serious trouble down the road. Lately though I've found something for keeping the voice moist that's better than a sip of beer. Ricola cough drops. It's the vocal equivilent of a new set of guitar strings. My wife gave me one one night when I was getting a little hoarse, and there has been a bag of them in my gig bag ever since. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 3 Aug 1995 19:16:38 GMT From: Marion Brown Subject: Re: Sunflower; Radio; Gig You make me homesick beyond belief - there is NO comparison between radio around home (Memphis) and in Texas. I miss the Mississippi........... -- [%- ========================================================================= Date: Thu, 3 Aug 1995 21:03:38 +0100 From: Roadrunner Tour Management Subject: Ireland Hi Cathi, if you are realy thinking of coming over to Ireland with Stuart please send me some kind of recording of what you intend to play over here ASAP !!! Hope it works out!!! Cheers Carsten "Roadrunner Tour Management" 141 Tirellan Heights Galway / Ireland +353 91 760339 E-mail:roadrun@iol.ie & blueroad@iol.ie "KEEP THE BLUES ALIVE" ========================================================================= Date: Thu, 3 Aug 1995 20:32:09 GMT From: Rennie Selkirk Subject: Re: Re[4]: Victoria Amp Review In article <9507028073.AA807383448@mail-sh.lsumc.edu> JBards writes: >I exchanged emails with Mark Baier of Victoria Amps last night and he says he >will provide a detailed reply when he gets a chance- however, his comment was >that Pittman's book tends to underestimate the output of many of the amps >reviewed, and by his (Mark's) measurements the Bandmaster is "at least 35 >watts". Use and listening tests from this humble ear would tend to confirm that. > >I think that although many of us took the Tube Amp Book as gospel for a long >time because there were no other resources on tube amps, one has to remember >that it was written to promote Groove Tubes by promoting tube amps, which were >not nearly as popular at the time as they are now. I'm not dissing Aspen >Pittman's work, but there are probably references out there now that are more >carefully researched. Jim, For the record, I didn't quote Pittman in my post, for the very reasons you refer to, though I did quote some voltages which I read right off the Bandmaster schematics in his book. But more importantly, I wouldn't presume to dispute Mark Baier's wattage measurements on what I guess is an original tweed Bandmaster that he may have used as a model in the development of the Victoria amp. And I'm certainly no pro, anyway. And I also realize that talking RMS ratings, though somewhat of a red herring vis-a-vis actual amp loudness, must be -EXTREMELY- important in marketing guitar amps, especially for small amp manufacturers who have to talk to potential customers and dealers that look at the numbers first and perhaps listen only later. So I imagine Mark would be sensitive to some armchair techie on the Internet holding forth on an amp which he must know inside and out! Anyway, the primary purpose of my post on wattage was to point out some -PUBLISHED- numbers on old Fender amps, those from the new Teagle and Sprung book in particular. That being said, I have no idea where they got the 'conservative' tweed Bandmaster rating that I quoted in my post, though I suspect it may be from the original Fender brochure from 1956 or whatever. For what that's worth today! Finally, I would venture to guess that simply by its comprehensive nature that the Teagle and Sprung book will become a standard -COLLECTOR's- reference for some time to come, since it so nicely fills in the many gaps in the story you get from reading Pittman's book and also John Morrish's Fender Amp Book. (The latter is more of a company history than a collector's reference, the specs in the Appendix notwithstanding.) That being said, a collector's book is not necessarily a guide to how a given amp -SOUNDS-. At best it can only serve as a source of informed guesswork if you can't actually hear a given amp in person. Hence the importance of wattage numbers. And a good Guitar Player review! Hope this clarifies my earlier blatherings, Rennie ========================================================================= Date: Thu, 3 Aug 1995 16:50:16 -0400 From: Jacquelin Katz Subject: Re: The Band's Blues Roots This tune is also on the Band's "Jericho" CD (1993). Get it. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Thu, 3 Aug 1995, Fred Sokolow wrote: > The band (without Robertson) did a great version of Muddy's "The Stuff You > Gotta Watch" at the recent Woodstock event...naturally I'm gonna tell you I > have a transcription book (tab & music) of Robbie Robertson's stuff with & > without the Band, & you can Email me your snailmail address for details. Fred > Sokolow > ========================================================================= Date: Thu, 3 Aug 1995 18:07:36 -0400 From: Mary Katherine Aldin Subject: Muddy, Sam and Otis Just got a promo of the new Rod Stewart CD, "A Spanner In The Works"---I was about to toss it into the trade-in pile when I happened to turn it over and glance at the titles. One track is called "Muddy, Sam & Otis". It's a (synthesiser-drenched) tribute song about how Stewart grew up in England listening to the radio late at night, and how the music of those three (Sam being Cooke, Otis being Redding, and there's only one Muddy) influenced his own life in music. Nice tribute, awful arrangement, syntthesizers for days. Ok, *now* it goes into the trade pile; just thought I'd mention it. Mary Katherine ========================================================================= Date: Thu, 3 Aug 1995 17:06:24 CST From: John Wells Subject: Nashville I will be in Nashville next weekend (Aug. 12). Any suggestions for BLUES acts and/or venues for then? The wife and I will do the touristy things, but I gotta have a blues fix while I'm there! Also, if anyone knows of a good music equipment store, especially one with vintage drums, I'd like to check it out! Thanks. John. johnw@mces.msstate.edu ========================================================================= Date: Thu, 3 Aug 1995 17:30:57 -0500 From: Rob Varak Subject: Re: first singing gig The first couple times I sang in public I just looked for the best looking girl in the club and sang in her direction 'til I got comfortable. Make that one person smile and you'll have your feet under ya all night. Rob PS Please note that it is _unwise_ to continue to sing to the one person all night, lest he or she have a significant other present. That can get ya in Robert Johnson kinda trouble:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 3 Aug 1995 17:34:38 -0500 From: Rob Varak Subject: Re: first singing gig I never drink when I gig (and it ain't because I don't like drinking!) and I find that it is easier to deal with stuff. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I second THAT emotion!! Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 3 Aug 1995 19:11:31 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: An interesting survey Well, for better or worse, I am opposed at cheezing up the list with this sort of thing. Turtle _____ Reply Separator _____ Author: INTERNET:Utpal_Dholakia @ CCMAIL.BUS.UMICH.EDU@CISHUB Received: 08/03/95 11:37:00 AM Subject: An interesting survey Hi: I am a graduate student in marketing at the University of Michigan. As part of a research project, we are looking at involvement, attitudes and feelings of people when buying different products. I have an interesting survey which asks different questions about a particular product. If anyone on this list would like to fill out the survey, e-mail me for a copy of the survey at paulmd@umich.edu or utpal_dholakia@ccmail.bus.umich.edu Utpal Dholakia, 2259, Business Administration Bldg., 701, Tappan Street, Ann Arbor, MI - 48109. P.S.: I have taken permission from your list-owner to post this message. ========================================================================= Date: Thu, 3 Aug 1995 19:11:50 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Fabulous Thunderbirds Live <> I have only one Billy Boy Arnald CD -- a Charly release called *I Wish You Would* which has some material from the Fifties but alas the recordings are not in great shape -- audible distortion and crud, and wow on some tracks like maybe they took it off a sun-warped 45 single or something. Scott Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle/blues.html ========================================================================= Date: Thu, 3 Aug 1995 19:11:58 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Alberta Hunter They had done a discussion of black theatre groups in transition, and cited a production about Alberta's life as an example... check at http://www.npr.org for more information or to order a tape or a transcript of the whole thing. One thing they mentioned that I did not know was that apparently she and Bricktop, in Paris at the same time, were rivals, to the point where Bricktop threatened to expose Alberta's lesbian relationship with another entertainer... Scott _____ Reply Separator _____ Author: INTERNET:BRUCE @ TSBME.STATE.TX.US@CISHUB Received: 08/03/95 10:30:00 AM Subject: Alberta Hunter I was listening to NPR this morning and only caught part of a story about someone doing a play about the life of Alberta Hunter. Does anyone know anymore about this? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 3 Aug 1995 19:11:55 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: L** Z** sound alikes? _____ Reply Separator _____ Author: INTERNET:pega @ XS4ALL.NL@CISHUB Received: 08/03/95 08:55:00 AM Subject: Re: L** Z** sound alikes? If my bad memory serves me correctly (for a change :) ), "Gallows Pole" was a Leadbelly number. Back in the 70's(?), a band called Ram Jam did a version of "Black Betty", which my unreliable memory suggests was also written by Huddie "Leadbelly" Ledbetter, who apparantly charmed his way out of the pen no less than twice, with his songs and playing. Pity Leadbelly gets so little press here on the list - he was an enormous influence and IMHO very much under-rated/under-appreciated by his fellow countrymen and blues-lovers around the world. He had a giant of a voice and played great 12-string. regards, PeterG > I know I risk the wrath of many participants of the list by even mentioning L** > Z**,(please send all flames privately. I do NOT want to start another brushfire > on the list). > > I have a friend that was listening to one of my tapes and commented that he > sorta liked what he heard (ok, it was a live tape of UO's recent blues tour). > But he said what he REALLY liked was the early Led Zepplin stuff. So I was > wondering if anyone could suggest some _real blues_ that might have a similar > feel that I could introduce to my friend and improve his musical taste? Hey, there's a CD out (can't remember the label but I'll look for it) of the ORIGINAL records of a lot of the blues material LZ recorded... that would be an excellent place to start off... Scott turtle@charm.net Visit That Blues Music Page at the Weightless Dog! http://www.charm.net/~turtle/blues.html Blues, Digital Video, Lotus Notes, MPEG and cats. ========================================================================= Date: Thu, 3 Aug 1995 19:37:55 EDT From: Robert Crocker Subject: Rod the Mod I have this theory that everybody -- even the most inveterate home-brewing, hop-loving, factory-beer hating real ale lover has a light beer which they can at least tolerate. With me it's Miller Lite -- the original lite at the end of the tunnel. It's something the same with Rod Stewart. I kind of have a weakness for his take on "You Send Me", whatever other horrors he may have perpetrated over the years. -- robo in Mississauga, who would like to apologize on behalf of an entire nation for inflicting "Ice Beer" on the rest of the planet ========================================================================= Date: Thu, 3 Aug 1995 17:23:04 PST From: Mike McCourt Subject: Re: First Paying Gig High school sock hop in the gym back in the 60's. "The Trents" played all (well...some of) the current hits: Gloria (Them), Satisfaction (Stones), House of the Rising Sun (Animals). Three guitars and drums, no bass. The whole band made $50. Since I was the only one who could play the intro to Johnny B. Good and the guitar solo to Gloria, I was the lead guitar player. -- mmccourt@acuson.com ____________________________ Reply Separator_____________________________ Subject: First Paying Gig Author: Roger Struve at ccUnix Well, how about a discussion of everyone's first paying gig? ========================================================================= Date: Thu, 3 Aug 1995 19:57:44 +0000 From: "P.W. Fenton" Subject: Re: Rod the Mod > I have this theory that everybody -- even the most inveterate home-brewing, > hop-loving, factory-beer hating real ale lover has a light beer which they can > at least tolerate. With me it's Miller Lite -- the original lite at the end > of the tunnel. > It's something the same with Rod Stewart. I kind of have a weakness for his > take on "You Send Me", whatever other horrors he may have perpetrated over the > years. > -- robo in Mississauga, who would like to apologize on behalf > of an entire nation for inflicting "Ice Beer" on the rest > of the planet > You seem to have left out the part that has to do with the Blues. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 4 Aug 1995 00:16:45 GMT From: Steve Leigh Subject: Web Site for Blues Bands? I wish there was a way for blues bands all over the country (world?) to publish their own home page on the net for nothing, or next to nothing. As we all know, we're all "starving artists" and it sure would be nice if someone out there (a REAL blues promoter/advocate) could offer this service. Any comments welcome. Thanks much to all who may respond. --Steve "Spider" Leigh, basement blues band, Rockford, IL, USA ========================================================================= Date: Thu, 3 Aug 1995 20:35:26 -0400 From: Barry Silverberg Subject: Re: Pick of the week: UP WILSON As a followup to James Carmin's post on the new U.P. Wilson CD here's another one by this terrific bluesman...(I don't recall if I already posted this review - if I did I apologize for the several brain dead cells I am currently exhibiting). U.P. WILSON - BOOGIE BOY (JSP #258) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND Here is a very versatile artist. Each of the first 3 songs on this CD all offer different sides that U.P. Wilson is capable of. He can obviously play to any crowd and bring them on over. The CD shows his many moods and each one sparkles. Tell Me Baby / Shakin' Dem Bones / Still with You / Boogie Boy / Whiskey Headed Woman / Half Step / T for Texas / Need the Need / Soul King Shuffle / Too Late to Cry NYCD-Takes Tell Me Baby: This is a slow dark tune and an awesome opener. U.P. Wilson's brooding vocals are set off by the extraordinary horns that punctuate this entire session. The saxophone here of Curtis Massey is a stealer. This tune will crawl up and carry you away. Shakin' Dem Bones: Here is an Elvis Presley styled hip shaking cut that opens after a nice chatty run by Mr. Wilson. This is a big boogie tune that could provide all you would need at a Texas Barbecue or a late night dance hall. There is plenty of good musical fare here with a very different side of U.P. Wilson's voice. This represents a major Texas blues talent. Still with You: Back to the blues with a haunting mix of guitar and saxophone. Here we catch the third side to Mr. Wilson - his R&B edge. The big blues guitar sets off these vocals perfectly. This is a full house cut, masterfully done with a big sound and a lot of musical intricacies. I can earnestly say that had this track never been cut the wealth of the blues would be short one major piece of music. BRAVO to Mr. Wilson and JSP for laying this track down and including it on this CD. The guitar work here reminds one of the killer cuts of Robert Cray. Mr. Wilson pulls from many talents and makes each one his own. Note by note this is a stellar performance. Boogie Boy: Some more upbeat boogie woogie with a winding driving guitar lead. This is the pinnacle of Texas blues in the great tradition of T-Bone Walker and Lightnin' Hopkins. Whiskey Headed Woman: A slow beautiful guitar opens this cut as U.P. Wilson takes his vocals down deep and gritty. This is an exceptional blues side that conveys the loneliness of the lyrics and stands as a great rendition showcasing the authority of Mr. Wilson's blues. Once again the saxophone of Curtis Massey is outstanding and in conjunction with the slow burning fire of Mr. Wilson's guitarwork the treat is all encompassing. This is the highlight cut of the first 5 sides and not one of them is to be missed. Mr. Wilson just keeps giving more and more of himself on each tune. This cut really shows the fine instrumentation that underlies all 10 cuts to this production. Half Step: Here's a real catchy Texas strumming beat. You'll find your feet tapping and your shoulders rolling as if you don't own them and Mr. Wilson does. Most likely he has taken over. This is a very enjoyable all instrumental. T for Texas: Now we get some down home Texas blues. The opening is an all out treat and U.P. Wilson comes in with some rich muted barrel chested vocals. This side showcases some of the best guitarwork of the entire CD. It is another haunting tune with some quick fingered guitar flurries and the cut of cuts on this all around amazing set. Need the Need: Move the beat up, cut in some effervescent saxophone, place it all inside a rambling tune and you have Need the Need. This is a very modern rock and roll oriented blues tune that pushes the envelope on what we can expect from a Texas personality like U.P. Wilson. The horns here are masterful. Do not miss this side under any circumstances. Soul King Shuffle: Here we have some more fiery guitarwork set inside a very musical instrumental. We get some of the most prominent saxophone work to this whole CD and the big saxophone closing is very compelling - Curtis Massey makes it wail. Too Late to Cry: U.P. Wilson winds this set up with a groaning, capturing tune. He stretches each word and makes you feel the depth of the blues at every juncture. His guitar work on this side is pure electricity. This tune ends this CD in perfect form. Mr. Wilson is a sure heir apparent to the Texas blues throne. Get this CD as fast as you can. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 3 Aug 1995 20:34:50 -0400 From: Maria Wegscheid Subject: muddy's cabin You said it, Mary Katherine. I've never been to Muddy Water's cabin, but I sure hope when I get the chance to go, it will still be there, and not spread across the country in small splinters and chips. Maria ========================================================================= Date: Fri, 4 Aug 1995 02:06:17 +0100 From: Roadrunner Tour Management Subject: Ireland >From: roadrun@iol.ie (Roadrunner Tour Management) >Subject: Ireland > >>Return-Path: <@IRLEARN.UCD.IE:owner-blues-l@BROWNVM.BROWN.EDU> >>X-Sender: roadrun@gpo.iol.ie >>Date: Thu, 3 Aug 1995 21:03:38 +0100 >>Reply-To: Roadrunner Tour Management >>Sender: Blues Music List >>From: Roadrunner Tour Management >>Subject: Ireland >>Comments: To: "CATHI N." >>To: Multiple recipients of list BLUES-L >>Content-Length: 441 >> >>Hi Cathi, >> >>if you are realy thinking of coming over to Ireland with Stuart please send >>me some kind of recording of what you intend to play over here ASAP !!! >>Hope it works out!!! >> >>Cheers >> >> Carsten >> >> >> "Roadrunner Tour Management" >> 141 Tirellan Heights >> Galway / Ireland >> +353 91 760339 >> E-mail:roadrun@iol.ie >> & blueroad@iol.ie >> >> "KEEP THE BLUES ALIVE" >> "Roadrunner Tour Management" 141 Tirellan Heights Galway / Ireland +353 91 760339 E-mail:roadrun@iol.ie & blueroad@iol.ie "KEEP THE BLUES ALIVE" ========================================================================= Date: Thu, 3 Aug 1995 21:43:52 -29900 From: Michael Kaloyanides Subject: Re: Harry the Hipster On Wed, 2 Aug 1995, P.W. Fenton wrote: > > I love to play Harry the Hipster's stuff on my show. Much of it is from a > > Musicraft LP (if memory serves me right). "Who Put The Benzedrine, In Mrs > > Murphy's Olvotine(sp?)" > > Hi, Tom. It's Ovaltine, and I used to drink it. It was a powder you > mixed with milk to make a chocalate malted kind of drink. I also > sent in some labels to get my Captain Midnight decoder ring. His > show was sponsored by Ovaltine. > > P.W. Fenton > Tampa, Florida > email - pwfenton@cftnet.com > WWW - http://www.vistech.net/users/bluesell/ > P.W. et al., And do you remember Captain Midnight's "alias"? Michael G. Kaloyanides Department of Music and Sound Recording University of New Haven ========================================================================= Date: Thu, 3 Aug 1995 22:09:11 -29900 From: Michael Kaloyanides Subject: Re: First Paying Gig My first paying gig was my junior high school's 9th grade prom in 1965. My band's name was THE JAGGED EDGE--OOHH, sixties flashbacks--and my most distinct memory of the event was when the guitar player broke two strings in the first set and had neglected to bring any spares. Our big song for the night was "My Girl" which we played when the prom queen was crowned. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Thu, 3 Aug 1995 21:54:29 -0500 From: Craig Edmundson Subject: Re: Muddy, Sam and Otis I wonder how many clueless American kids like myself were turned onto the blues by the likes of Stewart and his '60s era contemporaries? The first blues album I bought was "The London Howlin' Wolf Sessions" and the only reason I bought it way back when was because I saw Keith Richards' name on the jacket. I sure as heck had never heard Howlin' Wolf on the radio in my neck of the woods! Sorry if this topic has been beat to death prior to my signing on the list, but it is a sad commentary on American commercial radio when citizens first learn of a uniquely American art form by way of fans from another country. I am personally grateful to the Brits for opening my ears to the blues. Of course, things might have been different had Blues-L been around back then! ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Thu, 3 Aug 1995, Mary Katherine Aldin wrote: > (synthesiser-drenched) tribute song about how Stewart grew up in England > listening to the radio late at night, and how the music of those three (Sam > being Cooke, Otis being Redding, and there's only one Muddy) influenced his > own life in music. Nice tribute, awful arrangement, syntthesizers for days. ========================================================================= Date: Fri, 4 Aug 1995 00:14:50 -0400 From: Linden/Powers Subject: Colin Linden/Colin James shows If I may be so brazen as to announce, I'm going to be doing a bunch of shows in Ontario & Quebec opening for Colin James, in late August and early September. When the dates and venues are confirmed, I'll post them. O.K.?????? Thanks, Colin Linden ========================================================================= Date: Sat, 5 Aug 1995 00:33:17 GMT From: Andrew Gregg Subject: Re: Ry Cooder > He's not beyond gettin' strange either.....that I LOVE! Check out >his early stuff with Capt. Beefheart. On the subject of Captain Beefheart, can anyone tell me which song Ry transcribes Robert Johnsons 'Travelling Riverside Blues' almost down to a note (if my memory serves me) albiet on a strat sounding guitar?? ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Fri, 4 Aug 1995 15:35:02 +22303754 From: David Blanken Subject: New Blues CD Hi all! Blind Freddy, one of Canberra's finest blues bands, has just released their inaugural album. This marks the first full blues album released by a Canberra blues band (FTR, Canberra is Australia's national capital). The album contains 13 tracks, 8 of these being original compositions. Of the covers, there are songs by Freddie King ("The Welfare"), Etta James ("I'd Rather Go Blind") and an astonishing version of "Voodoo Chile (Slight Return)" that demonstrates the deep blues Jimi Hendrix had in his music. The band is essentially a four-piece unit (Linda Hansen - vocals, Peter Gelling - guitar, harp, vocals, Brian Taylor - bass, Tim Spellman - drums) and has keyboards (piano, organ) and an effective horn section added on most other tracks. The music is not a guitar-hero pyrotechnic display of chops with no feeling, but an honest album of ensemble blues playing with some soul ballads and New Orleans funk thrown in for good measure. This album is a world class production and is going to put Blind Freddy and Canberra on the international blues map. For copies, contact: Peter Gelling 51 Karuah Street DICKSON ACT 2602 AUSTRALIA Phone: 61 6 2474513 Price is $25 Australian (better get in touch with Peter to inquire about postage). Disclaimer: I in no way stand to profit from this release. I just want to see good music made by good friends of mine heard by as many people as possible. PS - P.W., could you please add this info to the database you are compiling re: Blues-L releases? Many thanks. ----------------------------------------------------------------- David Blanken D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 1995 01:31:45 -0400 From: craig o'donnell Subject: Re: BLUES-L Digest - 2 Aug 1995 to 3 Aug 1995 ...I will restate, and I know that a lot of people ...disagree, but do not drink to calm your nerves. I never drink when I gig ...(and it ain't because I don't like drinking!) A couple beers won't hurt if you're real jittery. I've heard this argued all ways . Make sure you have some room temp water available if it's hot up onstage. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Fri, 4 Aug 1995 01:31:42 -0400 From: craig o'donnell Subject: Re: BLUES-L Digest - 2 Aug 1995 to 3 Aug 1995 ... Playing in front of a crowd of people is a ...sweaty experience but .. I don't really ...know how to phrase the question ... how do ...you sing in front of a crowd? How do you ...get through that first time? Open yer mouth and sing ... (really!) Reverb in the vocal monitor helps. Look audience members in the eye and sing TO individuals in the audience. -- --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Fri, 4 Aug 1995 02:06:47 -0500 From: Dave Daubard Subject: I'm back Hack, hack! Talk about the blues. I got lost but I found the directions. Glad to be back. Now all I have to do is fight to get on my local server. I picked up a new name while I was off. "Swingin' Dave"-WEFT CHAMPAIGN ========================================================================= Date: Fri, 4 Aug 1995 03:12:36 -0400 From: Fred Sokolow Subject: Re: Help with Otis Rush's Cobra recordings There are three Otis Rush transcriptions (two of them from the Cobra recordings) in my transcription book "Electric Blues Guitar Giants"...Email me your snailmail address for a free catalog if you're interested...F. Sokolow ========================================================================= Date: Fri, 4 Aug 1995 13:30:40 +0200 From: Peter Gallagher Subject: Re: BB King Commercial Interesting snippet of info, Steve. Somehow I can't stomach (oops!), the idea of BB doing a cheap dalogue about "loving these burgers". YUK! Next we'll have a video of Muddy jumping around the stage with a dubbed-over voice going; "Y'know this This here stuff wash whiter 'n WHITE. I'm so carried away about my 'brandex' washin' powder I'd kill anybody for a bottle!" or whatabout (to the tune of "40 days and 40 nights"); "40 plates, and 40 knives, - washed e'm all up in a jif' ..." Son House get's offered two bottles of "brand-X" to replace his old-reliabele "super-improved" washinging-up liquid: - "That ain't no soap - that's just monkey-junk!" Or JLH - and he just laughs derisively: "A-hu-hu-huh, a-hu-hu-huh..." ENOUGH! - do I get carried away or do I get carried away? :-) regards, PeterG (Hey - I might be onto something here!!! :-) Ted Gurley (advertiser by day), are you listenin' :-) :-) - any job-offers? :-) ) > I saw a Wendy's commercial last night which featured BB King. In the > commercial he's jamming with his band, eating some new Wendy's burger > and doing a voice over of a letter to the owner of Wendy's about how > much he and his band love this new burger. He says something like "It > was so good me and Lucille played the blues all night." Then the > Wendy's guy Wendy's guy writes back, telling him something about > getting over the blues. I'm not much of a tv watcher but it was nice to > see BB on a commercial and hear him play. > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 1995 07:33:51 -0400 From: Franz-Josef Gallenkaemper <"star::mrgate::am_star::gallenkaempe"@STAR.DECNET.BOSCH.DE> Subject: John Scofield Concert Review From: NAME: Franz-Josef Gallenkdmper TEL: 069/7505-3117 ADDR: 60277 Ffm / C3 / 461 To: "BLUES-L@BROWNVM.BROWN.EDU"@SI4640@MRGATE@STAR Hi jazz-l'ers, yesterday evening I had the great favour to visit a concert with the John Scofield Quartett. The event took place at the "Palmengarten" in Frankfurt (germany). It was a warm (28 C degrees) and dry summer evening here, very comfortable for an open air concert. When I arrived there was a long queue at the entry gates and at the auditorium all seats were occupied so I had to settle into the grass under a tree. There were 3 to 4 times more people than at other concerts in this open air concert series, which is the longest running series in the world, as the producer Werner Wunderlich said, since 37 years at this location. They delayed the start of the concert a qaurter of an hour to give people, waiting at the entry gates, a chance to take part without missing a piece of music. Then W.Wunderlich introduced the band. The group members were: John Scofield (g) Dave Kekovsky (p,synth) ? don't know if the name is written correctly Dennis Irwin (b) Idris Muhammad (dr) as John said: "best drummer, and I have waited a long time to play with him" John Scofield played here 13 years ago, possibly I took part at that concert, but I can't remember. Last autumn I have visited a concert with John Scofield together with Charlie Haden, Jack DeJohnette and Joshua Redman, which was performed during the 25th German Jazz Festival here in Frankfurt. But now to the concert. They started with a tune named _Groove Elevation_ which is unreleased yet but will be on his next cd in a few month. The sound engineer did a good job. He needed only 2 minutes to adjust the pa sound. They continued with _Spirit of four_ where all members were featured by a solo. There JS introduced the members of the band and told the audience about the next pieces they were going to play for us. The next one was _Out of the city_ released on _Hand Jive_ followed by _Peculiar_ and a shuffle _Put the cat out_ which drove the audience really crazy. To calm down they continued with a ballad _Honest I do_ from the cd _Grace under pressure_ where he used an acoustic guitar. It was really great to hear and see what he is able to do on a guitar, and what sounds are produced with electronic help. The closing title was _Cool with a K_ where Idris Muhammad, who is coming from New Orleans, Louisianna, was featured. He pleased us with some fine rhythms from his home. They have played for us one and a half hour without interruption and the crowd gave a standing ovation to them. So we were lucky to get one more, called _Let it shine_ with a nice slap bass intro by Dennis Irwin. And then it was over. To George Klein: Yes I really enjoyed it. Thanks! Next events are: 17.08.95 Frankfurt Jazz Big Band directed by Wilson de Oliveira 30.08.95 Mangelsdorff - Dauner Albert Mangelsdorff (tb) Wolfgang Dauner (p) All starting at 19:30 at the "Palmengarten" in Frankfurt. See you then. People in Germany have the chance to hear John Scofield live in Hamburg on August 16th. With best regards from FJG ========================================================================= Date: Fri, 4 Aug 1995 08:06:56 -0400 From: "...... Poxyman" Subject: Re: Virginia Blues Festival For those of you in the vicinity, there will be an American Music Festival in Va Beach over Labor Day weekend with (among others) Wilson Pickett, Jr. Walker, and Delbert McClinton. ========================================================================= Date: Fri, 4 Aug 1995 08:10:45 -0400 From: Brent Staeben Subject: Blues Fest in the Northeast - WWW Site The Harvest Jazz and Blues Festival in Fredericton, New Brunswick, Canada has a new home page (Fredericton is 2 and 1/2 hours northeast of Bangor, Maine). The address is http://www.sigma.unb.ca/jazz/jazz.html Take a look at September's line up! Or, in New England, call 1-800-320-3988 for more info. Brent Staeben brentms@gov.nb.ca Harvest Jazz and Blues ========================================================================= Date: Fri, 4 Aug 1995 07:59:48 +0000 From: Ian Angus Subject: Re: Colin Linden/Colin James shows Colin Linden wrote > If I may be so brazen as to announce, I'm going to be doing a bunch of > shows in Ontario & Quebec opening for Colin James, in late August and early > September. When the dates and venues are confirmed, I'll post them. > O.K.?????? If Fred S. can devote every message he writes to an ad for one of his books ;-) you can certainly announce blues gigs here! BTW How are they billing this tour? Colin+Colin Colin Squared 2 Colins 2 I'm sure there are other equally brilliant ideas being proposed. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 4 Aug 1995 07:26:49 CDT From: Dave Kneifl Subject: Re: An interesting survey I agree. There are plenty of posts to read that actually relate to the blues, without having items like this on the list. DK --------------------------------------- Original message(s): Well, for better or worse, I am opposed at cheezing up the list with this sort of thing. Turtle _____ Reply Separator _____ Author: INTERNET:Utpal_Dholakia @ CCMAIL.BUS.UMICH.EDU@CISHUB Received: 08/03/95 11:37:00 AM Subject: An interesting survey Hi: I am a graduate student in marketing at the University of Michigan. As part of a research project, we are looking at involvement, attitudes and feelings of people when buying different products. I have an interesting survey which asks different questions about a particular product. If anyone on this list would like to fill out the survey, e-mail me for a copy of the survey at paulmd@umich.edu or utpal_dholakia@ccmail.bus.umich.edu Utpal Dholakia, 2259, Business Administration Bldg., 701, Tappan Street, Ann Arbor, MI - 48109. P.S.: I have taken permission from your list-owner to post this message. Dave Kneifl kneifl@admin.uwex.edu (608) 265-6657 UWEX Independent Learning Why doesn't DOS ever say "EXCELLENT Command or File Name"? ========================================================================= Date: Fri, 4 Aug 1995 08:22:03 EST From: "CATHI N." Subject: Don't look Reading Rob Varak's comments on singing..to the best-looking girl in the club 'til he got comfortable, made me think of a few things I'd learned when performing. As a woman, looking at a man and singing directly to him (to make myself comfortable), NEVER worked. Usually I couldn't get through an entire song without him sending me up a drink and his woman getting really steamed. As a matter of fact...looking at him directly had an instantly discomforting effect...like a wink and the sinking feeling that he was going to be waiting for me in the parking lot. I mean -- I'm not the Queen of Sheba folks, but these guys are in there drinking and not all of them are into the deeper aspects of traditional blues vocal delivery, you know what I mean? So for awhile I tried this technique with women. But then THEY were waiting for me in the parking lot. Finally I realized the DIRECT thing was not going to work for me. However, until I look DIRECTLY at SOMEONE, the "avoidance" thing is not broken...and until it is broken, the show is not "ON." So I just look at someone, smile and move on. Another thing I do (I'm a little abashed to confess this) is smile at Humphrey Bogart.... He's always (not) standing at the back of the room, and always glad to see me...smiling over the heads of the other audience members and positively certain I AM the Queen of Sheba. Once the audience sees me smiling so warmly at him, they often thaw and get friendlier (for they, too, are initially shy at responding to a performer). The other thing I learned about this eye contact thing is the necessity of giving approximately equal eye-contact to audience members AND their partners.. whenever I'm singing OR talking to them. I've had women AND men get miffed if they get "ignored." And another little tip I got from Katie Webster once: "Honey, if you want 'em to come back...make sure the WIMMIN like you!" And she IS the Queen of Sheba. Cathi N. ========================================================================= Date: Fri, 4 Aug 1995 08:28:53 -0500 From: Roger Struve Subject: Upcoming Appearances Yup, ol delta doc roger will be appearing at the New Riverside Cafe on Aug. 31, 1995, sharing the stage with the star billing, Peter Rhykus, who is an incredible musician and singer...plays everything from Dylan to Hammond to original pieces. I don't get paid, and i'm not sure about Peter. I am honored to have been invited by this great musician to appear with him...will THIS be my 15 minutes of fame that Mr. Warhol assures us that we will all experience at some time in our lives? Come and find out. Best regards, Delta Doc Roger (:-)-smily face to assure that the tongue in cheek of this message is recognized, although indeed, i will be there at the aforementioned time and place, god willing. ========================================================================= Date: Fri, 4 Aug 1995 15:28:29 --100 From: Vincent Vialard Subject: info on Steve Roux anyone ? All I know comes from the cover of his first CD on Point Blank interestingly called 'Steve Roux'. I figured out it was recorded in England as the studio was called 'Abbey Road' and it kinda reminds me something... Anyway it is a nice piece of modern white blues, and any info on this guy would be welcome (tours, new CD, previous works maybe...). Vincent. ========================================================================= Date: Fri, 4 Aug 1995 08:43:08 -0500 From: Roger Struve Subject: Re: Ian Angus Remarks I found i enjoyed Mr. Angus' remarks about some of the more "famous" participants on BLUES-L. While i try to be very tolerant, i think that we all agree that BLUES-L exists primarily as a forum for us participants to discuss the blues. And while i like the occasional "stretch" in subject matter that appears on this list at times for the most part, i think that those who join this list to advertise their wares, and who DON"T respond in kind to email directed to them, and whose primary purpose seems solely to be here to advertise their wares, are being: 1. Discourteous 2. Capitalistic 3. Contrary to the purpose of this list--to enjoin in discussions about the blues. Otherwise, i am havin' a great day... Best of the weekend to yawl, delta doc roger ========================================================================= Date: Fri, 4 Aug 1995 08:46:37 CST6CDT From: Sara Oxton Subject: Blues Youth A trend I've noticed developing over the past months... There seem to be a lot of "kid" sensations out there. Here in Minnesota, we have Kid Johnny Lang and the Big Bang. He's a 13-year old guitar "wiz". Also, Monster Mike Welch, wonderkind, is touring nationally. The KC Blues and Jazz Festival had a harmonica prodigy, who's name I can't remember. And now, D.D. Dunn, headlining in Sarasota. How old is she? 13??? Can these kids really be considered blues contenders? Am I the only one who has a hard time listening to a pre-teen singing about his baby leaving him for another woman? Thoughts on how this fits into the bigger picture, please! Sara ========================================================================= Date: Fri, 4 Aug 1995 14:46:13 GMT From: Dennis Miele Subject: Re: Karaoke Hell In article <199507311659.JAA26659@vega.lasierra.edu> Don Cicchetti writes: > Michael Jackson records a deliberately >racist "song", then "apologizes" with a fake innocent-wounded look on his >face (oh NO, it was AGAINST racism) and makes a video of himself singing >new "loving" words to the tune, and re-releases the disc. HOW LONG DO YOU >THINK IT TOOK HIM AND HIS SLIMEBALL MANAGERS TO COOK UP THAT SCAM?? Why >are we so gullible? How does this boner manage to sell any discs?? Well Don, you'll be glad to know that as of next week's Billboard charts MJ's album has dropped out of the Top Ten just five weeks after its release. His single is already out of the Top Twenty. ========================================================================= Date: Fri, 4 Aug 1995 16:02:44 +0200 From: Peter Gallagher Subject: Re: BB King Commercial It's DISTASTEFUL ! :-) No big deal - just foolin' around. Never ate at Wendys - never heard of her :-) Just kidding - no offence! regards, PeterG > I have nothing against Blues musicians making an HONEST buck from a > commercial. > BB arguably may be able to survive without it but he and many others spent > many years playing their hearts out in obscurity and a 30 sec. spot on TV > doesnt hurt, have you ever eaten at Wendys ? Whats the big deal ? He is not > endorsing crack or anything he is > MAKING A LIVING AS A MUSICIAN . > Garry > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 1995 09:36:21 -0400 From: Willy Evans Subject: Re: Don't look Cathi N. had some very good observations about making eye contact with the audience. You have to be careful with the public. People have some very strong and may I say wierd conceptions about who and what performers are and what the music means. Like Cathi, I have had women want to get involved after a "meaningful" look during a slow blues and I have had one or two men want to get involved as well. BUT, you have to look at your audience to connect, or just to see what they are up to! When the crowd is with you, there is not much of a problem, I will look at individual audience members, smile, respond to funny lyrics, but I try not to sing a song "to" anyone. That can cause a problem. Be general and freindly is what I am trying to accomplish. If I see somebody from the night before or someone I have spoken to, I will raise my head in recognition, its just polite. A lot of times I can't see the audience due to lights, so I just smile and look in their direction. ON the other hand, when an audience is ignoring me pretty completely, then I will call out to people in the audience and try to get them involved. I never make fun, but give 'em stuff like, "Hey , you girls are haveing WAY too much fun!". If they are that disinterested to begin with, I feel pretty safe engaging them from the band stand. You have to acknowledge the audience some how because they are the customers and you owe them courtesy and energy. However, you do have to be careful to not focus that energy on one or two people too much. That's when the wierd stuff can happen. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Fri, 4 Aug 1995 10:19:57 -0400 From: Steve Levine Subject: Re: BB King Commercial +Interesting snippet of info, Steve. +Somehow I can't stomach (oops!), the idea of BB doing a cheap dalogue +about "loving these burgers". YUK! + +Next we'll have a video of Muddy jumping around the stage with a +dubbed-over voice going; +"Y'know this This here stuff wash whiter 'n WHITE. I'm so carried away +about my 'brandex' washin' powder I'd kill anybody for a bottle!" How about a Taco Bell ad for hot tamales, with music by you know who! ("Hot Tamales and they're red hot, Taco Bell's got 'em for sale!") Or Sonny Boy singing, "You gotta help me, I've fallen and I can't get up" :-) ========================================================================= Date: Fri, 4 Aug 1995 10:08:35 -0500 From: Roger Struve Subject: Don't look -Reply In my experiences with being on stage...many stages have stage lights and i CAN"T see the audience atall...i find i quite like this much better...as it more closely duplicates and creates the environment of my living room (where i do my best playing) with no distractions. regards, delta doc roger ========================================================================= Date: Fri, 4 Aug 1995 10:22:53 CDT From: Craig Smoot Subject: Hangnail (?) for musicians or manicurists ;-) Hel-oooo Blooze-elle baybze 'n doodze, ;-) Wah-zup, good blues people? :-) I've got a quick musician-related question for you string playin' folks out there: What remedies/precautions can one take for keeping their nail cuticles on their picking hand from getting tore up? I remember hearing or reading awhile back about SRV's use of Super Glue on his damaged fingers, but I can't remember exactly why and where he used the glue. You see, *my* biggest problem is at my nail cuticles. They are sooooooooo fudged up now -- in fact, my nail on the index finger of my right (picking) hand hasn't grown out properly or with it's correct natural rigidity in about _6_YEARS_! (Happened at a gig six years ago, I litterally "played 'til my fingers bled", and by the end of the night I realized I had destroyed my right hand index finger completely.) Oh well. :-I My most current bout with finger pain has to do with the skin at the nail's cuticle of my right hand middle finger -- it is getting *really* tore up, and it is quite painful. Imagine if you will... playing guitar with a big hangnail, and on a hard down- stroke you catch that piece of skin on a string and it rips it open even *furthur* -- OUCH! Yes, that is my problem. Thanks for *ANY* help in advance good people, and please post back via *private* Email when you get a chance. Thanks! :-) Later y'all, Craig S. ------------------------------------------------------------- | Craig Smoot | | Musician / Systems Analyst / Programmer | | Gradkell Systems, Inc. - Huntsville, AL | | (craig@rmf41.usace.army.mil) | | ^^^^ And NO, I'm not in the Army! ;-) | ------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 1995 10:23:24 -0500 From: Bruce Roberts Subject: BB King Look if the man has the chance to make some money, I say more power to him. Besides if I have to watch commericals I'd much rather have BB King trying to sell me something than Regis or Kathy Lee... Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Fri, 4 Aug 1995 10:42:41 -0500 From: Roger Struve Subject: Re[2]: Ian Angus Remarks -Reply Well, i wouldn't go so far as to ban people from keyboards...but i think it doesn't hurt to kindly suggest in an indirect way that they are being rude...if they didn't mean to be rude...or didn't think of it in the way that we point out, they will change...but if they are really rude by nature...don't care, etc....then they won't change... ah ha, there is the ticket! IF they don't change, then i delete them at the sight of their name on the subject list, i won't read there rude based posts, and i won't buy their wares...then they will have been defeated in their purpose for being here (which purpose is contrary to the existence of this list)....then....they will go away when they cannot satisfy their capitalistic exclusionary purpose here. And then....i won't have to use my delete key anymore! thanks for writing...keep in touch! delta doc roger ========================================================================= Date: Fri, 4 Aug 1995 09:30:53 PDT From: Eric LeBlanc-CISTI Subject: TIPITINA'S FOR SALE I noticed this item on the OFFBEAT Web site. Tipitina's For Sale Tipitina's, the legendary club located on the corner of Tchoupitoulas Street and Napoleon Avenue in Uptown New Orleans, has been offered up for sale by its owner Jim Green. Tips has had a number of problems in the past few years, beginning with a controversy over rights to the name of the club ("Tipitina" is the name of a song by rhumba-boogie pianist Professor Longhair, whom the club is dedicated to). For a short time the club returned to its old name of the 501 Club, then to Professor Longhair's Tipitina's, then, eventually, back to Tipitina's. When the House of Blues opened in the French Quarter in the spring of 1994, many nationally touring acts that had played Tips were lured to the House of Blues, more than partly because Tips' booking agent, Sonny Schneidau, was hired away from Tips by the House of Blues. Prolonged street repairs outside the club, fear of crime, and the recent legislative change that eliminates the loophole for patrons between 18 and 20 to be served alcohol have also been suggested as causes for the financial problems at Tipitina's. The club is up for sale at an asking price of $945,000. It is not yet clear whether that price includes rights to the name "Tipitina's." The agent shopping Tipitina's is Dorian Bennet, who can be reached at (504)944-3605. As of July 19, the asking price of Tipitina's has dropped to $645,000. The owners of Tipitina's have offered this letter to quell any rumors about the club's closing. A message from Tipitina's: Lately there have been lots of rumors going around about the future of Tipitina's, so we thought you might like to know the truth directly from us, rather than from inaccurate second hand sources. Tipitina's is NOT CLOSING, nor will it close. Since its opening in 1977, Tipitina's has been a cornerstone of the New Orleans music scene, an authentic venue that has been home to late greats Professor Longhair and James Booker, as well as current New Orleans legends such as The Neville Brothers, The Funky Meters, The Radiatiors, Cowboy Mouth, etc. We've also given you the best in up-and-coming bands such as Hootie and The Blowfish and Better Than Ezra, and will continue to present fresh talent deserving of wider recognition. We'd like to thank you -- the fans -- for your continuing patronage, and for helping make Tipitina's the number one venue for live music. Legends don't die . . . they continue to grow. Sincerely, Jim, Mientje, Sarah and Sjoerd Green ========================================================================= Date: Fri, 4 Aug 1995 11:07:31 -0500 From: Richard Shurman Subject: Re: BB King For what it's worth, B.B.'s Wendy's commercial (and this praise is coming from a person who never eats at Wendy's) is some of the straightest blues he's played in a good while and of some length, not one of those deals where they pervert the 12 bar structure into some abridged mini-slice. People can say what they want about the "right" of doing commercials (I've come down before on the side of the right of the artist to pursue his/her livelihood); at least he certainly didn't have to compromise his MUSIC this time! ========================================================================= Date: Fri, 4 Aug 1995 12:51:33 -0400 From: Garry Segal Subject: Re: Blues Youth Sara recently posted a question of the viability of the new crop of teenage blues stars. To me its interesting but its gimmicky. Check out the 25th Anniversary issue of Living Blues where they feature an article called "40 under 40" They list young (inblues terms) players that could use some of the exposure that these kid bands have been getting. Ruth Brown had a great quote from a PBS show called theRhythm and the Blues featuring her story and Charles Browns. She said,in reference to her heyday when she was hot and known for her song Mama He Treats your Daughter Mean and today, "I wasnt a soul singer then but I am now". That says it all. Garry homepage http://www.island.net/blues/BlueSngr@aol.com ========================================================================= Date: Fri, 4 Aug 1995 12:56:05 -0400 From: Garry Segal Subject: Re: TIPITINA'S FOR SALE Hey we raised enough for air conditioning for Jessie Mae... Lets start a collection to buy Tipitinas ! ;-) Garry ========================================================================= Date: Fri, 4 Aug 1995 17:23:47 -0000 From: Ken Peace Subject: Re: Karaoke Hell If Karate means empty hand, does Karoake mean empty head? ---------------------------------------------------------------------------- Ken Peace |Down at Antone's kenpeace@acer.u-net.com |Red Hot Texas Blues Chester, UK |Swinging 'n' Shuffling in the N.W. ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 1995 13:22:13 EDT From: george morales Subject: cd trade I have a cd that i ordered thru columbia house entitled "Legends of the Blues Vol One".It features such artists as bessie smith, bo carter,josh white, lonnie johnson, big bill broonzy and leadbelly the cd # is ck 46215. I would like to trade this cd for either a cd by howlin wolf or tape copies of live recordings of either muddy waters or howlin wolf. The cd i wish to trade features( I believe) pre-war blues which I am finding it hard to enjoy as other blues cds i have ========================================================================= Date: Fri, 4 Aug 1995 11:28:24 -0700 From: Ron Wack Subject: Blues Families Item Subject: Message text Hi Folks, Sorry to bring this up again but we shouldn't forget Garry, George and Steven Segal!! RW ========================================================================= Date: Fri, 4 Aug 1995 13:47:28 +0000 From: "P.W. Fenton" Subject: Re: Karaoke Hell > If Karate means empty hand, does Karoake mean empty head? > I'd like it to mean empty nightclub. P.W. Fenton Tampa, Florida e-mail = pwfenton@cftnet.com WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 4 Aug 1995 13:52:44 -0400 From: Ed Mezynski Subject: First Paying Gig In my best Walter Cronkite voice: The year, 1968. The band - The Vanilla Wafers, lead, bass, drums and vocalist. The venue, a middle school of unremembered name. The crisis- they request "wipeout". I struggle, I speed up, I slow down, I make it to the end of the song...what's that, applause! I'm 13 years old, and I'm hooked. Been doin' it ever since. ========================================================================= Date: Fri, 4 Aug 1995 10:58:39 -0700 From: Mark Gentry Subject: Car Stereo Blues I know this may sound a little juvenile but... You know how so many people driving around these days with their industrial strength car stereos turned up so loud that you can hear the bass about two blocks away? The kind that causes so much vibration that the rear view mirror goes out of adjustment. Well, I'm getting back at these guys. Lately, I've been driving my wifes car that has a brand new stereo. There are times when I get a great deal of enjoyment out of really cranking the volume loud enough so all of the surrounding cars can hear the tunes I'm playing. There's nothing like a hot summer day, the top down, and Joe Turner or T-Bone Walker blaring out of the car stereo. At least I don't have to listen to everyones rap music this way. The looks you get when you pull up to a stop light and T-Bone is singing the lyrics, "I'm too lazy to work and too nervous to steal"... just pricless. see ya, Mark Gentry ========================================================================= Date: Fri, 4 Aug 1995 14:01:31 -0400 From: Skip Montanaro Subject: Need input: Building a static information database for Musi-Cal I am beginning to work on incorporating static information into Musi-Cal listings and am looking for data. Static information for artists, venues and cities will be used to embellish listings and eventually will be searchable in its own right. My goal right now is to get a large enough amount of accurate information so I can experiment with the best way to display it and/or use it to embellish event listings. I currently have a Web form set up to accept static data entry, though it's not linked from the other Musi-Cal pages. The URL is http://www.calendar.com/concerts/addstatic.shtml You can submit the following information: * For performers: URLs, musical genres and other descriptive keywords * For venues: URLs, musical genres and other descriptive keywords * For cities: URLs When you add data, it will be merged with anything already in the database. You can then view and edit the entire "record" for that performer, venue or city. Browsers that understand tables should see the form laid out as a snazzy table. Others should see a somewhat more mundane presentation. If things look wacky or you get errors, please let me know. The backend processing, though not terribly complex at this point, is still quite rough. The form and content of the static information submission form is likely to change, so don't rely on it to always be there. I would appreciate feedback on what other static information you think might be useful to have. (I plan to eventually add a more complete venue editing form that will accept inputs for all the fields Scott Russell has in his massive folk venue database. A booking phone number for performers seems like a reasonable addition also.) Finally, if you have information to submit but don't have Web access, you can send it to me via email. If there is enough demand for submissions by that channel (more than I can handle myself) I will cook something up. Thanks, -- Skip Montanaro skip@automatrix.com (518)372-5583 Musi-Cal on the Web: http://www.calendar.com/concerts/ Musi-Cal via email: concerts@calendar.com (msg body of "help" for full info) Internet Conference Calendar: http://www.calendar.com/conferences/ ========================================================================= Date: Fri, 4 Aug 1995 14:15:13 -0400 From: Charles d'Orban Subject: >Subject: Lindley (was Cooder) > >>Date: Wed, 2 Aug 1995 16:15:27 GMT >>From: Doug Watson >>Subject: Re: Ry Cooder >> >>Yes, but does anyone else sound like this, poignant and atmospheric? Or >>is he a total pioneer in this regard? > >Isn't David Lindley a candidate for this category? Ry Cooder isn't the only >slide player on the Paris, Texas soundtrack! Which one is which? I can't tell. I always thought that it was Lindley playing the more ambient drone sounds in the background. Cooder's touch on the Blind Willie Johnson pastiche is easy to spot. Charles *********************************************** * * * Charles d'Orban * * Curator * * Wason Collection on East Asia * * Cornell University * * 172 Kroch Library * * Ithaca, NY 14853-5301 * * USA * =============================================== * E-mail: cmd5@cornell.edu * * Tel: 607-255-5759 * * Fax: 607-255-8438 * *********************************************** ========================================================================= Date: Fri, 4 Aug 1995 11:25:55 -0700 From: Joe Lempkowski Subject: What got me into it. (was Re: Muddy, Sam and Otis) A friend and I went to ChicagoFest and saw Muddy Waters. It was an incredible performance. It was packed. We were right up front. I would swear it was so crowded you could lift your feet off the ground and you wouldn't fall. There must have been a zillion people out in a very small section of Navy Pier. The sound of that slide just sent shivers down my spine. (It still does, especially on Deep Down In My Heart on Chess.) The band included: John Primer and Rick Kreher on guitars, Mojo Buford / harmonica, Lovie Lee / piano, Earnest Johnson / bass and Ray Allison / (unsure about this one) drums. That was the beginning of the end for me. Now I listen to almost nothing else, except for the occasional country music. The second band I saw, killed almost all other music for me, Billy Branch and the Son Of Blues. I saw them at the University of Illinois @ Chicago Circle during a blues session that they did in 1980 or 1981. This band was extremely hot. Billy Branch, Lurrie Bell, J.W. Williams and Mose Rutues. I'll never forget Lurrie Bell singing "Feel Like Breakin' Up Somebody Home" or Billy Branch doing his version of "Juke" and "Hoochie Coochie Man". They were awesome. The death of Big Walter Horton and just turning 21 made me hit the club scene in Chicago with a vengeance. Big Walter's obituary in the Sun Times made it sound like the blues was dying. I wanted see as much of it as I could before it was gone. I'll never forget the day I read this and the impact it had on me at the time. I was working in a liquor store. Business was real slow. So I was reading the paper cover to cover to keep awake. His obituary was really powerful. I had never met the man or seen him, but his passing has changed my life. (No, I don't make a habit of reading the obituaries.) To this day, I still don't know what made me go to see Muddy Waters @ Chicagofest, but I am sure glad I did. I wonder if I would have gotten the message if I had seen him @ the age of 13 at the Westmont, IL Community Center. Enough rambling for now. Have a great weekend. Joe P.S. Is John Primer the most underappreciated bluesman on the planet? ========================================================================= Date: Fri, 4 Aug 1995 13:36:35 -0500 From: Jeff Seale Subject: computer blues This showed up as a "message of the day" when I logged in after lunch. Pretty weak! -Jeff ------- Well, my terminal's locked up, and I ain't got any Mail, And I can't recall the last time that my program didn't fail; I've got stacks in my structs, I've got arrays in my queues, I've got the : Segmentation violation -- Core dumped blues. If you think that it's nice that you get what you C, Then go : illogical statement with your whole family, 'Cause the Supreme Court ain't the only place with : Bus error views. I've got the : Segmentation violation -- Core dumped blues. On a PDP-11, life should be a breeze, But with VAXen in the house even magnetic tapes would freeze. Now you might think that unlike VAXen I'd know who I abuse, I've got the : Segmentation violation -- Core dumped blues. -- Core Dumped Blues ========================================================================= Date: Fri, 4 Aug 1995 14:04:37 -0500 From: Jeff Seale Subject: Re: Karaoke Hell On Fri, 4 Aug 1995, P.W. Fenton wrote: > > If Karate means empty hand, does Karoake mean empty head? > > > I'd like it to mean empty nightclub. What if your favorite blues club had karaoke on 2 "off nights" (early in the week) in order to pack the place and make enough money to have great blues acts on the weekend (to a much more intimate crowd)? The new Billy Blues has done something similar-in-principle here in SA. They are going to have one alternative night and one reggae (apparently there is a substantial following here, go figure) night. They figure this will help offset the blues nights on the weekend. I'm all for it! -Jeff (just a thought, not a flame) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Fri, 4 Aug 1995 14:43:51 PDT From: "R. J. Bauman" Subject: Re: Hangnail (?) for musicians or manicurists ;-) ========= I remember hearing or reading awhile back about SRV's use of Super Glue on his damaged fingers, but I can't remember exactly why and where he used the glue. ================= SRV would use super glue to replace a callous that had torn off. This according to a story in Musician early last year. It was a long, good column about his early years. RJ Bauman ========================================================================= Date: Fri, 4 Aug 1995 15:24:47 -0500 From: Rob Varak Subject: Re: BB King Commercial Ya know, it's not like commercials are anything new to BB. Wasn't his original Memphis show on WDIA sponsored by an elixir? (Peptonic or something?) I seem to recall him singing the jingle in an interview. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 4 Aug 1995 15:28:51 -0500 From: Rob Varak Subject: Re: Ian Angus Remarks Capitalistic egad, not THAT!!!:)ad infinitum Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 4 Aug 1995 20:34:39 +0000 From: Pat Hertel Subject: Re: Karaoke Hell On Fri, 4 Aug 1995, P.W. Fenton wrote: > > If Karate means empty hand, does Karoake mean empty head? > > > I'd like it to mean empty nightclub. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@cftnet.com > WWW = http://www.vistech.net/users/bluesell/ > The latest "Living Blues" features an advertisement for a Blues Cruise. One of the highlights? ....... a Karaoke Contest! :):):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [4/8/95 16:32 PM] "The eagle flies on friday..." ========================================================================= Date: Fri, 4 Aug 1995 18:38:11 -0400 From: Mary Katherine Aldin Subject: Re: computer blues Yeah, well, you know Muddy said it first: Got my modem workin' but it just don't work on you. Mary Katherine ========================================================================= Date: Fri, 4 Aug 1995 14:29:03 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Friday Hoochie Ignorance Okay, help. My mind has gone blank and I'm trapped in my office. Who originally wrote/sang "Hoochie Coochie Man"? Thanks! Shannon ========================================================================= Date: Fri, 4 Aug 1995 18:29:12 -0700 From: Jeffrey Taylor Subject: Re: Hangnail (?) for musicians or manicurists ;-) Please post to the list (or me) I have similar problems. Last night I was out in the parking lot at the break trying to find something in my toolbox to clip off the end of a split nail. Ended up ripping the damn thing out instead of cleanly clipping it off. ===================================== Jeff T "Blues with a feeling... ===================================== ========================================================================= Date: Fri, 4 Aug 1995 18:31:23 -0700 From: Jeffrey Taylor Subject: Re: Friday Hoochie Ignorance Willie Dixon, first performed by Muddy accroding to the notes in the Willie Dixon guitar tab book. ===================================== Jeff T "Blues with a feeling... ===================================== On Fri, 4 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > Okay, help. My mind has gone blank and I'm trapped in my office. Who > originally wrote/sang "Hoochie Coochie Man"? > > Thanks! > > > Shannon > ========================================================================= Date: Fri, 4 Aug 1995 19:11:48 -0800 From: James Carmin Subject: Friday Hoochie Ignorance >Date: Fri, 4 Aug 1995 14:29:03 EST >Reply-To: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM >Sender: Blues Music List >From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM >Subject: Friday Hoochie Ignorance >To: Multiple recipients of list BLUES-L > > Okay, help. My mind has gone blank and I'm trapped in my office. Who > originally wrote/sang "Hoochie Coochie Man"? > > Thanks! > > > Shannon > Of course, it was written by the always under-rated WILLIE DIXON who has been one of the most important songwriter of the blues. James "Boxcar Willie" C. jcarmin@teleport.com ========================================================================= Date: Fri, 4 Aug 1995 22:31:41 -0400 From: "William E. Forrester" Subject: Portraits of Guy, R.Johnson, & Hooker There are some very nice paintings of Buddy Guy, Robert Johnson, and John Lee Hooker that can be purchased or (if you're like me and can't afford the price) downloaded so you can at least see them on your monitor. Point your web browser to http://www.iis.com/egallery/walkj0.html. Download the three jpeg files that are simply called img201.jpg, img202.jpg, & img203.jpg. A while back, there were equally nice paintings of Ray Charles and Miles Davis. I didn't see them there on my most recent visit, so I assume that means the paintings were sold. Bill Forrester P.S. If anyone would like these files but does not have access to the web, I would be glad to email the uuencoded files. I don't think that this would be an infringement of any copyrights since the files were made publicly available in the first place. Email any requests directly to me, not to the list. ========================================================================= Date: Fri, 4 Aug 1995 22:50:44 -0400 From: Jim McGlynn Subject: Blues Ad Nauseum While listening to Little Milton's 2-disk Chess anthology "Welcome To The Club", I was startled to hear not one but two versions of Campbell's 1965 commercial jingle "Things Go Better With Coke." Any other flat-out commercials in the recorded and released blues canon come to mind? Jim McGlynn -- ========================================================================= Date: Sat, 5 Aug 1995 03:13:12 GMT From: zaphkiel@IX.NETCOM.COM Subject: Sarasota Labor Day Music Festival Heya Blues Fans, Here is the latest on this upcoming event! Come and join us for one hot day of blues. RL Adams PS... If you should attend, drop by my jewelry booth! Mention Blues-L and we'll chat. ......Robin Florida Blues Network presents Labor Day Music Festival 6489 Kahana Way, Sarasota, Florida 34241 ____________________________________________________________________________________ August 1, 1995 PRESS RELEASE Jerry Ross of the Florida Blues Network is pleased to announce the inaugural Labor Day Music Festival scheduled for Sunday, September 3, 1995 at Ed Smith Stadium, located at 12th and Tuttle Avenue in Sarasota, Florida. This festival will feature national and regional blues music and will feature 9 hours of continuous music. Set on Florida's West Coast, the event will attract many music lovers and blues fans to the Sarasota community for this last big party of the summer. A portion of the proceeds from this exciting event will go to the Suncoast Center for Independent Living, one of Sarasota's most important non-profit organizations providing comfort for handicapped citizens of the community. >From Jerry Ross of the Florida Blues Network: "We wanted to provide the opportunity for people to come together, dance, make new friends and re-acquaint themselves with old friends. Labor Day Weekend has provided a great musical tradition in Sarasota." An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, Grammy-winning harmonica wizard Sugar Blue, who won the coveted award with The Rolling Stones for "Miss You" with his trademark riff identifying the song. Sugar Blue previously appeared in Sarasota earlier this summer at a jam packed Gator Club performance as part of the Florida Blues Network's Summer Roots 'N Blues Series and blues fans are elated over his return to headline this festival. Rightly so, Sugar Blue has been called the "Charlie Parker and Jimi Hendrix of the harmonica". In addition, the immensely popular Chicago funk/blues guitarist Joanna Connor returns to Sarasota to perform for loyal Florida fans who have developed an intense love for Joanna's impressive guitar style and her strong vocal presence. Connor also appeared earlier in the year at the Florida Blues Network's Summer Series and was immediately booked for the festival during her red hot performance. Making his first ever appearance in Sarasota, Texas harmonica master Gary Primich will make this festival a guaranteed "don't miss" event. Primich, who lectures and gives master class instruction on his chosen instrument, will perform tunes ranging from Duke Ellington's "Caravan" to T-Bone Walker-styled jump and swing blues. Gary Primich is considered the "musician's musician" when it comes to harmonica. His band is constantly rated among the nation's best. Also included on this show will be a 13-year old female guitar sensation, Clearwater's D. D. Dunn, making her first appearance in Sarasota. Dunn, a four-foot dynamo will knock out audiences out with her display of jazz and blues theory as well as her impressive "chops". She will appear with Dunedin's BirdDog Bobby and his Honey Hounds, who will also be making a rare Sarasota appearance. Sarasota itself boasts a very strong musical history, and this festival would not be complete without showcasing a portion of the rich talent found inside the city limits. Guitarist Bobby G, voted the area's No. 1 musician by Sarasota Magazine, will be appearing with slide guitarist Paul Galestro and The Blynders. Galestro has written many blues classics and has gained a national reputation on slide guitar while Bobby G, who founded the early 70's rock group, Frigid Pink, is an impressive guitarist of enormous talent. Rounding out this festival will be Gwen "Queenie" Fogt and the King B's Blues 'N Soul Revue, featuring the Eddie Kinder Horns. Gwen is a singer or rare ability and her stage show, coupled with the big band sound of the King B's, is a Sarasota favorite! Gates open at 11:00 AM. The music will begin at Noon and will continue through 9:00 PM followed by a giant Sarasota Red Sox Fireworks Finale. Many of the regions top restaurants will be on hand to serve food and beverages throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. Also included will be a Big Screen Satellite Football Tent, Arts & Crafts, and Children's Activities. The stage and viewing areas are under tents to provide a festival atmosphere come rain or shine. Please bring blankets and lawn chairs to this fun family event. No pets, glass, coolers or audio- visual cameras are permitted. Tickets for general lawn seating are available NOW at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $13.00 at the gate. A limited number of Gold Reserved Tent Seats (200) will be available for $25.00 through the Florida Blues Network only. ($20 for members of the Florida Blues Club). For further information regarding this event and the Florida Blues Club: Contact Jerry Ross/Florida Blues Network, Inc. 941-377-8220 ========================================================================= Date: Sat, 5 Aug 1995 03:18:11 GMT From: zaphkiel@IX.NETCOM.COM Subject: Blues on the Bayou >>>>>> Tarpon Springs, Florida Hello ya'll, Here is the latest on this event! I'm really looking foward to this date, I'm a big Lonnie fan. Come and join us for a great time. RL Adams PS... If you attend, drop by my jewelry booth! Let me know you saw this post and we'll chat. How cool that would be! .....Robin Blues on the Bayou 3 East Tarpon Avenue, Tarpon Springs, Florida 34689 This event officially sanctioned by the Florida Sesquicentennial Commission in support of Celebrate Florida (1845 - 1995) ____________________________________________________________________________________ July 10, 1995 PRESS RELEASE The Main Street Association of Tarpon Springs, Florida, is pleased to announce the first annual Blues On The Bayou festival scheduled for Saturday, October 7, 1995, at Craig Park, located downtown in historic Tarpon Springs, Florida. This festival will feature national and regional blues music and will be centered around a chili cook-off supported by the International Chili Society. Set in beautiful Craig Park, the event will attract thousands of patrons and blues fans to the Tarpon Springs community. An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, guitarist Lonnie Brooks and the Lonnie Brooks Band, featuring the father and son combination of Lonnie and Ronnie Brooks. Lonnie's recent CD's, Bayou Lightning Strikes and Satisfaction Guaranteed, indicate the type of performance blues fans have come to know from the Lonnie Brooks Band. The State of Florida welcomes back, from California, guitarist Chris Cain, an electrifying talent who won rave reviews in Tampa on his last appearance in March/1995. The fact that Chris Cain's mother is of Greek heritage adds a special quality to this music festival in an area rich in Greek traditions. The Chris Cain Band features rich, impressive vocals, intelligent guitar phrasing, and a very tight rhythm unit which features organ and horn section performing all original material. Award-winning guitarist Jimmy Thackery and The Drivers roll into Tarpon Springs to join this great musical line-up. Jimmy Thackery is at the forefront of today's thriving blues scene nationwide and tours full-time due to demand for his special talent. Jimmy's three-piece band "cooks", as the saying goes. The fact that Jimmy Thackery recently purchased a home in the Tarpon Springs area adds another special quality to this music festival. Florida favorite Bill Wharton, known as "The Sauce Boss", and his band, The Ingredients, will open the show. Guitarist Bill Wharton concocts his own exotic gumbo during his blues performance and invites the audience to sample the delicious mixture. This fact adds another special quality to this music festival. Tampa favorites James Peterson and 13-year old female guitar sensation, Clearwater's D.D. Dunn, appearing with BirdDog Bobby and the Honey Hounds, round out this great event. The music will begin at 11:00 a.m. and continue through 10:00 p.m. providing a day-long backdrop to the flavors of chili. Food and beverages will be served throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. The Main Street Association of Tarpon Springs is a non-profit organization whose membership supports many programs in the community. A portion of the proceeds from this event are earmarked for the Tarpon Springs Public Library Building Fund. Blues On The Bayou intends to be a yearly event. Tickets are available at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $15.00 at the gate. Make plans to spend a fun-filled day in one of Florida's natural settings.....historic Craig Park, downtown Tarpon Springs, Florida. For further information: Tarpon Springs Main Street Association Hotline & Recorded Message: 813-944-3364 Ammon Gant/Main Street Association/Event Chairman 813-938-2287 Jerry Ross/Florida Blues Network, Inc./Director of Operations & Promotion 941-377-8220 ========================================================================= Date: Fri, 4 Aug 1995 23:18:15 -29900 From: Michael Kaloyanides Subject: Re: BB King Relating to this thread on blues musicians on commercials, last night I saw what seemed to be a jeans commercial featuring an elderly black blues acoustic gutarist. The commercial wa was in Black & White and the gentleman had distinctive gold(?) teeth. Anyone know who this musician is? Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven excuse the extra random characters........server problems! ========================================================================= Date: Sat, 5 Aug 1995 02:50:18 GMT From: zaphkiel@IX.NETCOM.COM Subject: Sarasota Labor Day Music Festival Heya Blues Fans, Here is the latest press release for our event! Come join us for a great time. RL Adams PS.... If you do attend, come and find me. I'll have a jewelry booth. Let me know you saw this post on Blues-L and we'll chat. ....Robin Florida Blues Network presents Labor Day Music Festival 6489 Kahana Way, Sarasota, Florida 34241 ____________________________________________________________________________________ August 1, 1995 PRESS RELEASE Jerry Ross of the Florida Blues Network is pleased to announce the inaugural Labor Day Music Festival scheduled for Sunday, September 3, 1995 at Ed Smith Stadium, located at 12th and Tuttle Avenue in Sarasota, Florida. This festival will feature national and regional blues music and will feature 9 hours of continuous music. Set on Florida's West Coast, the event will attract many music lovers and blues fans to the Sarasota community for this last big party of the summer. A portion of the proceeds from this exciting event will go to the Suncoast Center for Independent Living, one of Sarasota's most important non-profit organizations providing comfort for handicapped citizens of the community. >From Jerry Ross of the Florida Blues Network: "We wanted to provide the opportunity for people to come together, dance, make new friends and re-acquaint themselves with old friends. Labor Day Weekend has provided a great musical tradition in Sarasota." An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, Grammy-winning harmonica wizard Sugar Blue, who won the coveted award with The Rolling Stones for "Miss You" with his trademark riff identifying the song. Sugar Blue previously appeared in Sarasota earlier this summer at a jam packed Gator Club performance as part of the Florida Blues Network's Summer Roots 'N Blues Series and blues fans are elated over his return to headline this festival. Rightly so, Sugar Blue has been called the "Charlie Parker and Jimi Hendrix of the harmonica". In addition, the immensely popular Chicago funk/blues guitarist Joanna Connor returns to Sarasota to perform for loyal Florida fans who have developed an intense love for Joanna's impressive guitar style and her strong vocal presence. Connor also appeared earlier in the year at the Florida Blues Network's Summer Series and was immediately booked for the festival during her red hot performance. Making his first ever appearance in Sarasota, Texas harmonica master Gary Primich will make this festival a guaranteed "don't miss" event. Primich, who lectures and gives master class instruction on his chosen instrument, will perform tunes ranging from Duke Ellington's "Caravan" to T-Bone Walker-styled jump and swing blues. Gary Primich is considered the "musician's musician" when it comes to harmonica. His band is constantly rated among the nation's best. Also included on this show will be a 13-year old female guitar sensation, Clearwater's D. D. Dunn, making her first appearance in Sarasota. Dunn, a four-foot dynamo will knock out audiences out with her display of jazz and blues theory as well as her impressive "chops". She will appear with Dunedin's BirdDog Bobby and his Honey Hounds, who will also be making a rare Sarasota appearance. Sarasota itself boasts a very strong musical history, and this festival would not be complete without showcasing a portion of the rich talent found inside the city limits. Guitarist Bobby G, voted the area's No. 1 musician by Sarasota Magazine, will be appearing with slide guitarist Paul Galestro and The Blynders. Galestro has written many blues classics and has gained a national reputation on slide guitar while Bobby G, who founded the early 70's rock group, Frigid Pink, is an impressive guitarist of enormous talent. Rounding out this festival will be Gwen "Queenie" Fogt and the King B's Blues 'N Soul Revue, featuring the Eddie Kinder Horns. Gwen is a singer or rare ability and her stage show, coupled with the big band sound of the King B's, is a Sarasota favorite! Gates open at 11:00 AM. The music will begin at Noon and will continue through 9:00 PM followed by a giant Sarasota Red Sox Fireworks Finale. Many of the regions top restaurants will be on hand to serve food and beverages throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. Also included will be a Big Screen Satellite Football Tent, Arts & Crafts, and Children's Activities. The stage and viewing areas are under tents to provide a festival atmosphere come rain or shine. Please bring blankets and lawn chairs to this fun family event. No pets, glass, coolers or audio- visual cameras are permitted. Tickets for general lawn seating are available NOW at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $13.00 at the gate. A limited number of Gold Reserved Tent Seats (200) will be available for $25.00 through the Florida Blues Network only. ($20 for members of the Florida Blues Club). For further information regarding this event and the Florida Blues Club: Contact Jerry Ross/Florida Blues Network, Inc. 941-377-8220 ========================================================================= Date: Fri, 4 Aug 1995 22:49:45 -0700 From: David Burke Subject: Re: Rod the Mod : You seem to have left out the part that has to do with the Blues. : P.W. Fenton : Tampa, Florida : e-mail = pwfenton@cftnet.com : WWW = http://www.vistech.net/users/bluesell/ Well, pee-dubble-yuh ....I think Rod the Mod has a *lot* to do with the blues, in my opinion...a fine blues singer in his younger days, I must say..... ========================================================================= Date: Sat, 5 Aug 1995 03:23:06 -0400 From: Fred Sokolow Subject: Re: BB King Let us not presume to judge BB as a person, let us just praise him for all he's given us, and buy my book of transcriptions of some of his best solos & tunes!!! E-mail me your mailing (snailmail) address for a free catalog & details...Includes stuff from 50s on up, lots of the best songs, tablature, an analysis of his style... Hey, I just was involved in a commercial in which a musical celebrity was paid 100 grand for a day's work; that would put several of his grandchildren through college. Hard to say no...Fred Sokolow ========================================================================= Date: Sat, 5 Aug 1995 03:23:32 -0500 From: Michael Suffern Subject: Incommunicado Blues My PC at home has gone belly up. The Unix box at work is only rarely connected to the net. So, I'm almost completely deaf dumb and blind. My only access is when they forget to shut down the Unix box's gateway (like tonight). The only sure communication until next week or so is voice: (708) 582 - 2358 Home (ans. mach. *always* on) (708) 452 - 2230 Work (direct line and vm) I go looking at Pentiums after work because I'm jonesing! I can't just sit in front of the T.V. and do nothing. Real weird feeling. I can't even seem to play my guitar, I'm so sad, or I'd write a Blues tune. Maybe the piano would sooth more. Look for a piano Blues tune from me when I finally get back. Mike ========================================================================= Date: Sat, 5 Aug 1995 12:37:12 +0100 From: Roadrunner Tour Management Subject: Friday Hoochie Ignorance Responding to msg by Shannon_OConnor_at_ED__SWPCO@SWPCO.COM () on > Okay, help. My mind has gone blank and I'm >trapped in my office. Who > originally wrote/sang "Hoochie Coochie Man"? > > Thanks! > > > Shannon Muddy Waters!!!!!!!!!!!!!!! "Roadrunner Tour Management" 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 91 760339 E-mail: roadrun@iol.ie "KEEP THE BLUES ALIVE" ========================================================================= Date: Sat, 5 Aug 1995 12:40:49 +0100 From: Roadrunner Tour Management Subject: Friday Hoochie Ignorance >> Okay, help. My mind has gone blank and I'm >trapped in my office. Who >> originally wrote/sang "Hoochie Coochie Man"? >> >> Thanks! >> >> >> Shannon > Sorry, it was Willy Dixon, not Muddy Waters as I first said! "Roadrunner Tour Management" 141 Tirellan Heights Galway / Ireland Tel.&Fax: +353 91 760339 E-mail: roadrun@iol.ie "KEEP THE BLUES ALIVE" ========================================================================= Date: Sat, 5 Aug 1995 11:52:14 GMT From: Tony Burns Subject: Toronto Blues Society Newsletter There is an online version of the Toronto Blues Society's August newsletter available via my home page . Nothing fancy, just a little html wrapped around a text file, watch for the real thing a couple of issues down the road. Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Sat, 5 Aug 1995 09:19:14 PDT From: "R. J. Bauman" Subject: Re: Hangnail (?) for musicians or manicurists ;-) There are rubbber finger tips available that fit very snugly. I'm not to sure how comfortable they would be for a whole set. You fingers might get a little clammy or start to fall asleep. I'd recommend atleast TRYING a product called NewSkin. It's a liquid you apply with a brush that sort of simulates skin. It is a first aid product. Your pharmacist could show you where it is. I hope it works! RJ Bauman ========================================================================= Date: Sat, 5 Aug 1995 11:47:58 -0500 From: Mike Heidenberg Subject: Re: Hangnail (?) for musicians or manicurists ;-) >There are rubbber finger tips available that fit very snugly. I'm not to sure >how comfortable they would be for a whole set. You fingers might get a little >clammy or start to fall asleep. > >I'd recommend atleast TRYING a product called NewSkin. It's a liquid you >apply with a brush that sort of simulates skin. It is a first aid product. >Your pharmacist could show you where it is. > >I hope it works! > >RJ Bauman Re New Skin: good suggestion, RJ. I know some people for whom that stuff has worked quite well. One caveat, though- if you do try it, make sure you're not allergic to it first. I know I am....wish I weren't, it could be quite useful..... Those rubber finger tips sound interesting. I know that Tony Iommi of Black Sabbath (so sue me, I read it in a guitar mag, though I DO NOT own any Black Sabbath ;-) ) uses little "thimbles" on a couple of his fretting fingers because he's missing parts of those fingers- I wonder if these rubber tips are the same kind of thing..... -Mike ========================================================================= Date: Sat, 5 Aug 1995 16:15:32 GMT From: Sue Klaus Subject: ATTN COMPOSERS DEMO TAPES WANTED SUBJECT: ATTN COMPOSERS DEMO TAPES WANTED ATTN: COMPOSERS - MUSIC SUBMISSIONS WANTED. Wanted: Demo Tapes Seat-A-Robics and Daria Alinovi are in the midst of putting together an exercise tape exclusively for children that have disabilities. She is looking for children's music for a production aimed at children, called "Just 4 Kids". There has been alot of interest in this tape because children are mainstreamed into the school systems due to the ADA laws. It is a 45 minute video with about 5 minutes of warmups, 25 of actual aerobics and some of which should include the sounds of individual major instruments such as a drum flute, trumpet ect. Per Daria," I pretend that the kids are in a marching band. and they act out the instrument that is being heard. In this way, I get them moving while having fun! The last portion is a cool down." I would like to encourage you, if you feel this fits your compositional language, to submit music for consideration in this project. SUBMISSION GUIDELINES Terms negotiable. Deadline for submission SEPTEMBER 1, 1995. Submit tapes or CD's to: Seat-A Robics, inc. ATTN: Daria Alinovi PO Box 630064 Little Neck NY USA 11363-0064 If you have questions, you can contact Daria at daria@savvy.com. I wish to thank you for your music and your willingness to participate. Good luck in all your future endeavors. Sue Klaus "Internet Liaison" for Seat-A-Robics ========================================================================= Date: Sat, 5 Aug 1995 13:11:15 -0400 From: craig o'donnell Subject: BB Burgers ...Somehow I can't stomach (oops!), the idea of BB doing a cheap dalogue ...about "loving these burgers". YUK! Ahh, it's nice to see the blues in mainstream media, and it really is a funny commercial. Good for BB. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Sat, 5 Aug 1995 13:15:15 -0400 From: Jim McGlynn Subject: Chris Whitley's Blues From The Gutter A couple of months ago Jim Bardsley and I had a discussion about Chris Whitley's second album, "Din of Ecstasy," after he'd posted his initial negative reaction to it. Because I know Whitley's blues-infused first album, "Living With The Law," attracted favorable attention from many here, and after a few months of continued listening to this latest release, I think it's worthwhile to urge those of you open to non-blues electric guitar music to give it a listen. I used the title of Champion Jack Dupree's album in the header because like Dupree's work, "Din" is an intensely personal cry from the heart of drug-induced darkness. Whether or not Whitley is currently struggling with that demon (and having seen him several times over the past three years I have my own thoughts about that) this latest release is, I believe, an astonishing piece of work. It ain't blues. It's original power trio music propelled by Whitley's frenetic blues-derived guitar (lotsa slide) and haunted vocals. The overall effect is Hendrixian without for a moment literally copping Hendrix's style. Whitley plays guitar like a man possessed. The compositions are idiosyncratic and frequently wall-of-sound-ish, but I swear there's a real beauty in there that'll grow on you if given half a chance. See him if he's in your neighborhood. I'm sorry to say I've got a bad feeling about the likelihood of his being around until ripe old age. We've all heard about people burning the candle at both ends. This guy's candle, I'm afraid, is Roman. Sorry to go on about something that's not strictly blues. I just didn't want Jim's initial negative reaction to Whitley's latest to stand as the last word here about it. I'm sure many of you will be as impressed with "Din Of Ecstasy" as I've been. Jim McGlynn -- ========================================================================= Date: Sat, 5 Aug 1995 13:30:02 -0400 From: "Peter K. Siegel" Subject: Blues Ad Nauseum In bit.listserv.blues-l Jim McGlynn said: >While listening to Little Milton's 2-disk Chess anthology "Welcome To The >Club", I was startled to hear not one but two versions of Campbell's 1965 >commercial jingle "Things Go Better With Coke." > >Any other flat-out commercials in the recorded and released blues canon come to >mind? Actually in the mid 60s, WWRL -- then NY's soul leader, now gospel -- circulated a tape of about half a dozen jingles by Little Milton in an attempt to get some ad dollars flowing in their direction. The commercials were for "Brer Rabbit Syrup" and "Day's Work Tobacco" "When they hired me for this commercial They said I'd have to wear a funny suit Can you imagine Little Milton A roly-poly bundle of cute? Quick like a bunny Brer Rabbit Syrup The Queen of the corn and cane" etc. Peter K. Siegel, Henry Street Folklore, Brooklyn NY ========================================================================= Date: Sat, 5 Aug 1995 12:34:28 -0600 From: Don O Subject: BLUES AD NAUSEUM > From: Jim McGlynn > > Any other flat-out commercials in the recorded and released blues > canon come to mind? Freddie King cut some commercials about 1974 for Lone Star Beer in Texas. They have not been released on any recordings yet, but I suspect they will be in the not too distant future. Don O. ========================================================================= Date: Sat, 5 Aug 1995 10:39:52 -0700 From: Gregg Makepeace Subject: Ry Cooder/David Lindley I just recently saw Cooder and Lindley on tour and the previous poster was correct about who plays what on Paris, Texas soundtrack. Ry was playing bottleneck while Mr. Dave was bowing(!) one of his many old cheapo electrics to create the drone effect. In fact, I believe it was an electic 12-string if I'm not mistaken... Gregg Makepeace makepeac@ug.eds.com ========================================================================= Date: Sat, 5 Aug 1995 13:40:14 -0500 From: dwhite Subject: Blues ad Nauseum I believe both BB and Johnny Winter did an ad campaign for Tiajuana Smalls in the early '70's. Copies of which I have searched in vain for years Dana ========================================================================= Date: Sat, 5 Aug 1995 14:58:09 -0400 From: Lynn Moncrief Subject: Re: Friday Hoochie Ignorance > Okay, help. My mind has gone blank and I'm trapped in my office. >Who > originally wrote/sang "Hoochie Coochie Man"? > Thanks! > Shannon ------------------------------------------------------------------------- It was Friday afternoon and I too was trapped in my home office (fortunately equipped with stereo and blues CDs ;-D). Just muddying the waters here with this: I looked on a Muddy Waters CD with "Hoochie Coochie Man" on it and it said under the title "M. Morganfield". In other words, Muddy himself. But, lo and behold, the liner notes to a Willie Dixon CD say "W. Dixon". Looking back at the Muddy Waters CD (Muddy Waters Live in Paris 1970), I notice that the song is titled "Hootchie Coochie Man" whereas the Willie Dixon CD (I Am the Blues) selection is titled "I Am Your Hoochie Coochie Man." Lynn ========================================================================= Date: Sat, 5 Aug 1995 14:54:30 -0400 From: Lynn Moncrief Subject: Re: Fabulous Thunderbirds Live <> Rudi, Billy Boy Arnold is a harp player. His latest CD (as far as I know--released in 1993) is called "Back Where I Belong" on Alligator Records. According to the liner notes, he's a Chicago bluesman who studied harmonica under the original Sonny Boy, John Lee Williamson. He also played for a time with the early Bo Diddley band. He was a regular in the Chicago blues scene until the 1960's, then blues became sort of an avocation with him while he worked at other things. Now he's back into the blues again (thus the name of the CD). (Good liner notes here. :-D) Anyway, I definitely recommend checking out this CD (maybe in a Blockbuster's where you can try before you buy, if they have it). I bought it for the cut "Fine Young Girl", but there are other great ones on there too, IMHO. OTOH, I don't have any CDs (let alone good liner notes) about Bob Margolin, but what I've heard on the radio by him has been very good. Someone correct me if I'm wrong, but he may have played with Muddy Waters at some time. I'm sure you'll enjoy the concert! Lynn ========================================================================= Date: Sat, 5 Aug 1995 14:58:15 -0400 From: Lynn Moncrief Subject: blues in commercials While we're on the subject of blues and commercials, does anyone know anything about that Honda(?) motorcycle commercial with industrial-strength Texas-sounding blues playing in the background? I haven't seen it on TV in a month or two, but the scene was riding through the streets of a city at night. Was that song created just for the commercial or is it part of a selection from a CD that I can go out and buy? Thanks! Lynn ========================================================================= Date: Sat, 5 Aug 1995 20:05:45 GMT From: George Myers Subject: Re: The Band's Blues Roots I must confess to a very unfair prejudice regarding this band. When they were named "The Band" I kinda saw red and never recovered. THE BAND was John Coltrane, Elvin Jones, McCoy Tyner, and Jimmy Garrison. ========================================================================= Date: Sat, 5 Aug 1995 17:36:53 -0400 From: Mary Katherine Aldin Subject: Fwd: Internet woes Can anybody help this guy? Mary Katherine --------------------- Forwarded message: From: pwfenton@tpa.cent.com (P.W. Fenton) To: mkaldin@aol.com Date: 95-08-05 17:01:36 EDT Hi Mary Katherine, I changed internet access providers. I un-subscribed from Blues-l at my old address. But have been unable for some unknown reason to get myself resubscribed. It seems that I can't send mail to Brown.edu..??? Anyway, please let me know that you got this message, and pass on my tale of woe to the friends I left behind (temporarily I hope). Please pass on my new address from my signature below P.W. Fenton Tampa, Florida email - pwfenton@tpa.cent.com WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Sat, 5 Aug 1995 18:13:30 -0400 From: "...... Poxyman" Subject: Smokey Wilson Someone recently posted Smokey Wilson's itinerary and I somehow lost it. Please repost if you would or just send it to me. Thanks, Pat Seay PS. We are working on a Blues at the Beach fest in Va Beach and some of our members(Natchel' Blues Network) want Smokey. ========================================================================= Date: Sat, 5 Aug 1995 18:55:50 +0000 From: "P.W. Fenton" Subject: Success!!! The problems I was having were local to the new system I'm on. I was sending all my "subscribe" messages to the right place. I know this because when they finally went through... they ALL went through!!! What a mess. Anyway, I appear to be re-subscribed. Thanks, to Mary Katherine for trying to get me some help. P.W. Fenton Tampa, Florida email - pwfenton@tpa.cent.com WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Sat, 5 Aug 1995 20:22:11 -0400 From: Jacquelin Katz Subject: Re: Ian Angus Remarks Although I don't much like advertising, I don't object to musicians posting their upcoming schedules here and hope they continue to do so. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Fri, 4 Aug 1995, Roger Struve wrote: > I found i enjoyed Mr. Angus' remarks about some of the more "famous" > participants on BLUES-L. > > While i try to be very tolerant, i think that we all agree that > BLUES-L exists primarily as a forum for us participants to discuss > the blues. And while i like the occasional "stretch" in subject > matter that appears on this list at times for the most part, i think > that those who join this list to advertise their wares, and who DON"T > respond in kind to email directed to them, and whose primary purpose > seems solely to be here to advertise their wares, are being: > > 1. Discourteous > 2. Capitalistic > 3. Contrary to the purpose of this list--to enjoin in discussions > about the blues. > > Otherwise, i am havin' a great day... > > Best of the weekend to yawl, > delta doc roger > ========================================================================= Date: Sat, 5 Aug 1995 20:45:35 -0400 From: Jacquelin Katz Subject: Re: TIPITINA'S FOR SALE Kind of an interesting idea...run it by a board of Blues-L directors :> Jackie Katz jkatz@mcls.rochester.lib.ny.us On Fri, 4 Aug 1995, Garry Segal wrote: > Hey we raised enough for air conditioning for Jessie Mae... Lets start a > collection to buy Tipitinas ! ;-) > > Garry > ========================================================================= Date: Sat, 5 Aug 1995 19:50:14 -0600 From: David Silberberg Subject: Re: Hangnail (?) for musicians or manicurists ;-) At 10:47 AM 8/5/95, Mike Heidenberg wrote: >Re New Skin: good suggestion, RJ. I know some people for whom that stuff >has worked quite well. One caveat, though- if you do try it, make sure >you're not allergic to it first. I know I am....wish I weren't, it could be >quite useful..... Seems to me we used to use it for blisters when we were bowling thirty years ago. I'm surprised it's still being made. We'd put it on between frames - to make sure it would dry before we were up again, we'd light it. Not sure I'd recommend that approach any more, now that I'm older - and more sane.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 5 Aug 1995 20:51:19 -0400 From: Jacquelin Katz Subject: Re: Karaoke Hell Yes. Karoake does *not* mean empty mind, which, of course, is the state of enlightenment. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Fri, 4 Aug 1995, Ken Peace wrote: > If Karate means empty hand, does Karoake mean empty head? > > ---------------------------------------------------------------------------- > Ken Peace |Down at Antone's > kenpeace@acer.u-net.com |Red Hot Texas Blues > Chester, UK |Swinging 'n' Shuffling in the N.W. > ---------------------------------------------------------------------------- > ========================================================================= Date: Sat, 5 Aug 1995 21:35:00 -0400 From: Jacquelin Katz Subject: Re: Friday Hoochie Ignorance Willie Dixon. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Fri, 4 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > Okay, help. My mind has gone blank and I'm trapped in my office. Who > originally wrote/sang "Hoochie Coochie Man"? > > Thanks! > > > Shannon > ========================================================================= Date: Sat, 5 Aug 1995 22:16:50 -0400 From: Jacquelin Katz Subject: Re: The Band's Blues Roots It probably doesn't help, but they didn't select that name. People called them the Band because they were Dylan's band for a while. They signed with Capitol as "the Crackers", but it didn't stick. I guess you can blame Albert Grossman. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Sat, 5 Aug 1995, George Myers wrote: > I must confess to a very unfair prejudice regarding this band. When they > were named "The Band" I kinda saw red and never recovered. THE BAND was > John Coltrane, Elvin Jones, McCoy Tyner, and Jimmy Garrison. > ========================================================================= Date: Sat, 5 Aug 1995 21:44:52 PDT From: "R. J. Bauman" Subject: Re: Hangnail (?) for musicians or manicurists ;-) You guys are probably way ahead of me here, but good ol' fashioned first aid tape would work, too. I'm thinking the only way to actually CURE the problem -to avoid makeshift remedies- is to stop slamming the backs of your fingers on the strings. When I catch myself doing this, I can usually adjust the way I'm holding the pick to give me more "clearence." Maybe your choice of picks and or picking technique need a little adjustment? >There are rubbber finger tips available that fit very snugly. I'm not to sure >how comfortable they would be for a whole set. You fingers might get a little >clammy or start to fall asleep. > >I'd recommend atleast TRYING a product called NewSkin. It's a liquid you >apply with a brush that sort of simulates skin. It is a first aid product. >Your pharmacist could show you where it is. > >I hope it works! > >RJ Bauman > ========================================================================= Date: Sat, 5 Aug 1995 21:57:17 PDT From: "R. J. Bauman" Subject: Re: Hangnail (?) for musicians or manicurists ;-) ==Those rubber finger tips sound interesting. I know that Tony Iommi of Black Sabbath (so sue me, I read it in a guitar mag, though I DO NOT own any Black Sabbath ;-) ) uses little "thimbles" on a couple of his fretting fingers because he's missing parts of those fingers- I wonder if these rubber tips are the same kind of thing..... -Mike========== Yes. ========================================================================= Date: Sat, 5 Aug 1995 22:01:22 PDT From: "R. J. Bauman" Subject: Re: BLUES AD NAUSEUM The "3 Sides Of Johnny Clyde Copeland" CD has a selection called "Commercial." He's singing something about , "It's as real as it gets." Anybody reember the product? RJ Bauman (sound quality of this CD is all over the map. Some is quite poor. The album material deserved better.) ========================================================================= Date: Sat, 5 Aug 1995 23:03:17 -0400 From: Tom Freeland Subject: Re: TIPITINA'S FOR SALE > Hey we raised enough for air conditioning for Jessie Mae... Lets start a > collection to buy Tipitinas ! ;-) > > Garry > The folks on the Richard Thompson mail list are saying the money should be raised and trying to do it in $100 increments...... Tom Freeland ========================================================================= Date: Sun, 6 Aug 1995 02:41:21 -0400 From: Fred Sokolow Subject: Re: Friday Hoochie Ignorance Yeah, Willie Dixon wrote Hoochie Coochie Man & taught it to Muddy in the men's room of a Chicago club where Muddy was playing...he went out & sang it right away so he wouldn't forget it & I think the story is the club audience made him do it over & over...it became his signature tune, best selling record, etc...but you'd know all this if you bought my Muddy book, a book of guitar transcriptions (tablature & music) of Muddy's most famous tunes plus his accompanying guitarists as well...plus analysis of his style & lots of stories like the above...Email me your mailing (snailmail) address for details & free catalog of blues, rock, country, jazz etc guitar instructional stuff. There's a great Willie Dixon book too, a one called Basic Blues that's an all around blues guitar method book. ...Fred Sokolow ========================================================================= Date: Sun, 6 Aug 1995 01:00:03 PDT From: Eric LeBlanc-CISTI Subject: BLUES DATES : AUGUST 06 - AUGUST 12 Here's a few dates (b. born, d. death) for this week. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMMONS, GENE "JUG" (tsax) d. 1974-0806, CHICAGO, IL 49 BLACKMON, WILLIE "EARTHQUAKE" (d) b. 1934-0806, BROWN, WILLIE LEE (g/CHARLEY PATTON) b. 1900-0806, CLARKSDALE, MS CLARK, SAM BIG (p) d. 1981-0806, LITTLE ROCK, AR 65 COLLETTE, WILLIAM "BUDDY" (tsax) b. 1921-0806, LOS ANGELES, CA DEBARGE, RANDY (of DEBARGE) b. 1958-0806, GRAND RAPIDS, MI DELAND, ROBERT (BLUES-L MEMBER) b. 1959-0806, URBANA, IL DICKENSON, VIC (tbn) b. 1906-0806, XENIA, OH ENRIGHT, DAN (BLUES-L MEMBER) b. -0806, GALION, OH GILBERT, JOE (of JOE & EDDIE) d. 1966-0806, LONG BEACH, CA 23 GRANZ, NORMAN (founder: VERVE/PABLO REC) b. 1918-0806, LOS ANGELES, CA HOUDINI, WILMOTH (v/sw/calypso) d. 1973-0806, NEW YORK CITY, NY 78 JOHNSON, LEM (tsax/LOUIS JORDAN/TOLBERT) b. 1909-0806, OKLAHOMA CITY, OK LANCASTER, BYARD (asax) b. 1942-0806, CHESTNUT HILL, PA LINCOLN, ABBEY (v) b. 1930-0806, CHICAGO, IL MEMPHIS MINNIE [LIZZIE DOUGLAS] (g) d. 1973-0806, MEMPHIS, TN 76 NIX, WILLIE (THE MEMPHIS BLUES BOY) (d) b. 1922-0806, MEMPHIS, TN POWELL, BADEN (g) b. 1937-0806, RIO DE JANEIRO RUSSELL, LUIS (p) b. 1902-0806, CAREENING CAY,PANAM SANDERS, WILLIAM "SONNY" (prod) b. 1939-0806, CHICAGO HEIGHTS, IL THOMAS, JOE L. (tpt) d. 1984-0806, NEW YORK CITY, NY 75 WHITE, LYNN (v/WAYLO REC) b. 1953-0806, MOBILE, AL WILLIAMS, NED ELLIOTT (editor/DOWNBEAT) d. 1981-0806, COUNCIL BLUFFS, IA 84 WILLIAMS, RICHARDO G. (d) b. 1953-0806, NORTHBROOK, VA WILLING, JOHN "BROTHER" (hca) d. 1983-0806, DE KALB, MS 34 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AUGUST, LYNN (accordian/BLACK TOP REC) b. 1948-0807, LAFAYETTE, LA BEIDERBECKE, BIX (:) (cnt) d. 1931-0807, QUEENS,NYC, NY 28 BOHANON, GEORGE (tbn) b. 1937-0807, DETROIT, MI BRADLEY, DON (of THE VIBRATIONS/JAYHAWKS) b. 1936-0807, ST. LOUIS, MO BRYANT, FELICE (of BOUDLEAUX & FELICE) b. 1925-0807, MILWAUKEE, WI CHEEKS, JULIUS (lead/SEN NIGHTINGALES) b. 1929-0807, SPARTANBURG, SC CULLEY, FRANK "FLOORSHOW" (tsax) b. 1918-0807, SALISBURY, MD FREEMAN, DENNY (g/ANTONE'S/AMAZING REC) b. 1944-0807, ORLANDO, FL GARNER, MICHAEL (BLUES-L MEMBER) b. 1948-0807, GRAYSHOTT, UK HARMONICA FRANK FLOYD (hca/SUN REC) d. 1984-0807, CINCINNATI, OH 75 HOLDEN, RON (v/LOVE YOU SO) b. 1939-0807, SEATTLE, WA JOHNSON, HOWARD L. (tuba/bsax/TAJ MAHAL) b. 1941-0807, MONTGOMERY, AL KAPP, DAVE (founder: KAPP REC) b. 1904-0807, CHICAGO, IL KIRK, ROLAND "RAHSAAN" (tsax/reeds) b. 1936-0807, COLUMBUS, OH MAGIC SLIM (MORRIS HOLT) (g) b. 1937-0807, TORRENCE, MS PHILLIPS, ESTHER LITTLE[ESTHER MAE JONES] d. 1984-0807, TORRENCE, CA 49 POPE, CHARLES (lead/THE TAMS) b. 1936-0807, ATLANTA, GA ROBERTS, LUCKEY[CHARLES LUCKEYTH ROBERTS] b. 1887-0807, PHILADELPHIA, PA SLACK, FREDDIE (p/T-BONE WALKER/CAPITOL) b. 1910-0807, WESTBY, WS SPELLMAN, A. B. (critic/author) b. 1935-0807, ELIZABETH CITY, NC ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADDERLEY, JULIAN "CANNONBALL" (asax) d. 1975-0808, GARY, IN 47 ALLEN, O. K. GOVERNOR (pardon's LEADBELLY)b. 1882-0808, WINNFIELD, LA BROWN, PEARLY REV. (g/gospel) b. 1918-0808, ABBEVILLE, GA CARTER, BENNY (asax/tpt) b. 1907-0808, MANHATTAN, NYC, NY CHAUVARD, MARCEL (discographer) b. 1926-0808,?PARIS, FRANCE COLE, RUBERT (cl/FRANKIE JAXON) b. 1909-0808, TRINIDAD, BWI DEAK HARP (hca) b. 1962-0808, JERSEY CITY, NJ DELAURENTIIS, DINO (R&B movie director) b. 1919-0808, TORRE ANNUNZ..ITALY DODDS, JOHNNY (cl/BLIND BLAKE) d. 1940-0808, CHICAGO, IL 48 FIG, ANTON MICHAEL (d/JOAN ARMATRADING) b. 1952-0808, CAPE TOWN,S. AFRICA GAINES, CHARLIE (tpt) b. 1900-0808, PHILADELPHIA, PA GOODY, SAM [SAMUEL GUTOWITZ] d. 1991-0808, QUEENS, NY 87 GREEN, URBIE (tbn) b. 1926-0808, MOBILE, AL HALL, WILLIE (of BOOKER T. & MGs) b. 1950-0808,?MEMPHIS, TN KING, AL (v/THE SAVOYS) b. 1926-0808, MONROE, LA LOVE, AIRRION (co-lead/THE STYLISTICS) b. 1949-0808, PHILADELPHIA, PA MILLINDER,LUCKY [LUCIUS VENABLE MILLINDER]b. 1900-0808, ANNISTON, AL MOORE, IAN (g) b. 1968-0808, TX PARKER, JOHN W. "KNOCKY" JR. (p) b. 1918-0808, PALMER, TX ROBERTS, JOHN (v/JOSEPH SPENCE) d. 1983-0808, FRESH CREEK, ANDROS 71 SPENCE, LOUISE ANGELINE WILSON (v/SPENCE) b. 1911-0808, CAT ISLAND, BAHAMAS STORY, NAT (tbn/LUCKY MILLINDER) b. 1904-0808, OAK STATION, KY TEX, JOE [JOSEPH ARRINGTON JR.] b. 1933-0808, ROGERS, TX WITHERSPOON, JIMMY (v) b. 1923-0808, GURDON, AR ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARGE, GENE "DADDY G" (tsax/prod) b. -0809, BLOW, KURTIS [KURT WALKER] b. 1959-0809, NEW YORK CITY, NY CURRY, PINELL (d) b. 1934-0809, GREENVILLE, MS FORD, CLARENCE (tsax/bsax/FATS DOMINO) d. 1994-0809, NEW ORLEANS, LA 64 FOREHAND, A. C. (g/gospel) b. 1890-0809, COLUMBIA, GA FULMER, RENA (RENA WRIGHT) [ORENA DUNHAM] b. 1923-0809, EAST ST. LOUIS, IL HENDERSON, BILLY (of THE SPINNERS) b. 1939-0809, INDIANAPOLIS, MN HENDERSON, WILLE (tsax/arr/prod) b. 1941-0809, PENSACOLA, FL HOOKER, CHARLIE (hca) d. 1964-0809, CHICAGO, IL 33 HOUSTON, WHITNEY E. (v) b. 1963-0809, NEWARK, NJ KILLENS, GEORGE W. REV. (p) b. 1906-0809, ALTO, LA LANDRY, GEORGE "BIG CHIEF JOLLEY" (v) d. 1980-0809, NEW ORLEANS, LA 63 MASON, BARBARA (v) b. 1947-0809, PHILADELPHIA, PA RUSSELL,BILL(prod/owner:AMERICAN MUSIC RE)d. 1992-0809, NEW ORLEANS, LA 87 SHAW, ROBERT (p) b. 1908-0809, STAFFORD, TX THOMPSON, ODELL (bjo/ROUNDER) b. 1911-0809, ORANGE CTY, NC WILLIAMS, MARTIN (author/critic) b. 1924-0809, RICHMOND, VA ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, ANNISTEEN (v/LUCKY MILLINDER) d. 1992-0810, HARLEM, NY 71 AUSTIN, PATTI (v) b. 1948-0810, NEW YORK CITY, NY BAKER, BILL (lead/FIVE SATINS) d. 1994-0810, NEW HAVEN, CT 58 BIVINS, MICHAEL (of NEW EDITION) b. 1968-0810, NJ BOGAN, LUCILLE [LUCILLE ANDERSON] (v) d. 1948-0810, LOS ANGELES, CA 51 COBB, ARNETT (tsax) b. 1918-0810, HOUSTON, TX FENDER, LEO (of FENDER GUITAR) b. 1908-0810, ANAHEIM, CA GOSSERT, GUS (doo-wop prod/dj) d. 1976-0810, KNOXVILLE, TN 31 HATFIELD, BOBBY (of THE RIGHTEOUS BROS) b. 1940-0810, BEAVER DAM, WS ISGRO, JOE (prom ex/MOTOWN/ROULETTE REC) b. 1947-0810, PHILADELPHIA, PA JOHNSON, ALFRED "SNUFF"(g/BLACK MAGIC REC)d. 1913-0810, CEDAR CREEK, TX ROBERTS, EDWARD (of RUBY & THE ROMANTICS) d. 1993-0810, AKRON, OH 57 SMITH, HENRY F. "BUSTER" (asax/arr) d. 1991-0810, DALLAS, TX 86 SPECTOR, VERONICA "RONNIE"(lead/RONNETTES)b. 1943-0810, NEW YORK, NY THREAKS, LARRY (g) b. 1905-0810, LAURENS, SC WADDY, HENRIETTA (of CLARA WARD SINGERS) d. 1981-0810, PHILADELPHIA, PA 81 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- COLLINS, SAM "CRYIN'" (g/GENNETT REC) b. 1887-0811, LA CROSBY, ISRAEL (b/JIMMY YANCEY) d. 1962-0811, CHICAGO, IL 43 ELLISON, JOHN (v/SOUL BROTHER SIX) b. 1941-0811, MONTGOMERY, AL FLYNN, BILLY(g/JIMMY DAWKINS/LEGENDARY BL)b. 1956-0811, GREEN BAY, WS GAMBLE, KENNY (of GAMBLE & HUFF) b. 1943-0811, KINGSTON, JAMAICA GINYARD, J. C. (lead/THE DU DROPPERS) d. 1978-0811, BASEL, SWITZERLAND 68 HALEY, ALEX PALMER (author/ROOTS) b. 1921-0811, ITHACA, NY HOWELL, JOSHUA BARNES "PEG LEG" (g) d. 1966-0811, ATLANTA, GA 78 JAY, BOBBY (of THE LADDINS) b. 1937-0811, NY KITTRELL, CHRISTINE (v) b. 1929-0811, NASHVILLE, TN LONG, PETER (prod/BILLIE HOLIDAY) d. 1989-0811, LOS ANGELES, CA 66 MAYFIELD, PERCY (v/SPECIALTY REC) d. 1984-0811, LOS ANGELES, CA 63 NORRIS, CHUCK (g) b. 1921-0811, KANSAS CITY, MO PROCOPE, RUSSELL K. (sax/ELLINGTON) b. 1908-0811, NEW YORK CITY, NY RIDDLES, NAT (hca/LARRY JOHNSON/SPIVEY R) d. 1991-0811, RICHMOND, VA 39 SIMON, JOHN (prod/THE BAND) b. 1941-0811, NORWALK, CT THOMPSON, ALPHONSO "SONNY" (p) d. 1989-0811, CHICAGO, IL 72 VILLARI, GUY (lead/THE REGENTS) b. 1942-0811, BRONX, NY YETNIKOFF, WALTER R. (ex CBS/HIT MEN) b. 1933-0811, BROOKLYN, NY ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BART, BEN "POPS" (JAMES BROWN'S manager) d. 1968-0812, NEW ROCHELLE, NY 67 BENTLEY, GLADYS ALBERTA (p) b. 1907-0812, PA BERNARD, ROD (g/cajun) b. 1940-0812, OPELOUSAS, LA BRITTON, JOE (tbn/ROSETTA THARPE) d. 1972-0812, NEW YORK CITY, NY 61 BROWN, JOHN B. PEABODY (b/SNUB MOSLEY) d. 1987-0812, NEW YORK CITY, NY 81 COLEMAN, EARL (v) b. 1925-0812, PORT HURON, MI GAINES, ROY (g/CHUCK WILLIS) b. 1937-0812, HOUSTON, TX JONES, JOE (v/YOU TALK TOO MUCH) b. 1926-0812, NEW ORLEANS, LA KID CREOLE [AUGUSTUS DARNELL BROWDER] b. 1950-0812, MONTREAL, QUEBEC KIRKPATRICK, F. D. REV. (g/FOLKWAYS REC) b. 1933-0812, HAYNESVILLE, LA KNOPFLER, MARK F. (g/DIRE STRAITS) b. 1949-0812, GLASGOW, SCOTLAND MAYFIELD, PERCY (v/SPECIALTY REC) b. 1920-0812, MINDEN, LA READ, WALLACE "CHEESE" (vln/ARHOOLIE REC) b. 1914-0812, EUNICE, LA WEST, HAROLD "DOC" (d/HOT LIPS PAGE) b. 1915-0812, WOLFORD, ND SPIVEY, ELTON "ZA ZU GIRL" (v) b. 1900-0812, GALVESTON, TX ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 6 Aug 1995 05:15:47 -0400 From: Garry Segal Subject: Re: The Band's Blues Roots Great book by Levon Helm about the Band called This Wheels on Fire. Well written and great stories. Plenty of blues encounters and amazing behind the scenes info. Garry email BlueSngr@aol.com Home page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sun, 6 Aug 1995 10:19:39 GMT From: Peter Dwyer Subject: Re: Strangest Slides "I'm curious what's the strangest thing you've seen someone use for a slide" The liner notes of Dylan's first Album contains this gem ;-) on the liner notes in regard to IN MY TIME OF DYING: "The guitar is fretted with the lipstick holder he borrowed from his girl, Susie Rotolo, who sat devotedly and wide-eyed through the recording session". Bulls**t from 35 years ago! Peter Dwyer ========================================================================= Date: Sun, 6 Aug 1995 11:43:04 PDT From: "R. J. Bauman" Subject: Re: Friday Hoochie Ignorance Fred, I think we'd all enjoy seeing all of this on a world wide web page. I think our collective patience is wearing thin on the mailing list, however, which isn't so well suited for all that you have to offer. Cool story about Willie and Mud in the men's room, btw. best wishes, RJ Bauman ========================================================================= Date: Sun, 6 Aug 1995 09:42:57 PST From: "D. ALLEN SIMPSON" Subject: Brownie McGhee I recently picked up a vinyl (yes!) copy of Brownie's "Traditional Blues, Vol. One" (1960 or 1962), Folkways. I really enjoyed the music, esp. his guitar playing. I'm familiar with his name, but not his music. Is this typical of his style, or was it recorded more for folk fans, like the earlier work by Leadbelly? It reminded me a lot of the folk material I've heard by Leadbelly recorded by the Lomax brothers. I suppose if the liner notes originally in the record were still there, I might not have so many questions... oh well, at least the vinyl was in pristine shape. Doug Simpson ========================================================================= Date: Sun, 6 Aug 1995 10:01:05 -0700 From: Mark Naftalin Subject: Unusual slides The question about unusual things used as slides reminded me of the time, on one of the Butterfield Blues Band's early visits to San Francisco, when we appeared on KPIX-TV. On this occasion, Mike Bloomfield played slide with a piece of celery. This was lip-sync, so the effect was purely visual. Tone production was not an issue. Mark Naftalin ========================================================================= Date: Sun, 6 Aug 1995 13:20:18 -0500 From: VT Subject: Hubert SUMLIN Interview - Pt.2 - Early Days and Wolf Sighting >DATE: Sat, 29 Jul 1995 16:32:52 -0500 >FROM: VT > >Hubert Sumlin, Sat.95.07.22 @ the Turning Point, Piermont, NY. > >I have approx 30 minutes of an interview with Hubert Sumlin, from >between his two shows. > >The subjects can be divided as: > >1) Got My Mojo Working >2) Early days and Wolf Sighting >3) 1964 American Folk Blues Festival - with the Wolf in Europe >4) Eric Clapton's Guitar and London Sessions >5) Antone's 20th Anniversary > >Caveat - I am not practiced at doing interviews I merely asked >questions as prompts, and let Hubert do the talking. > >Preface - some people have said that although Hubert is a sweet man and >a phenomenal guitarist, but he is not a reliable informant. > >I will present 2 thoughts here - Hubert canNOT possibly be lying ALL the >time. He loves telling stories. > >That's the reason I merely have transcribed what I taped - straight >without any comments - it's up to you to decide, and make of it what YOU >will. (Truth: is what you want to believe, reality: is what you have to >face up to) > >Key: HS= Hubert Sumlin; Red= Jeff "Red" Hubert's manager. Hubert Sumlin Interview Pt.2 - Early Days and Wolf Sighting. HS: .... you know I'm 64 years old.... VT: Not yet, right? HS: Well, I'll be, soon... VT: in November..... HS: you...Vince... you keeping up with me, man, what you...(laughs) well, I'm a....don't worry I'll make it.... VT: yeah, 'course you will..... HS: ....so I love what I'm doing, you know, and I've been doing it ever since I was eight years old...oh, did I tell you I played in the church, man? I'm a church guy...I came up in the church, you know..... VT: what did you play in church? HS: guitar......I was playing Charlie Patten, and everybody else, Muddy, Wolf and everybody else, man....that's.... VT: yeah, in *church*? HS: I was in church man....I don't know how my mama....boy, Muddy had made "Hoochie Kootchie Man", now I had been playing Muddy all the way, you know what I'm talking about, he's my guy that I heard before I came up and joined Wolf. Man, (sings) "ohhh, yeah..." all this stuff, my mama say, that's it , that's it, that's it you've just back-slid-ded. I said what's you talking about? (laughs).... you out, you playing Muddy Waters...... I said well, you must have liked Muddy Waters, I said 'cause (laughs) VT: To know about it..... HS: (laughs) to know about it! She looked at me, that's it, that's it - no more, no more. I said: thank you mam'.....shoot! Boy, I used to go see Wolf.... sneaked up on the house, man, they wouldn't let me out.... well I got in two or three times they throwed me out, you know what I'm talking about? VT: How old were you? HS: Oh, shoot, I don't know, I had to be maybe eleven....maybe,.... maybe twelve, I don't know. Kept a throwing me out, man..... VT: Where did you hide to get in? HS: well, somebody...I stuck there where lot of Coca-cola crates - empty....on the back of this big old long barn that they played in, on Mississippi River, Seypel(?- pronounced: Saa-pel), Arkanasa, never will forget it. This place has a vent, ventilation, you know, what that band, over the bandstand, where they could get that fish grease and everything that's cooking up in the jar all over there ...... Fan come down.....somebody snatched those Coca-cola crates, I don't know who it was, man, I didn't care, boy, I held onto that fan, stopped the fan, man, both things went over on Wolf's head, man, and I know I hurt the man, you know what I'm talking about? But that man, that old man, he's alert, he was alert, he caught me and the fan, you know what I'm talking about? I done pulled it out, man, and everything, it wasn't running, but I held onto it, man. On his head, man, and he just set me down...boy! say, please bring him a chair ladies and gentlemen, please bring this guy a chair, bring him a chair..... I sat down between him Willie Johnson, Pat Hare, Guitar Murphy, he had them all, man, he had three guitar players, I never forget it, man. He say he's taking me home that night, I stayed waiting til they got off.... you know he wouldn't let anybody bother me at all, man. Take me home to mama...and went in to told my mother, said look, please don't whoop him, don't whoop him, say you know what I'm... miss, miss Clawdy, don't, don't-don't, that boy gonna be something one of these days, and I may, I may have to have him. I didn't believe it then, that was many years later, sure enough.... Me and Cotton, James Cotton: first somebody I played with. We had this lil' old band..... Red: How old is he Hubert? HS: I tell you I don't know, but I know one thing he's older than me.... but he say I think he had a sixtieth birthday he said.... Red: No way.... HS: That's what's what he told me, say, what's you gonna do? VT: and you told him you were twenty one, right? HS: yeah, well (laughs) you know.....we had some fun, I really did coming up, it was, I still think about them days, you know what I'm talking about, you can't forget, it was great...... Vincent p00061@psilink.com ========================================================================= Date: Sun, 6 Aug 1995 13:31:41 -0500 From: VT Subject: Garry of Moodswingers to lose wisdom Blues-L member - Garry Segal of those darned Moodswingers is to have the last vestiges of his wisdom surgically removed tomorrow, Monday August 7 ........ . . . . . . . . . . I'm talking about his TOOTH! what were you thinking of? You know, a frontal-lobotomy is not a prerequisite to sign onto the Blues-L (duh, you mean I didn't have to go through that surgery to get on here?...:-) ...and to think he was going to bribe me to write nice things about him on the list :-) :-) Vincent p00061@psilink.com ========================================================================= Date: Sun, 6 Aug 1995 14:22:00 CDT From: Paul Garon Subject: Re: Brownie McGhee > I recently picked up a vinyl (yes!) copy of Brownie's "Traditional >Blues, Vol. One" (1960 or 1962), Folkways. I really enjoyed the music, >esp. his guitar playing. I'm familiar with his name, but not his music. >Is this typical of his style, or was it recorded more for folk fans, >like the earlier work by Leadbelly? This LP is indeed typical of Brownie McGhee, but he's a many-sided artist, and it's hard to say what side is most typical. The Folkways are kind of, uh, folkie, but Brownie does play a finger-picking, folk-appealing way. His first 78s imitated Blind Boy Fuller and he was billed as Blind Boy Fuller No. 2. Later 78s were often jump sides, like the ones on Savoy, far away from any folk picking. But then in the "revival" years, he began to accent his finger-picking styles. The Folkways are excellent showcases of this, as are the earlier Prestige outings, which have the advantage of Sonny Terry's presence and some rather nice picking, too. This is all vinyl talk, though, and I don't know what's on CD. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Sun, 6 Aug 1995 15:36:44 -0400 From: Tom Freeland Subject: Re: Brownie McGhee In a message dated 95-08-06 15:26:27 EDT, beasley@MCS.COM (Paul Garon), discussing an old Folkways vinyl Brownie McGhee recording, writes: >This LP is indeed typical of Brownie McGhee, but he's a many-sided artist, >and it's hard to say what side is most typical. The Folkways are kind of, >uh, folkie, but Brownie does play a finger-picking, folk-appealing way. > >This is all vinyl talk, though, and I don't know what's on CD. > His complete Okeh / Columbia stuff is out on a CD in the Sony Roots series. I don't have it (yet) but bet there has been a review hereabouts. It would be the "Blind Boy Fuller No. 2" recordings Garon mentioned in his post. Tom Freeland ========================================================================= Date: Sun, 6 Aug 1995 15:18:11 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Hangnails etc. For what it is worth (and it's probably not worth much), I recall the cure for Nolan Ryan's blisters etc. was to soak his finger in pickle brine. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Sun, 6 Aug 1995 16:27:17 -0400 From: Barry Silverberg Subject: Brownie Mcghee/Blind Boy Fuller 2 re: the 2CD set on Columbia-Legacy here's the cut list, and the **** notations are the cuts Brownie sang as Blind Boy Fuller 2. BROWNIE MCGHEE / The Complete Brownie McGhee (Columbia) 2CD's DISC #1 PICKING MY TOMATOES ME AND MY DOG BLUES BORN FOR BAD LUCK I'M CALLIN' DAISY STEP IT UP AND GO MR BARKIN' BULLDOG BLUES LET ME TELL YOU 'BOUT MY BABY PRISON WOMAN BLUES BACK DOOR STRANGER BE GOOD TO ME NOT GUILTY BLUES COAL MINER BLUES STEP IT UP AND GO NO. 2 **** MONEY SPENDING WOMAN **** DEATH OF BLIND BOY FULLER #1 DEATH OF BLIND BOY FULLER #2 GOT TO FIND MY LITTLE WOMAN **** I'M A BLACK WOMAN'S MAN #1 **** I'M A BLACK WOMAN'S MAN #2 **** DEALING WITH THE DEVIL **** DOUBLE TROUBLE #1 **** DOUBLE TROUBLE #2 **** WOMAN I'M DONE **** DISC #2 KEY TO MY DOOR **** MILLION LONESOME WOMEN **** AIN'T NO TELLIN' **** TRY ME ONE MORE TIME **** I WANT TO SEE JESUS DONE WHAT MY LORD SAID I WANT KING JESUS WHAT WILL DO KEY TO THE HIGHWAY 70 #1 **** KEY TO THE HIGHWAY 70 #2 **** I DON'T BELIEVE IN LOVE **** SO MUCH TROUBLE **** GOOD-BYE NOW **** JEALOUS OF MY WOMAN **** UNFAIR BLUES **** BARBECUE ANY OLD TIME **** WORKINGMAN'S BLUES **** SINFUL DISPOSITION WOMAN **** BACK HOME BLUES **** DEEP SEA DIVER **** IT MUST BE LOVE **** STUDIO CHATTER SWING, SOLDIER, SWING #1 **** SWING, SOLDIRE, SWING #2 **** -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Sun, 6 Aug 1995 20:44:06 GMT From: John Sharpless Subject: Re: BLUES-L Web Page > Any suggestions? How about section where people can review live performances that they've recently seen. This would give people a feel for how some blues musicians are playing, as well as where and with whom. ========================================================================= Date: Sun, 6 Aug 1995 18:50:55 -0400 From: Hugh Hardy Subject: new Colin James I heard that Colin James has a new album out called "Bad Habits" . It is supposed to be blues/rock ...not rock/blues ;-)> Anyone heard it? Hugh H. ========================================================================= Date: Mon, 7 Aug 1995 10:02:58 +1000 From: Richard Holliday Subject: Re: Rod the Mod "P.W. Fenton" quote and wrote: >> I have this theory that everybody -- even the most inveterate home-brewing, >> hop-loving, factory-beer hating real ale lover has a light beer which they can >> at least tolerate. With me it's Miller Lite -- the original lite at the end >> of the tunnel. >> It's something the same with Rod Stewart. I kind of have a weakness for his >> take on "You Send Me", whatever other horrors he may have perpetrated over the >> years. >> -- robo in Mississauga, who would like to apologize on behalf >> of an entire nation for inflicting "Ice Beer" on the rest >> of the planet >> > >You seem to have left out the part that has to do with the Blues. >P.W. Fenton >Tampa, Florida Try "That's Alright Mama", from Every Picture Tells a Story, a gloriously shambolic version. ps the whole album is great (IMHO, I guess). Richard R.Holliday "One good thing about music, "When it hits, you feel no pain". R.N. Marley ========================================================================= Date: Sun, 6 Aug 1995 20:14:34 +0000 From: "P.W. Fenton" Subject: M? C? A? So... can anybody tell me what the "MCA" in "MCA" stands for? P.W. Fenton Tampa, Florida email - pwfenton@tpa.cent.com WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Sun, 6 Aug 1995 20:29:38 -0400 From: Peter Welch Subject: Playlist Here's the August 4 playlist from my show, "Nothin' But The Blues" on WTJU FM 91.1, Charlottesville, Va. Rockin' & Rollin' - Lil' Son Jackson (Rockin'&Rollin': Pathe LP) Just Rockin' - Lil Green (Why Don't You Do Right?: EPM CD) Rockin' Chair Blues - Big Bill Broonzy (Compl. Recs., Vol. 11: Document CD) Rockin' My Blues Away - Washboard Sam (Rockin' My Blues Away: BMG/RCA CD) I'm Gonna Rock - Ralph Willis (Brownie McGhee 1944-55: Travelin' Man CD) I'm Gonna Rock Your Wig - Sonny Terry (Toughest Terry & Baddest Brown: Sundown LP) Rock It - Roosevelt Sykes (The Honeydripper: Blues Encore CD) Rockin' the House - Memphis Slim (Rockin' the Blues: Charly LP) Four Cars Running - Larry Garner (You Need to Live a Little: Verve CD) Hep Cats in Big Town - Sam Myers w/A. Funderburgh & The Rockets (My Love is Here to Stay: Black Top CD) Thanks a Lot (For the Offer) - Phillip Walker (Working Girl Blues - Black Top CD) Personal Manager - Albert King (King of the Blues Guitar: Atlantic CD) After Hours - Erskine Hawkins Orchestra (Tuxedo Junction: MCA LP) Wise Man Blues - T-Bone Walker (T-Bone Jumps Again: Charly LP) Nightshift Blues - Zilla Mays & The Blues Caravan (Jumpin' the Blues: Ace CD) Alley Cat - Dolly Cooper (Ladies Sing the Blues, Vol. 2: Savoy LP) A Letter in Blues - Varetta Dillard (Ladies Sing the Blues, Vol. 2: Savoy LP) Mary Joe - Floyd McDaniel (Let Your Hair Down: Delmark CD) Rock Awhile - Goree Carter (Unsung Hero: Collectables CD) On Your Rocker - Rick Holmstrom (Listen Up: Black Top CD) I'm Gonna Rock (Till My Rocker Breaks Down) - Connie Jordan (Jumpin' the Blues: Ace CD) Rock It - Lil Armstrong (Brown Gal: Collectables CD) Movin' Out - Sonny Boy Williamson (The Blues of Sonny Boy Williamson: Storyville LP) West Helena Woman - George Smith (Blues w/ a Feeling: World Pacific LP) Elevate Me Mama - Muddy Waters (The Chess Box: MCA/Chess LP) Just a Feeling - Little Walter (The Essential Little Walter: MCA/Chess CD) Tomorrow Night - Junior Wells (Blues Hit Big Town: Delmark LP) Ding Dong Daddy from a Rock&Roll City - Jerry McCain (That's What They Want - AVI/Excello) Boppin' the Rock - Clifton Chenier (Zodico Blues & Boogie: Ace CD) Reelin' & Rockin' - John Littlejohn (Chicago Blues Stars: Arhoolie CD) Wild Rockin' - Earl Hooker (Blue Guitar: Paula CD) Rock Me Baby - Slim Harpo (Shake Your Hips: AVI/Excello CD) Let me Rock You to Sleep - Fenton Robinson (The Mellow Blues Genius: P-Vine LP) Another Bad Day - Larry Garner (You Need to Live a Little: Verve CD) I Can't Stop - Syl Johnson (Back in the Game: Delmark CD) -Peter W. ========================================================================= Date: Sun, 6 Aug 1995 21:32:29 -0400 From: Mary Katherine Aldin Subject: Re: M? C? A? It doesn't stand for anything, anymore. But it *used* to stand for Music Corporation of America. The parent company has changed several times through the years but none of the outfits who bought it bothered to change its name. Mary Katherine ========================================================================= Date: Sun, 6 Aug 1995 21:42:52 -0600 From: Ranko Vujosevic Subject: Message for Marcia I am sorry for using this forum for this kind of message, but I don't have no choice... I need Marcia B. (Brady, Brodsky????) to contact me on Monday (e-mail or phone 319/335-3364). It is regarding A/C for Jessie Mae H. Ranko ========================================================================= Date: Mon, 7 Aug 1995 03:29:20 GMT From: Howie Axelrod Subject: JR Weitz - Anyone heard of him WHen I lived in Buffalo NY during the early 70's there was a Blues band called J.R Weitz led by John Weitz - A guitar prodigy. The band was hot. I never heard about him after leaving Buffalo. Any info on him as far as material would be appreciated. Also he did play previously in a band called Raven and they made 1 album I believe. ========================================================================= Date: Mon, 7 Aug 1995 01:12:23 -0400 From: craig o'donnell Subject: "Oxford" Elvis scholars >From a message on rockabilly@u-strasbg.fr (rockabillydistributionlist) In a message dated 95-08-06 13:07:00 EDT, Deborah writes: (reprinted without permission, of course) << By RONALD SMOTHERS c.1995 N.Y. Times News Service OXFORD, Miss. - Just days after one group of international scholars finished their annual conference here on the life and works of William Faulkner, a second wave of them is arriving to examine another famous native Mississippian, Elvis Presley. Their conference, ``In Search of Elvis: Music, Race, Religion, Art, Performance,'' will feature performances by impersonators like El Vez, ``the Mexican Elvis,'' who will be accompanied by his Memphis Mariachis and the Beautiful Elvettes. And it will include the presentation of papers like ``A Revolutionary Sexual Personae: Elvis Presley and the Acquiescence of Black Rhythms,'' in which Jon Michael Spencer of the Unversity of Richmond examines how Presley's performances ``unite the binary oppositions of sensuality and spirituality.'' The six-day conference, the first international Presley gathering, is to be held at the Center for the Study of Southern Culture at the University of Mississippi starting Sunday and is expected to attract participants from as far away as Japan and the Netherlands. Its organizers say it is the coming of academic age for Presley, who they insist is not just a cultural icon but a proper subject of scholarly work. ``He confronted the powerful musical traditions of the blues, country music and black and white gospel, and came to terms with them,'' said William Ferris, the center's director. ``In that sense, he was a true modernist who eluded definitions like white or black, male or female.'' Since 1968, according to the Library of Congress catalogue, more than 300 books in nine languages have been published on Presley, and more than 30,000 articles ranging from tabloid sensationalism to directions for planning an ``Elvis wedding.'' But much of that writing hardly rises to the level of scholarly inquiry, said John Shelton Reed, a sociologist at the University of North Carolina. The organizers of the conference hope that the papers presented there offer a broader and, presumably, deeper view of Presley. ``A lot of this stuff is turning up from English professors who are tired of writing about Hawthorne,'' said Reed, who plans to attend the conference. ``But I still do believe that there are useful things to say about Elvis Presley, including what his own ordinariness as a poor Southerner says about 20th-century hero-making.'' Not everyone is so sure. ``If you assume that pop culture is a reasonable field of scholarly study, then I guess he is important,'' Charles Noyes, a retired English professor at the University of Mississippi, grudgingly conceded. ``I personally am an 18th-century man, and I feel that if you can't write like Samuel Johnson or Alexander Pope, then you probably aren't worth studying. But seriously, Elvis is probably worth it, but he's not worth six days.'' Along Unversity Circle on the oak-cluttered grounds of the Ole Miss campus, a number of students agreed. ``I like him and his music,'' said Ricky Amisano, 21, of Memphis. ``But Elvis 101 - I don't think so.'' Those who scoff at scholarly treatment of Presley are likely to point to the conference's mixture of what they view as pedantry with performances by Elvis impersonators and presentations by a quirky array of his fans. Folk artists including the self-styled Man of Visions, Howard Finster of Summerville, Ga., will be on hand to give a sermon on Elvis, whose ghost Finster has credited with inspiring some of his paintings, primitive all. Also present will be Joni Mabe, a 37-year-old installation artist whose room-sized work titled ``The Traveling Panoramic Encyclopedia of Everything Elvis'' includes teddy bears, bedspreads, whisky decanters, lamps and black velvet pictures. Her latest Elvis-related art is a computerized drawing of Elvis's face superimposed on the torso of a Confederate soldier. The participants will make pilgrimages to Presley's birthplace in Tupelo and to Memphis, where he sang in blues clubs, recorded at Sun City studios and lived at Graceland. They will also go to Graceland Too, an antebellum mansion in the nearby town of Holly Springs, Miss., that is the residence of Paul MacLeod and his son Elvis Aaron Presley MacLeod, who have turned the place into a 24-hour-a-day museum by assembling countless Elvis mementoes. Indeed, Graceland Too is sometimes called the Smithsonian Institute of Elvis. Charles Reagan Wilson, a historian who with Ferris compiled the Encyclopedia of Southern Culture, said that including the unconventional was the only way for the conference to do justice to a study of Presley. ``It's appropriate because Elvis himself blurred the boundaries between white and black, male and female, the white-working class South and the white middle-class South,'' Wilson said. ``That's part of his importance, but he is also important because of his close association with a whole generation's personal and cultural moments of significance.'' Kay Sloan, who with Constance Pierce edited the 1993 short-story collection ``Elvis Rising: Stories on the King,'' said her own memories of Elvis were bracketed by two moments in time, 35 years apart. The first, she said, came in the late 50's, when, as a 4-year-old in Biloxi, she heard the squeals of her older sister, who had just seen Elvis perform at the opening of a local shoe store. The other came in 1991, when she was in Moscow on sabbatical from her teaching post at Miami University in Ohio just as the Soviet Union was collapsing. ``I went to see a Russian Elvis impersonator perform, and his name was Elvis-Stroika,'' she said. ``Suddenly the boundaries of the world and even of time began melting away.'' >> --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Mon, 7 Aug 1995 01:12:39 -0400 From: craig o'donnell Subject: Hangnails etc ...Subject: Hangnails etc. ... ...For what it is worth (and it's probably not worth much), I recall the ...cure for Nolan Ryan's blisters etc. was to soak his finger in pickle ...brine. Lee Hmmm. I rarely play with a pick (I play bass more than guitar when playing with others) - I use the side of my thumb, my thumbnail, my index finger and somtimes middle finger. Often pull UP on the stgs (ie away from the body of the gtr). And I also "flail" down with the backs of my fingernails. I never have nail problems. What am I missing here? -- just curious. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Sun, 6 Aug 1995 22:30:26 -0800 From: Michael Hewitt Subject: Blues Brothers on Disney Channel This is sort of a Blues Light message...only half the content of real blues...but here goes anyway. The Disney Channel (of all places) ran a retrospective of the Blues Brothers which featured Dan Ackroyd and his alter ego Elwood Blues explaining how their whole gig got started. It was intercut with clips from their appearances on SNL, at the Universal Amphitheatre (when they opened for Steve Martin), and at Winterland. It was kind of interesting hearing how they came up with the Blues Brothers schtick and why Ackroyd thought it was successful at the time. If you have some idle time and it happens to be playing again, you might want to check it out. Then again, if you are anti-Blues Brothers, hit the Delete key NOW! Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 7 Aug 1995 02:10:04 -0400 From: Tom Freeland Subject: Re: "Oxford" Elvis scholars I'm not sure why dadadata posted the article about the Elvis conference, but here's what went on here in Oxford tonight tonight: I missed the gospel show (I here El Vez was great. Really. From Bill Ferris, no less) but afterwards, at the Southside Gallery on the Square, the house band at B.B. Kings club (The King Bees) played a pleasant show highlighted by a long closer with Gatemouth Moore, singing a lot of blues. Visitors from Norway, who found me through the blues list, wondered if this was a typical evening on the Square in Oxford. Afterwards, a lot of folks went up to Junior Kimbroughs in Chullahoma; in addition to the Norweigians there were folks who had been to Clarksdale for Sunflower in from Boston, L.A., and Chicago. And the usual crowd was there for the most sweaty night of blues I've seen. Junior, Dwayne Burnside, and David Malone all performed well; Junior's awesome groove was going full force. Though close to home, I'll have to say I'd have missed it if the Norwegians, contacting me from Blues-L, hadn't asked for help in finding it. While there, I was told (by, among others, Dwayne Burnside) that R.L. Burnside has set up a joint down the highway. I'm told it only 'goes' on Friday and Saturday, but the felt competition has apparently caused R.L. to no longer be welcome at Juniors. Dwayne said it was a long story he would tell me later..... Tom Freeland ========================================================================= Date: Mon, 7 Aug 1995 02:22:36 -0400 From: Garry Segal Subject: Re: Manacurist L ? Craig O'Donnell recently posted >I never have nail problems. What am I missing here ?< Apparently nothing you'd want Craig ...You have healthy nails !! Hey C'mon tell us your secret ! :--) Garry(less one tooth) http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 7 Aug 1995 02:26:20 -0400 From: Garry Segal Subject: Re: Blues Brothers on Disney Channel I saw the original Blues Bros. line up ( S.Cropper, D,Dunn, Matt Murphy etc.) at Winterland opening for the Grateful Dead with N.R.P.S. News Years eve. Great show . Tie- Dyed Coneheads were in abundance. I went somewhat skeptical, but Dan A. & John B. pulled it off ! Garry " Iced Jaw" http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 7 Aug 1995 04:17:28 -0400 From: C Horst Subject: Re: first singing gig/don't look Reading this thread has given me a lot of advice, and brought back a couple of memories. I am a *very* ameteur harp player, and one time I was asked by a friend who was in a band to sit in on a small gig and play harp and (gulp!) sing some backup vocals. To make it easier, I wore sunglasses, which worked wonderfully. It cut down on some of the more distracting aspects of being watched, but still allowed me to pick up some reaction from the crowd (I did eventually realize that I should be playing louder, e.g.). I could also look at people without really looking at them, if you know what I mean. I'm unsure how this would work for a vocalist, who needs to interact with the crowd more than a backing musician, but it was nice for a third-rate harp guy just trying to get by the first time! C Horst@AOL.com (Colin Horst) ========================================================================= Date: Mon, 7 Aug 1995 05:07:36 -0400 From: Barry Silverberg Subject: One Man's Opinion-Eddie Shaw. EDDIE SHAW - IN THE LAND OF THE CROSSROADS (ROOSTER #72624) ROOSTER BLUES RECORDS 232 SUNFLOWER AVE. CLARKSDALE, MS. 38614 This CD comes out of the arms of the Delta. Eddie Shaw has been playing the blues along with his accompanying musicians for a long time now. They offer up some very polished music with a strong connection to the roots of the blues, making Mississippi an appropriate home for this set to have been recorded. You will hear the beautiful voice and the well honed saxophone of Mr. Eddie Shaw. You will also be treated to a blues combo that will move your spirit - Eddie "Vaan" Shaw on guitar, Lafayette "Shorty" Gilbert on bass and Robert Plunkett on drums. A lot of people will have to move over as Eddie Shaw and company get more and more exposure. Delta Bound (Highway Bound) / Tears Are Falling / Fannie Mae Jones / I Got To Go / She Didn't Tell Me Everything / My Friend Rosco (Friend Called Rosco) / Dunkin' Donut Woman / Take Home Pay / Wine Head Hole / Chicago Man / Operator / Blues At The Crossroads NYCD-Takes Delta Bound (Highway Bound): Nice opening introduction to the rich vocal tones of Mr. Eddie Shaw. This side has a hot uptempo beat and Mr. Shaw blows a big powerful tenor sax. This cut swings from its opening bars right on through. Eddie "Vaan" Shaw Jr. provides a nice guitar backdrop for Mr. Shaw's singing. It's amazing what a good son can do for a great father (and vice versa). Tears Are Falling: Here Mr. Shaw gives us a brief sax intro and once again shows off his gravel and grit barrel chested vocals. The arrangement of this tune is quite impressive with its abundance of musical punches and sudden halts - setting up a strong sense of listening anticipation. Robert Plunkett on drums helps carry off this musical playfulness quite well. Fannie Mae Jones: Slow, slow, slow. Here's a sweet loping saxophone mixed well with a background of drums and bass. This selection slides along very smooth and touches the roots of sad day blues. This is a classic "lost my woman" cut. At two minutes in Eddie Shaw sets his heart and soul into a wonderful and warm saxophone solo. This cut really indicates the overall quality of this CD, particularly in the well balanced use of all the instruments and the solid vocal power of Mr. Shaw. Nice big ending here. I Got To Go: Mr. Shaw turns the beat up and his voice way down deep. He sounds like he's in an echo chamber, and when he picks up his harmonica he is delicious. Remember that this cut is offering up Mr. Shaw three ways - on saxophone, on harmonica and on vocals. A very nice triple treat. One of the best vocal cuts for Eddie Shaw on this CD. He is capturing and while he has you, he treats you well. Although very much an artist of his own he does offer comparisons to the great James Cotton. She Didn't Tell Me Everything: Listen as Eddie Shaw's harmonica sweeps you into this cut. He plays it here, opening this side, as big and as rich as the vocals he sings. At 2 minutes in he blows his heart out - a very solid harp solo. This cut offers a lot of Eddie Shaw and at his best. My Friend Rosco (Friend Called Rosco): Here we get a big opening that cuts back after the first few bars into a dancing, big band tune with plenty of Eddie Shaw's saxwork and some nice runs by Eddie "Vaan" Shaw Jr. on guitar. The sax riffs and the guitar streaks are joys to listen to. Lafayette "Shorty" Gilbert provides plenty of glue to this and every other cut on his big solid bass. Dunkin' Donut Woman: Here's a jazzy cut. Well done and very musical. As the name implies it's also a fun side to listen to. You'll find your feet moving as you listen, you may even find yourself singing along to the Dunkin Donut Woman choruses. This is a real good party tune. Take Home Pay: This side offers a very complex musical beginning. A really unusual guitar run mixed with a counterpoint bass and then a short sax blow-in. Mr. Shaw still has the tempo riding high and fast, but he's back to the blues. His voice is so mellow and full to listen to. So far I haven't heard a bad side to this exceptional CD. Mr. Shaw is solid blues, a good musician and a voice you will look for more from. Wine Head Hole: Eddie Shaw starts out here with a slow meandering sax run, well balanced by the other instruments as a backdrop. This is another A+ musical cut and it offers some of the best guitar work by Mr. "Vaan" Shaw Jr. on this entire CD. The guitar work here is at times furious and relentless - DO NOT MISS THIS SIDE. Chicago Man: This cut offers big music in every way. The bass is right on, the tin and the drums make a great side sound and Eddie Shaw blows up a storm on his saxophone. Midway into this side Eddie "Vaan" Shaw Jr. hits us with some more furious electric guitar work. Here's an all instrumental that moves. Operator: Mr. Shaw and Mr. "Vaan" Shaw Jr. team up here in a hot sax-to-guitar opening sound. Having listened to 10 cuts so far of Mr. Eddie Shaw's big vocals, I was surprised here, this one is a standout. Eddie Shaw is volcanic and treats this side with a whole new vocal approach. He is more full voiced and richer than anything I have heard so far. Everything he sings is wonderful but this performance is stellar. His enunciation of just the one word OPERATOR makes this entire CD. Strong beat here and a killer side. Blues At The Crossroads: Eddie Shaw closes this exceptional CD with a tribute to the roots of the blues. He starts out with a chatty vocal riff on Robert Johnson and punctuates it with some major harp blowing. He bends that harp out of shape beautifully and we get some nice slide guitar backing him up. As the side progresses Mr. Shaw gives credit to many more blues greats. I honor the choice of this side as a closing tune that gives a brief look at the history of the music that has shaped this giant talent - MR. EDDIE SHAW. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 7 Aug 1995 10:21:52 GMT From: tdevit3@IBM.NET Subject: Tracy Nelson - I Feel So Good GREAT disk...try it! ========================================================================= Date: Mon, 7 Aug 1995 10:43:06 +0000 From: Pat Hertel Subject: Dave Hole I understand that Dave Hole has a pre-Alligator CD called (I believe) "The Plumber". Anyone on the list from Oz that would like to do a CD swap? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/8/95 6:41 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 7 Aug 1995 12:01:46 +0000 From: Mark Ritchie Subject: Hollywood Slim and Guitar Junior I have a chance to see Hollywood Slim and Guitar Junior next weekend here in Edinburgh. Does anyone have any information on these guys? Would it be worth going along? Thanks. Mark Mark Ritchie Management Information Services University of Edinburgh Tel: 0131 650 2103 E-Mail: Mark.Ritchie@ed.ac.uk ========================================================================= Date: Mon, 7 Aug 1995 11:05:38 GMT From: tdevit3@IBM.NET Subject: Re: Dave Hole In , Pat Hertel writes: > I understand that Dave Hole has a pre-Alligator CD >called (I believe) "The Plumber". Anyone on the list from >Oz that would like to do a CD swap? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [7/8/95 6:41 AM] >"They call it stormy monday..." I woul be happy to find copies of The Plumber for anyone who wants it... however I think it came out on Alligator after they re-released Short Fuse Blues in the US....I have the insert in front of me and on it Dave thanks Bruce Iglauer (my copy is Australian Festival label). I think it is still reasonably easy to get here....and its well worth getting! ========================================================================= Date: Mon, 7 Aug 1995 07:36:34 CST From: William Shute Subject: Bobby Gonzales--remember that name! From: Bill Shute LAURA BELL AND THE BLUE ACES 4 August l995, San Antonio, TX Personnel: Laura Bell--vcl Bobby Gonzales--lead gtr, vcl ???--hca Scott Walker (no, not THAT one--no Jacques Brel covers were played!)--bs Danny Arnell--keys ???--drums and Chris Holzhaus, lead guitar, sitting in for Bobby Gonzales for a while during the second set I had never heard of Laura Bell and crew, but if they were given a Friday night gig at Billy Blues they must be good enough to convince Chris Holzhaus, so we gave 'em a try. I'm sure glad we did... Ms. Bell is--and I can't think of a better comparison, sorry--kind of like a brassier, less-restrained (!?!?!) Lou Ann Barton. I spoke with her between sets and she seemed like a very nice lady, kind and reserved, but on stage she goes wild, belts it out harder than any gal I've seen since Lou Ann, and is a born performer. I don't know how well her routine would come off on record (interestingly, they are one of the few working bands I've seen recently who do not have AT LEAST a cassette for sale!), so she is perhaps best appreciated live. The band was quite solid--the keyboard player kept his instrument on the "electric piano" setting most of the night, but he did some interesting "bent note" things that resembled a blues version of Floyd Cramer! The harp player was solid also. Ms. Bell does not resemble the Debbie Davies/Sue Foley archetype of the "white blues" performer, something which two drunken frat boys sitting behind us made clear through theirstupid remarks-- if I had had more to drink and was not with company, I probably would have started a fight with these assholes because Laura Bell was giving it her ALL (and I could tell, sitting across from her, that she wasn't feeling well--you'd never know from her performance!). Fortunately, these clowns left after awhile. The second set veered more into traditional covers territory, altho they brought out the blues roots of the Del Shannon classic "Runaway"--unfortunately, the keyboard player DID NOT evoke Max Crook's legendary musitron solo. The real surprise was the lead guitarist, 20 year old Bobby Gonzales. This man played with authority, and like Otis Rush or Jimmy Dawkins he played in a manner that incorporated these sudden angst-ridden blasts of gtr-fury. Although he played a cover of Hendrix's "Red House" and an SRV cover, he really resembles neither and is one of the few younger players I've heard who does not wear his influences on his sleeve. He also had NO wanking, excess, or meaningless pyrotechnics. His singing was less convincing, though certainly OK (whoever said last week about how a teen is unconvincing while singing about women splitting and the pain of the working week was quite correct). However, his playing was awesome. Mr. Gonzales is already a FIRST RATE blues player! He will no doubt outgrow this band soon, and he is a man for Texans to watch. Unfortunately, as Hispanics are, like Anglos, also considered "unworthy" by certain blues powers-that-be,and Mr. Gonzales has no rock or SRV trappings that could get him into another big blues mag, it's unlikely you'll be reading about him anytime soon other than on blues-l, or maybe in Texas Blues mag, Buddy, Austin Blues etc. That's why I mention him here. I'll try to keep an ear on his activities, and if he changes bands or whatever, I'll let you all know...visitors to South Texas will want to check BOBBY GONZALES out!When he finds a combo that provides a more stimulating environment, who knows what he'll achieve! Bill Shute San Antonio, TX ========================================================================= Date: Mon, 7 Aug 1995 07:52:20 CST From: William Shute Subject: Peetie Wheetstraw on CD From: Bill Shute With the recent discussion of 30s bluesman Peetie Wheetstraw, aka The Devil's Son in Law, aka The High Sheriff of Hell, I dug out my Wheetstraw CD, and as it's probably the cheapest and most easily available one on the market, here are the details: PEETIE WHEETSTRAW "1930-1941" Da Music (Story of the Blues)CD-3541-2 (US) This CD is a digital reish of an older RST (Austria) album which was a complement to other PW comps out at the time and which includes a cross-section of work over an eleven-year period. He began recording in l930 and was killed in l941, so this is a nice collection as it samples all eras of his career. While the most common photo of him has him playing a gtr (see the cover of Yazoo's St. Louis Blues lp/CD), he actually played piano most of the time, and he has a nice rolling, somewhat lazy, mid-tempo vaguely barrelhouse-rooted style. However, all the selections up until l938, when Lonnie Johnson joined him for a session, have a certain sameness to the piano playing and usually begin with the same riff. The melodies are quite similar also. I suppose the same thing could be said about many other artists, so it's up to you. His lyrics are quite interesting, dealing with life events--women, booze, sex, loneliness, desolation, having fun--in down-to-earth yet memorable lines that no doubt accounted for much of his popularity (he recorded 160 sides!). The last three years of his recording find him in a more "uptown" style with a booting rhythm section and on one session Jonah Jones on trumpet, giving the session a State Street Swingers/Harlem Hamfats feel. The sidemen too are first rate: Kokomo Arnold, Casey Bill Weldon, Charlie Jordan, Champion Jack Dupree, Sid Catlett, Lil Armstrong, et al. In this case, I don't feel I need the seven-volume Document complete works, so this CD (and Story of the Blues CDs list for only 11.98 or something like that--I see em for 9 bucks usually) may be the one Wheetstraw CD you'll want to own. Of course, in the seventies Rudy Ray Moore revived the "Devil's Son In Law" (and the Wheetstraw name) in a movie of the same name, but that's another story...altho it shows the power of this "legend" (which predates this blues Peetie, or so I've been told). Bill (the devil IS my in-laws!) Shute San Antonio, TX ========================================================================= Date: Mon, 7 Aug 1995 08:55:19 +0000 From: Ian Angus Subject: Ali Farka Toure Ali Farka Toure and his band played at Harbourfront (Toronto) last night to a standing-room-only overflow crowd (about 5,000 according to the press). An outstanding concert. I won't try to describe his music -- it is definitely blues related, but inextricably bound to African rhythms. He is an amazing guitarist -- as my friend said, it was as though the guitar grew out of the ends of his arms. If you want to expand your mind about the boundaries of blues, see him! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 7 Aug 1995 08:22:53 CST From: William Shute Subject: Eddie Durham--l935 electric gtr recordings From: Bill Shute I sometimes spend a little time on the weekend further investigating some of the interesting things that come up on blues-l during the week. There is always some discussion of the early use of the electric gtr on record--I myself mentioned it recently when I dropped the name of Bob Dunn, of the Milton Brown band, who also recorded on an electric beginning in l935. Decca promises a Milton Brown box this year, so you can check out Dunn's WILD playing there. The other l935 electric guitar player was in a far different context-- Eddie Durham, a multi-talented man who was brought into the Jimmie Lunceford band in l935 (he had played with Bennie Moten) as arranger, trombone player, and gtr player! The first session he played on and the first session in which he played an electric guitar was a five-song session from May 29, l935. It is currently in print on THE JIMMIE LUNCEFORD ORCHESTRA "Stomp It Off" GRP/DECCA JAZZ GRD-608 (US) Of the five songs from this session, an electric gtr is inaudible on three of them. Durham could have beenplaying trombone on these tracks as he is also listed on TBN in the discography. The two tracks on which he is audibly on gtr are tracks in which he takes an electric gtr solo...strangely, both are Duke Ellington compositions which Duke "gave" to his pal Lunceford and didn't record himself at that time (to my knowledge). If you are a 78 collector, these two sides were orig. paired on Decca 639. Anyway, "Bird of Paradise" features a solo which basically sounds like an ammplified acoustic--not unlike, say, an Eddie Lang or Lonnie Johnson solo except NOT reliant on single-string technique, morelike chorded, percussive playing.The playing doesn't seem to be any different ffrom what he would have played on an acoustic. The other tune, Ellington's "Rhapsody Junior," has a similar solo, but this one has some note-bending (that's bending of a whole chord, not single-string) and an odd-semi-Hawaiian feel, kind of like a proto-tremelo bar, proto-Travis Wammack approach, if I have to put a label on it.It IS something which couldn't be done that way acoustically .Each solo lasts about eight bars...or less. Decca Jazz's comp leaves off there, so I'll have to get their next Lunceford comp to see how Durham continued to evolve as a gtr player (he later joined BAsie). Still, these are pioneering recordings that deserve a special mention. I wouldn't buy the CD just for the twelve seconds of electric gtr on them unless you also dig the Lunceford Band (and you ought to!). Of course, the reason I've been so interested in these electric gtr pioneers is the recent Capitol 3-CD T-Bone Walker set. I've even seen stand-up^ display boxes for Capitol's new blues series in stores, so the Walker set should be available EVERYWHERE. Please consider getting it, even if you have to save. While Bob Dunn and Eddie Durham and these guys were pioneers, it's true that T-Bone was the man who basically created the vocabulary of electric gtr blues playing. The more of the early T-Bone I play, the more clear that becomes to me. And in the jazz field, I hope my review last week of those Benny Goodman rehearsals will encourage novices to get one of the many fine CBS Goodman comps that feature Charlie Christian. Some are even listed under CC's name, and most decent record stores have a "Charlie Christian" section in the jazz section. I'd stay away from the poorly-recorded live at Minton's Christian stuff until you have investigated his playing with Goodman. If you are a "chronological order/complete works" person, I see the French "Media 7" label Giants of Jazz series has a chronological Charlie Christian available, altho I have NO idea how many volumes it would be. As for Lunceford, the same label has a complete Lunceford series, so maybe there are other Durham solos of the same vintage on those. I have four or five chronological volumes from Ajazz's Lunceford series from the mid-80s, but those are on cassette and no doubt in storage. Bill Shute San Antonio, TX remember South Texans, this coming Saturday at 9 pm is our Blues-L get-together at Billy Blues, San Antonio, to see TEXAS JOHNNY BROWN. All you lurkers out there (and I've met a bunch in Austin) who don't post, please show up...and I'll buy you a beer if you identify yourself. I will try to wear my blues-l T-shirt...and will no doubt be the only person there with two elementary-school-aged blonde-haired children dancing! ========================================================================= Date: Mon, 7 Aug 1995 08:43:52 -0500 From: Bruce Roberts Subject: Armadillo World Headquarters 25 years ago today the Armadillo World Headquarters opened its doors. For over a decade it was a great musical venue, anything from Blues to Country and Jazz to Rock. Not to mention all the cool Jim Franklin posters. Maybe Don O. will share some of his Freddie King at 'Dillo stories with us. Onward thru the fog Don. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Mon, 7 Aug 1995 08:50:13 -0500 From: Pat Seger Subject: Re: B'Day Present >I got a 1970 Gibson J-50 acoustic for my B'day last night, from my wife, of >course. LW What a partner you got there! Course we all knew that;) So tell us, how many guitars do you have now? ========================================================================= Date: Mon, 7 Aug 1995 09:48:28 -0500 From: VT Subject: Re: Unusual slides >DATE: Sun, 6 Aug 1995 10:01:05 -0700 >FROM: Mark Naftalin > >The question about unusual things used as slides reminded me of the time, >on one of the Butterfield Blues Band's early visits to San Francisco, >when we appeared on KPIX-TV. On this occasion, Mike Bloomfield played >slide with a piece of celery. This was lip-sync, so the effect was >purely visual. Tone production was not an issue. > I liked that one. I think LW mentioned that the playing slide with a bone is supposed to produce a good tone. I have actually seen/heard slide played with a bone once - on this (fun) occassion it did have the best tone. I've re-posted the relevant bits of my Atlanta Report below: Date: Wed, 26 Apr 1995 18:23:22 -0500 From: VT Sender: Blues Music List Subject: Atlanta Report #7 It was back to Fat Matt's Rib Shack again to see the regular band for Tuesdays ROUGH DRAFT. The dinner crowd were hugely entertained by Rough Draft - they are obviously a popular local band. Their last number of the second set was really entertaining where Bryan Powell played his slide with various implements, let's see if I can remember: normal slide beer glass Tobasco bottle (alright it might have been some other hot sauce bottle) napkin holder (box) CHAIR leg and eventually a RIB BONE! which had the BEST tone........ Vincent p00061@psilink.com ========================================================================= Date: Mon, 7 Aug 1995 08:51:52 -0500 From: Pat Seger Subject: Re: First Paying Gig > They gave me $3 for my efforts... > > It was the most fun $3 i ever earned. > > > regards, > delta doc roger Hey Roger, Congratulations! That sounds like the way things are supposed to be. Red PS Let me know the next time you play somewhere in Mpls., maybe I can drop by and cheer you on. (I will try to make it to the New Riverside) ========================================================================= Date: Mon, 7 Aug 1995 09:58:05 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: BLUES-L Web Page _____ Reply Separator _____ Author: INTERNET:EEXF85C @ PRODIGY.COM@CISHUB Received: 08/06/95 04:23:00 PM Subject: Re: BLUES-L Web Page > Any suggestions? <> ...and, of course, the FAQ prominently featured for download or online reading... A list of nationwide club date listing, or, heck, just a list of clubs that commonly play blues! Turtle Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle/blues.html ========================================================================= Date: Mon, 7 Aug 1995 09:58:08 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Hollywood Slim and Guitar Junior I have a chance to see Hollywood Slim and Guitar Junior next weekend here in Edinburgh. Does anyone have any information on these guys? Would it be worth going along? Guitar Jr.? I had thought he was going exclusively by the name Lonnie Brooks now, having given up "Guitar Junior" when he moved to Chicago in the early 70s... are we talking about the same guy, born Lee Baker, the one who recorded "The Crawl" around 1957 or 1958? Turtle Visit That Blues Music Page at the Weightless Dog! http://www.charm.net/~turtle/blues.html ========================================================================= Date: Mon, 7 Aug 1995 09:02:14 -0500 From: Pat Seger Subject: Re: Peter Green The talk of Gary Moore's tribute to Peter Green gets me to wondering - what CD's might I get to hear some of _Peter's_ best stuff. (I already have Fleetwood Mac in Chicage 1969). Thanxs Red PS Thanxs to all those who replied to my question re: L** Z**. ========================================================================= Date: Mon, 7 Aug 1995 10:02:16 -0400 From: Steve Levine Subject: Harp on "I Don't Know" I recently got the cd "Atlantic Blues: Piano" from the library. This is a great cd but the copy I got was missing the insert with the liner notes. Can anyone tell me who the harp player is on Willie Mabon's "I Don't Know"? Thanks, Steve ========================================================================= Date: Mon, 7 Aug 1995 08:40:25 -0500 From: Richard Shurman Subject: Re: Hangnails etc. Albert Collins used to toughen his fingers with brine too. ========================================================================= Date: Mon, 7 Aug 1995 10:32:24 -0400 From: bob unger Subject: "The History Of The Blues" Just started reading "The History of the Blues" by Francis Davis. It's a companion volume to the 3 part PBS series of the same name. I've only read the introduction so far, but the author seems to imply that some feathers are gonna be ruffled by what he has to say here. Has anybody read this book? Opinions? .....Also has anybody seen the PBS series, I dont recall ever seeinfganything about it on the tube..... BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 7 Aug 1995 10:35:03 -0500 From: Richard Flohil Subject: Blues Brothers origins There have been some questions on Blues-L as to the origin of The Blues Brothers. Local wisdom in the Toronto area indicates a link between the Brothers and the veteran locally-based group the Downchild Blues Band. Formed in 1969, Downchild was (and still is) led by Donnie "Mr. Downchild" Walsh; his brother Rick (known as The Hock-as in ham-hock; he was fairly beefy!) was the original singer, and the brothers and their band played frequently at an afterhours club on Queen Street run by Dan Ackroyd, who later went on to fame via Second City (I think) and Saturday Night Live. As to the relationship between the Blues Brothers and Downchild, a comparison of the Downchild album Straight Up and the later release by the Blues Brothers, Briefcase Full of Blues is instructive. I don't have both albums in front of my as I write this, but the Downchild album was released two years prior to Briefcase Full of Blues, and many of the song are identical (as are the arrangements). The Blues Brothers also covered two Downchild tunes-Shotgun, and (Everything I Need) Almost. Late last year, Dan went to see the band's 25th anniversary party at Grossman's Tavern in Toronto (where the the Walsh Brothers started out), and asked Downchild to play a wrap party for a film he was shooting in Toronto. At the party, Dan sat in on several numbers with the "original" Blues Brothers inspiration-although the Hock has long since left the band. PS: Oh yes, I've worked with Downchild as quasi-management and publicist on and off for all those 25 years! Cheers, Richard ========================================================================= Date: Mon, 7 Aug 1995 10:35:00 -0500 From: Richard Flohil Subject: Re: Blues in commercials What about the Little Richard commercial for Royal Crown Hair Cream-"All the girls go crazy for guys with Royal Crown..." - Cheers, Richard ========================================================================= Date: Mon, 7 Aug 1995 09:27:10 CDT From: L W Subject: Clarksdale Provides Answers This is not a review, it's a revelation for ME. One issue that comes up alot is the "future of the blues"...There has been lots of people saying this and that.....etc. IMHO , now that I have actually been THERE, The future of the blues is where SOME of it began CLARKSDALE MISS. The blues are alive and well and the young-uns are still being brought up playing the blues...THE BLUES ARE SAFE Second Issue: Blacks don't like/support the blues...I will never say that again If you have doubts GO TO CLARKSDALE....Now if you put a yuppie based club in an all white neighborhood, with blues that were learned and not experienced...well sure blacks aren't going to go...Why should they...You put the blues where they are and wow do they ever show up and appreciate it... Cheap guitars in abundance, cheap equipiment, but REAL blues... I thought I had been there and done that, but BOY was I wrong... Sorry if this comes off as self-righteous or what have you, but until you experience the Sunflower Festival in Clarksdale, you'll never reall know what a blues festival is....That is MHO LW 'I've been slapped in the face, with the REAL THING' ========================================================================= Date: Mon, 7 Aug 1995 10:38:48 -0400 From: Ed Mezynski Subject: pocono blues fest ????? Did anyone post a review of the pocono blues fest? If I missed it, could someone mail it to me, of if it hasn't , could someone review it. Inquiring minds want to know. thanks ed ========================================================================= Date: Mon, 7 Aug 1995 09:49:23 -0500 From: Jeff Seale Subject: Re: BLUES-L Web Page On Mon, 7 Aug 1995 Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM wrote: > ...and, of course, the FAQ prominently featured for download or online > reading... > > A list of nationwide club date listing, or, heck, just a list of clubs > that commonly play blues! This info is already available on the Blues-L shed (which can be accessed through the BluesNey homepage (at AcadiaU). -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Mon, 7 Aug 1995 10:06:38 PDT From: "R. J. Bauman" Subject: Re: Hangnails etc =================I never have nail problems. What am I missing here? -- just curious.===================== Pain. ========================================================================= Date: Mon, 7 Aug 1995 09:15:48 -0600 From: Gary Constantine Subject: Re: Harp on "I Don't Know" >I recently got the cd "Atlantic Blues: Piano" from the library. This is >a great cd but the copy I got was missing the insert with the liner >notes. Can anyone tell me who the harp player is on Willie Mabon's "I >Don't Know"? > >Thanks, > > Steve According to the liner notes it was none other than MICK JAGGER. It was recorded in 1976 in Chicago. If you want a copy of the liner notes let me know your snail mail address and I will photocopy it. Gary ........ Gary Constantine >> gconstan@ccinet.ab.ca << I want to die in my sleep like my grandfather, not screaming in terror like his passengers... ========================================================================= Date: Mon, 7 Aug 1995 10:26:40 -0500 From: Bruce Roberts Subject: Buddy Brown Does anyone know if Buddy Brown was a real person? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Mon, 7 Aug 1995 10:47:23 CST From: William Shute Subject: songs most commonly "covered" live From: Bill Shute As I heard this weekend the forty-second version of "Hideaway" that I've heard live in the last two months, I wondered what songs others are hearing "covered" frequently at live gigs. In Texas, it seems that EVERY band--even those passing through the state!--will do at least one Freddie King instrumental, either "Hideaway" or "San-ho-zay." Even well-known artists with repertoires of their own will do Freddie King instrumentals. And hey, that's great by me! I love Freddie King tunes, and as long as they are played well, I have no problem with that and will clap and stomp with the rest of the appreciative portion of the audience. What other songs do you all seem to hear EVERY weekend, no matter who is playing? In terms of composers, I have seen a resurgence in Jimmy Reed covers over the last year. He fell out of favor for a while--at least compared with the MASSIVE popularity he has had at times in the past-- but his compositions can be adapted to whatever style a band has. Certainly I haven't heard anyone who attempted to SOUND like Reed either in the vocal, harp, or band-feel. What covers are YOU hearing? What covers would you NOT LIKE TO HEAR AGAIN? Are there some songs where you feel no one should cover them because the original is somehow "sacred" (whatever that means!)? Do some of you musicians out there have covers that work really well with the audiences you play for? How about obscure covers that the majority of the audience think are originals (unless you tell them otherwise)?What's the worst cover you've ever heard? the best? I'm particularly interested in LIVE PERFORMANCES, not on recordings. Well? Bill Shute San Antonio, TX (and non-black bands under 40 seem to have to do one SRV tune also...) I hope this topic leads to some interesting blues-l discussion... ========================================================================= Date: Mon, 7 Aug 1995 12:04:53 -0400 From: Dick Waterman Subject: Re: "The History Of The Blues" This began about four or five years ago with intentions of being a three part series. (1) Mississippi Delta; (2) Chicago Blues and (3) the White inheritors of the tradition. It was being done by Vanguard Films of NYC and quite a bit of footage was shot along with many interviews. They apparently ran short of the finances to actually complete the project and get it into distribution. This is just my second-hand knowledge and nothing directly from Vanguard. So they felt that since they had all of these interviews ready to go, who not come with the companion book although the primary project - the three part documentary- remains unissued. I have not read the book myself. Most of the excellent photographs are from the collection of Doug Fulton, formerly of Ann Arbor and now a member of the Tucson Blues Society. I have two photographs in the book and although they are handsomely reproduced, they are printed without permission or payment. dick waterman ========================================================================= Date: Mon, 7 Aug 1995 09:19:45 -0800 From: Michael Hewitt Subject: Re: Blues Brothers origins Actually, Dan Ackroyd gave a lot of credit to the two songs you mention they covered on Briefcase Full of Blues as being instrumental in getting Belushi sold on the idea of the Blues Brothers. Apparently, Ackroyd had taken a Downchild's album to New York with him when he went to audition for SNL. He played it for Belushi who got hooked and the rest fell together from there. >There have been some questions on Blues-L as to the origin of The Blues >Brothers. Local wisdom in the Toronto area indicates a link between the >Brothers and the veteran locally-based group the Downchild Blues Band. > Formed in 1969, Downchild was (and still is) led by Donnie "Mr. >Downchild" Walsh; his brother Rick (known as The Hock-as in ham-hock; he >was fairly beefy!) was the original singer, and the brothers and their band >played frequently at an afterhours club on Queen Street run by Dan Ackroyd, >who later went on to fame via Second City (I think) and Saturday Night >Live. > As to the relationship between the Blues Brothers and Downchild, a >comparison of the Downchild album Straight Up and the later release by the >Blues Brothers, Briefcase Full of Blues is instructive. I don't have both >albums in front of my as I write this, but the Downchild album was released >two years prior to Briefcase Full of Blues, and many of the song are >identical (as are the arrangements). The Blues Brothers also covered two >Downchild tunes-Shotgun, and (Everything I Need) Almost. > Late last year, Dan went to see the band's 25th anniversary party >at Grossman's Tavern in Toronto (where the the Walsh Brothers started out), >and asked Downchild to play a wrap party for a film he was shooting in >Toronto. At the party, Dan sat in on several numbers with the "original" >Blues Brothers inspiration-although the Hock has long since left the band. > PS: Oh yes, I've worked with Downchild as quasi-management and >publicist on and off for all those 25 years! > Cheers, Richard Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 7 Aug 1995 10:55:11 -0300 From: Leonardo Kenji Shikida Subject: Re: Worried Life Blues I heard once an Eric Clapton & Johnnie Johnson version and another by the great Robben Ford. It`s really a very beutiful music. _______________________________________________________ [ Leonardo Kenji Shikida ] kenji@dcc.ufmg.br On Tue, 18 Jul 1995, Ranko Vujosevic wrote: > Big Maceo's "Worried Life Blues" is one of my all-time favorite blues > songs. I know Freddie King did it on 'Getting Ready," and I heard > an incredible version by R.L. Burnside live in the local student radio here in > Iowa City last month. > > Who else recorded this beautiful song? > > Ranko > ========================================================================= Date: Mon, 7 Aug 1995 11:10:32 -0500 From: Richard Shurman Subject: Re: Harp on "I Don't Know" Mick Jagger is "playing" the harp on Willie Mabon's Atlantic version of "I Don't Know." For some reason, the Stones did a session involving Mabon and Luther Allison in Chicago around the beginning of '77; as far as I know, this cut is the only issued result. ========================================================================= Date: Mon, 7 Aug 1995 11:44:06 -0500 From: Bruce Roberts Subject: Re: songs most commonly "covered" live > What other songs do you all seem to hear EVERY weekend, no matter > who is playing? Sweet Home Chicago. ========================================================================= Date: Mon, 7 Aug 1995 12:48:02 -0400 From: Garry Segal Subject: Re: Blues Brothers origins In a interview with Greg Piccolo( former Roomful of Blues bandleader) he says they were offered the job of being "the band "in the BB movie but turned it down. He said he had no regrets either. Garry http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 7 Aug 1995 11:10:12 -0600 From: Scott Berman Subject: Re: Peter Green I've got a 3 CD set called: The Original Fleetwood Mac: The Blues Years. (ESBCD 138) I think it's an import. It's got all of what you're asking for I think. Ciao, Scott _______________________________________________________________ Dr. Scott Berman bermansj@sluvca.slu.edu Department of Philosophy Office (314) 977-3160 St. Louis University Fax (314) 977-3874 St. Louis, MO 63103 U.S.A. ========================================================================= Date: Mon, 7 Aug 1995 12:51:17 +0000 From: "P.W. Fenton" Subject: New Home I appear to have cleared up all my internet access problems and will be settling down at the address I'm writing from now. Anyone who lives in Florida, from Orlando on south should check these people out. The outfit is called CyberGate, and I will email you details if you need them. I have nothing to do with them besides giving them my hard earned money. I will probably wind up moving my bands homepage here as well. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Mon, 7 Aug 1995 13:03:01 -0400 From: Ed Mezynski Subject: Steady Rollin Bob Margolin Someone asked for info on Margolin. Heard him this past saturday at the New Moon Jazz and Blues Festival. Here is the blurb that was in the playbill about him, reprinted without permission. Bob Margolin grew up in Brookline, MA, and now makes his home in Greensboro. He developed an early appreciation for Chuck Berry and soon discovered what would become a lifetime passion: authentic Chicago blues. He apprenticed under the best of the first generation of urban bluesmen, most notably Muddy Waters with whom he played from 1973 to 1980. Margolin has gigged, jammed and opened for, in his words, "damn near every blues legend alive," including B.B. King, Willie Dixon, John Lee Hooker, Albert King, Pinetop Perkins, and Etta James. In 1978 he performed at the White House for President Jimmy Carter. During the first half of 1990, legendary harpist James Cotton included Margolin in his all-star band for Cotton's "Take Me Back" tour. Now moving into his own as a blues mentor, Margolin is" one of the finest exponents of Chicago blues guitar work today"(Winston-Salem Journal). "Bob Margolin should prove to be one of the Blues stars of the '90's"(Austin American-Statesman). Margolin's new Alligator album, Down in the Alley, showcases all of his considerable talents. End o'blurb Bob's band consisted of bassist, Steve "Slash" Hunt and drummer Chuck Cotton. They played tunes from Bob's previous cd and some Muddy tunes. We also got to hear a few cuts from "Down In The Alley", which will be release next month. As a special treat, Bob brought out "Sweet" Betty Journey, from Atlanta. She stole the show. They are currently working on Sweet Betty's cd, for New Moon Music. I'm not much of a reviewer, so let's just say that it was a great evening of blues, and getting to see Bob Margolin, Sweet Betty, Lightin' Wells and Big Boy Henry all for the paltry sum of 9 bucks was well worth it. Check them out when they come to your town. Commercial Alert. If you are interested in more info about these New Moon artists, I'd be glad to get it to you. These folks are my buds, but they are also very talented musicians. Just send me your snail mail address. Thank you for your indulgence. ed mezynski ========================================================================= Date: Mon, 7 Aug 1995 12:06:52 CDT From: L W Subject: Johnnie Billington For those of you who don't know, JB is a very good Calrksdale musician. He could be out making some money and a bigger name for himself, but instead he's working with the young-uns in Clarksdale. The oldest member of his band was 15 yrs old. They are a kicking band with an 11 yr old bass player, who's got it going on. They had another 11 yr old get up and sing "Kansas City" and did a fine job......etc I talked with JB and I asked if he was in need of musical equipment and he said "Very much so". He didn't ask me, I ASKED HIM. He went on to tell me that he pays for the equipment for the kids. I asked if he would accept "discards" like amps, guitars, harmonicas....etc. He would welcome them as would the kids. So I will be posting an address later this week and if you have an amp, guitar.etc that you don't need or maybe one (like myself) that you were going to sell for a small amount , then do like me and give to Billngton and the young-uns Lemme tell they put it to good use and Mr. Billington is a wonderful man. I will get some photos I took, that include Billington and Co..(JB and The Midnighters..I think)....I will get those pics scanned and put on the Blues-l Shed...or wherever they need to be.....THANKS LW ========================================================================= Date: Mon, 7 Aug 1995 10:52:10 PST From: Mike McCourt Subject: Re: Hangnail Sounds like a great way to end a set! Blistering guitar solo, guitar player lights his fingers on fire and walks off stage... You'd have good showmanship AND good nails. -- mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: Re: Hangnail (?) for musicians or manicurists ;-) Author: David Silberberg at ccUnix Date: 8/5/95 8:35 PM >Re New Skin: good suggestion, ..... We'd put it on between frames - to make sure it would dry before we were up again, we'd light it. ========================================================================= Date: Mon, 7 Aug 1995 13:45:30 -0400 From: Bill Reiser Subject: Re: Steady Rollin Bob Margolin On Mon, 7 Aug 1995, Ed Mezynski wrote: > Bob's band consisted of bassist, Steve "Slash" Hunt and drummer Chuck > Cotton. They played tunes from Bob's previous cd and some Muddy tunes. > We also got to hear a few cuts from "Down In The Alley", which will be > release next month. Quickie: Down in the Alley is out now. I think Bob's new Alligator set is called My Blues and My Guitar. BR ========================================================================= Date: Mon, 7 Aug 1995 12:50:28 -0600 From: Ranko Vujosevic Subject: A/C for Jessie Mea Hemphill Allright, the first attempt to deliver A/C to Jessie Mae did not work. The reason: no A/cs. Here is message I received from Dick Waterman last night: >Every appliance store and Wal-Mart that I have gone to have been completely >sold out of A/C. It has been a very hot summer down here and because cotton >and casino businesses are going very well, there is now a black middle-class >buying things like A/C more than every before. Now, we go with alternative #2. Marcia Grodsky is donating an A/C to Jessie Mae and it will be shipped from Pittsburgh (sp?) to Clarksdale tomorrow. Shipping will cost around $50. I just talked to Patty Johnson from Clarksdale who will receive it and deliver to Jessie. The rest of money, which will be about $300 will be send as a money order to Jessie Mae also tomorrow. Ranko ========================================================================= Date: Mon, 7 Aug 1995 13:50:33 EDT From: george morales Subject: cd trade legends of the blues Since I haven't recvd any reponse to my post on Fri regarding my desire to trade this cd. I would like to give it away to any member of the list willing to pay the postage for mailing the cd.It features artists such as leroy carr,charley patton,blind lemon jefferson. It is a Columbia release "Legends of the Blues Volume 1" CK46215 ========================================================================= Date: Mon, 7 Aug 1995 18:08:57 +0000 From: Pat Hertel Subject: Re: Steady Rollin Bob Margolin You forgot to mention that he also has a regular column in Blues Revue phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/8/95 14:05 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 7 Aug 1995 14:24:41 -0400 From: Lynn Moncrief Subject: Re: playlist Peter, Is this the same "Nothing But the Blues" show hosted by Gary "The Wagman" Wagner on KLON out of the Los Angeles area? I happened to miss it on Aug. 4th (the date of your playlist) but it sounds a lot like what Gary would play. I'm a newbie on the list and don't know if you post this on a regular basis. It would sure beat all of the post-its and scraps of paper I jot things down onto if it's the same show. :-D (If you don't post it on a regular basis and if it is for Gary's show, could you let me know where you got the playlist? Thanks!) Lynn ========================================================================= Date: Mon, 7 Aug 1995 11:27:21 -0700 From: Roberta Penn Subject: Re: Seattle Blues Playlist 8/6/95 JOHNNIE JOHNSON I'M MAD MUSIC MAS. ROBBIE LAWS & URBAN ALLSTARS IT HURTS ME TOO MRM GATEMOUTH BROWN EARLY IN THE MORNING VERVE PAUL "WINE" JONES KITTY KAT FAT POS. DOROTHY MOORE DO YA MALACO FAB. T-BIRDS ZIP ADEE DO DAH PRIVATE PHILLIP WALKER WORKING GIRL BLUES BLK. TOP JIM BOYD/SHERMAN ALEXIE URBAN INDIAN BLUES THUND.W. SOUTHERN CULTURE ON SKIDS VOODOO CADILLAC DGC RAY CHARLES GREENBACKS ATL ELECTRIC FLAG KILLING FLOOR COLUMBIA JAMES SOLBERG BAND JIMMY'S BLUES ATOMIC TH. CLARENCE CARTER STROKIN' MALACO ESTHER PHILLIPS HOME IS WHERE THE HATRED IS EPIC ELVIN BISHOP DRIVIN' WHEEL ALLIG. LITTLE BILL NEXT TIME YOU SEE ME LITTLE BILL ROY ROGERS NOT FADE AWAY LIBERTY RY COODER FEELIN' BAD BLUES WB WILLIE DIXON BACK DOOR MAN CHESS ROBBEN FORD THE BROTHER STRETCH DUFFY BISHOP EVIL BURNSIDE RY COODER HOUSTON IN 2 SECONDS WB ========================================================================= Date: Mon, 7 Aug 1995 19:34:34 GMT From: Marion Brown Subject: Re: songs most commonly "covered" live IMHO, the most common tune covered live in Memphis is "Dock on the Bay" - figures....... -- [%- ========================================================================= Date: Mon, 7 Aug 1995 12:50:17 -0800 From: Michael Hewitt Subject: Re: Blues Brothers origins >In a interview with Greg Piccolo( former Roomful of Blues bandleader) he says >they were offered the job of being "the band "in the BB movie but turned it >down. He said he had no regrets either. >Garry > >http://www.island.net/~blues/BlueSngr.html Funny, since Steve Cropper, Matt Murphy and Duck Dunn were all first choices of the SNL music director to back Dan and John from the beginning of the SNL bit. They also provided the backup for each of the live gigs. Also, Tom Scott and the LA Express were involved in each of the sessions I believe (although I'm not positive about the Winterland gig...my memory fails me as to what I saw on the film clip). Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 7 Aug 1995 12:58:15 -0800 From: Michael Hewitt Subject: Re: songs most commonly "covered" live At 11:34 AM 8/7/95, Marion Brown wrote: >IMHO, the most common tune covered live in Memphis is "Dock on the Bay" - >figures....... > >-- >[%- Oh come now... you mean to tell me the most covered song isn't Johnny B. Goode? Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 7 Aug 1995 15:58:41 -0400 From: Dick Waterman Subject: Re: Johnnie Billington I'd like to add a resounding second voice of appreciation for the work that "Mister Johnnie" does for the A/American community in Clarksdale. He takes the school kids into his home during the afternoon, checks to make sure they do their homework and then teaches them basic music appreciation of black culture and the blues music of their home in Coahoma County. He gets some small grants from the Mississippi Arts Commission and the county arts council but this is not a priority over there. I mentioned Johnnie to Mark Princi, Chief of Staff for House of Blues, and he gave it a long look and indicated that they 'might' ask Johnnie if he would like to do a salaried week in residence in the cities where they have a H.O.B. during February (A/K/A Black History Month). I have no business connection with Mister Johnnie and he is very qualified to guide his own destiny without any advice from me. However, I agree with LW that any musical equipment that can be made available to him will have a direct imput into the A/American community of Coahoma County. No middle people, no commissions, no photo ops, nothing . . just putting it to use where it is needed most. I suggest that everything be coordinated through John Ruskey, acting curator of the Blues Museum in Clarksdale. He sees Mister Johnnie almost every day. I'm no legal expert in this area but I think that anything donated to Johnnie through the Blues Museum is a tax deduction because the Museum has 501 (c) status. dick waterman ========================================================================= Date: Mon, 7 Aug 1995 15:23:51 -0400 From: Barry Silverberg Subject: Q:] R&B vs. Soul? R&B .... vs. .... Soul. Can anyone give me a clue as to the difference(s) and/or what sets these 2 styles apart - or are they the same animal? Generalizations OK, but specifics are better. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 7 Aug 1995 15:07:34 CDT From: L W Subject: Q:] R&B vs. Soul? ----------------------------Original message---------------------------- R&B .... vs. .... Soul. Can anyone give me a clue as to the difference(s) and/or what sets these 2 styles apart - or are they the same animal? Generalizations OK, but specifics are better. _________ IMHO......R&B talks to your "body" as in shake your thang and Soul talks to your soul...as in "Oh yeeeeeeah" .....That's the effect it has on my household anyway. LW ========================================================================= Date: Mon, 7 Aug 1995 16:09:10 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Blues Brothers - defending <> Now, to be fair, The Blues Brothers served to introduce a lot of new fans in the late 70s to blues, myself included. A lot of us, our first album was "Briefcase Full Of Blues," and we graduated from that to find the original takes of their tracks, by Fred MacDowell, Junior Wells, etc. And it gave Cab Calloway, John Lee Hooker and the old Stax guys some really good exposure at a time (1979-1982) when there didn't seem to be a lot going on in blues -- pre-SRV, pre-Robert Cray, etc. Turtle "I suggest you buy as many blues albums as you can..." - Jake Blues, 1979 Be sure and visit That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle/blues.html ========================================================================= Date: Mon, 7 Aug 1995 16:11:11 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Blues Brothers origins Has there been discussion of the link between Belushi/Ackroyd and Curtis Salgado? (I mean, the real Curtis Salgado, not the character played by Cab Calloway in The Blues Brothers....) Turtle Visit That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle/blues.html _____ Reply Separator _____ Author: INTERNET:rflohil @ INFORAMP.NET@CISHUB Received: 08/07/95 09:48:00 AM Subject: Blues Brothers origins There have been some questions on Blues-L as to the origin of The Blues Brothers. Local wisdom in the Toronto area indicates a link between the Brothers and the veteran locally-based group the Downchild Blues Band. Formed in 1969, Downchild was (and still is) led by Donnie "Mr. Downchild" Walsh; his brother Rick (known as The Hock-as in ham-hock; he was fairly beefy!) was the original singer, and the brothers and their band played frequently at an afterhours club on Queen Street run by Dan Ackroyd, who later went on to fame via Second City (I think) and Saturday Night Live. As to the relationship between the Blues Brothers and Downchild, a comparison of the Downchild album Straight Up and the later release by the Blues Brothers, Briefcase Full of Blues is instructive. I don't have both albums in front of my as I write this, but the Downchild album was released two years prior to Briefcase Full of Blues, and many of the song are identical (as are the arrangements). The Blues Brothers also covered two Downchild tunes-Shotgun, and (Everything I Need) Almost. Late last year, Dan went to see the band's 25th anniversary party at Grossman's Tavern in Toronto (where the the Walsh Brothers started out), and asked Downchild to play a wrap party for a film he was shooting in Toronto. At the party, Dan sat in on several numbers with the "original" Blues Brothers inspiration-although the Hock has long since left the band. PS: Oh yes, I've worked with Downchild as quasi-management and publicist on and off for all those 25 years! Cheers, Richard ========================================================================= Date: Mon, 7 Aug 1995 16:20:42 -0400 From: Dick Waterman Subject: Re: Q:] R&B vs. Soul? R&B is John Lee Hooker and Jimmy Reed Soul is Marvin and Smokey and Sam R&B is sitting in a chair Soul is choreography However - this rule applies here - the energies that you spend in defining and detailing are proportionately subtracted from your ability to appreciate the music in the first place. Can I get a witness ? I said, "CAN I GET A WITNESS ?" dick waterman ========================================================================= Date: Mon, 7 Aug 1995 16:03:17 CST From: JBards Subject: Re[2]: songs most commonly "covered" live If it's blues we're talking about it would HAVE to be "Sweet Home Chicago". (Otherwise, it's "Inna Gadda Da Vida"..... =). Jim _______________________________________________________________________________ Subject: Re: songs most commonly "covered" live From: Michael Hewitt at INTERNET-SH Date: 8/7/95 3:39 PM At 11:34 AM 8/7/95, Marion Brown wrote: >IMHO, the most common tune covered live in Memphis is "Dock on the Bay" - >figures....... > >-- >[%- Oh come now... you mean to tell me the most covered song isn't Johnny B. Goode? Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 7 Aug 1995 17:06:29 +0000 From: "P.W. Fenton" Subject: Blues-L CDs & Tapes Wanted Once again, for anybody who mught have missed the original request. Anyone who is a Blues-L member/musician and has a Blues CD or Tape for sale, send me the pertinent info, and I'll compile it and make it available on the web (and right here). Please include prices and addresses to send money to...etc. Please use the subject line from this message and my mail program will sort them for me. I've only received about five so far. That may be close to all of 'em. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Mon, 7 Aug 1995 17:51:12 -0400 From: Jim Armstrong Subject: Re: Fabulous Thunderbirds Live In a message dated 95-08-05 15:01:26 EDT, Wildefire@AOL.COM (Lynn Moncrief) writes: > about Bob Margolin, >but what I've heard on the radio by him has been very good. Someone correct >me if I'm wrong, but he may have played with Muddy Waters at some time. I'm >sure you'll enjoy the concert! He played with Muddy. His first Alligator release is Down In The Alley. It is a very good example of what can be done if the front man is not worried about being overshadowed by other musicians. John Brim sings a couple of numbers and there aren't a lot of ego solos, and the songs are varied and well done. It's always on the rotation for my CD. Jim Armstrong ========================================================================= Date: Mon, 7 Aug 1995 18:19:38 -0400 From: Ted Dames Subject: Smokey Wilson OK, OK, OK, OK already! I've read enough about S.W. in the last few weeks so, I'm going to see him this evening at The Chameleons' Lizard Lounge in Lancaster, PA. Haven't heard any of his stuff prior to tonite. For $3.00 and $6.00 for a pitcher of Yuengling Lager.. how the hell could you go wrong! Think I'll stop by the Lancaster Malt Brewing Co. on the way into town for a freshly brewed hefe-weiss,......man, life is good. Film at 11, Ted" Bandana's Blues BBQ is this Sunday" Dames bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. ========================================================================= Date: Mon, 7 Aug 1995 18:28:08 -0400 From: Tom Grady Subject: Re: Re[2]: songs most commonly "covered" live Speaking of "Sweet Home Chicago," there seem to be as many versions of that song as there are of "Louie, Louie." I know the Johnson lyrics, but I don't have any transcriptions of the others. Can anybody help? Thanks. ========================================================================= Date: Mon, 7 Aug 1995 22:32:32 GMT From: Cindi Plaisance Subject: Bo Diddley - Ellis McDaniel? Does anyone know of a Bo Diddley recording called E. McDaniel (or Ellis McDaniel)? Apparently there are recordings made sometime prior to the 1955 sessions that produced "Bo Diddley", "I'm a Man" etc. for the Checker Label. Any info appreciated! TIA, Lucinda ---+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+--- Lucinda L. Plaisance clp@epx.cis.umn.edu Computer and Information Services, University of Minnesota ---+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+--- ========================================================================= Date: Mon, 7 Aug 1995 17:46:42 PDT From: "R. J. Bauman" Subject: Re: Harp on "I Don't Know" ======================= For some reason, the Stones did a session involving Mabon and Luther Allison in Chicago around the beginning of '77; as far as I know, this cut is the only issued result.============= Sorry if this is old news, but it's an appropriate time to mention that Luther Allison formed a band called the Rolling Stones before Mick and Keith's band got started. RJ Bauman ========================================================================= Date: Mon, 7 Aug 1995 22:43:09 GMT From: Cindi Plaisance Subject: Re: Ali Farka Toure For anyone in the Midwest - Ali Farka Toure is playing at the Cedar Cultural Centre in Minneapolis this weekend. This former theater only holds about 400 people, and I saw him there a year or so ago, and it was an amazing experience. Highly recommended. ---+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+--- Lucinda L. Plaisance clp@epx.cis.umn.edu Computer and Information Services, University of Minnesota ---+-----+-----+-----+-----+-----+-----+-----+-----+-----+-----+--- ========================================================================= Date: Mon, 7 Aug 1995 22:49:54 GMT From: Cindi Plaisance Subject: Live Elmore James? Has anyone ever heard of a live recording of Elmore James? A friend recalls seeing a live (possibly double) LP on a Dutch label from the 1960s. Of course, it's always possible that he was hallucinating... ;) Lucinda L. Plaisance ========================================================================= Date: Mon, 7 Aug 1995 17:57:40 PDT From: "R. J. Bauman" Subject: Re: A/C for Jessie Mea Hemphill ================ Now, we go with alternative #2. Marcia Grodsky is donating an A/C to Jessie Mae and it will be shipped from Pittsburgh (sp?) to Clarksdale tomorrow. Shipping will cost around $50. I just talked to Patty Johnson from Clarksdale who will receive it and deliver to Jessie.=============== Marcia, I'm overwhelmed by your generosity! I'll bet many others are as well. I know I'm speaking for a lot of people on blues-l when I thank all who were able to contribute to Jessie. It just makes one feel so good to be associated with people like all of you! RJ Bauman ( saw my in-laws Saturday. They want to pay $250 for my A/C. Go figure) ========================================================================= Date: Mon, 7 Aug 1995 22:54:16 GMT From: Cindi Plaisance Subject: Little Walter - Otis Rush - Live in Chicago OK, one more :) I've got a Little Walter/Otis Rush recording called "Live in Chicago' on Intermedia Records (QS 5003) which has absolutely no dates anywhere. >From the album jacket cover, I'd guess it could have been anytime in the 60s or even early 70s... anyone have a clue when this might have been recorded? Lucinda Plaisance ========================================================================= Date: Mon, 7 Aug 1995 18:06:33 PDT From: "R. J. Bauman" Subject: Re: Q:] R&B vs. Soul? =================== R&B .... vs. .... Soul. Can anyone give me a clue as to the difference(s) and/or what sets these 2 styles apart - or are they the same animal? Generalizations OK, but specifics are better.=============== I'd guess it's just a matter of time that sets these to descriptions of popular black music apart. I always think of R&B as being 1950's to mid 1960's, and I associate the term SOUL with the music after that up to about 1980 or so when Disco turned everything up-side down. I'd be interseted to find out if I've been mistaken on this. RJ Bauman ========================================================================= Date: Mon, 7 Aug 1995 16:08:50 PDT From: Gordon Fehlman Subject: Re: covered songs I know around here in Monterey I've heard Stormy Monday till I'm blue in the face. I don't mind at all blues bands doing covers but I wish some would be more imaginative in finding different songs. There are so many songs, thousands to pick from. At least the guys I jam with look at it that way. On another note, just got Finis Tasby, man I would recommend it to all you zellers'. Elvin Bishop does a good job on it. Gordon ========================================================================= Date: Mon, 7 Aug 1995 18:09:19 -0500 From: dwhite Subject: Re: songs most commonly "covered" live >> What other songs do you all seem to hear EVERY weekend, no matter >> who is playing? In Houston it was "Down Home Blues" every where ya went ========================================================================= Date: Mon, 7 Aug 1995 19:10:26 -0400 From: Jim Armstrong Subject: Re: songs most commonly "covered" live In a message dated 95-08-07 11:53:15 EDT, WSHUTE@ACCDVM.ACCD.EDU (William Shute) writes: >What covers are YOU hearing? Sweet Home Chicago. Probably because most of the shows I see are in Chicago. Local bands seem to do SRV's Pride And Joy, or Mary Had A Little Lamb {I know, it's a Buddy Guy tune}. Many of the bands do Got My Mojo Working, not really getting it like you would want them to. Jim Armstrong ========================================================================= Date: Mon, 7 Aug 1995 18:20:34 PDT From: "R. J. Bauman" Subject: Re: Buddy Brown Does anybody know if Curtis Lowe is/was a real person? Remember the Skynyrd song "Curtis Lowe was the finest picker to ever play the blues", etc.... RJ Bauman ------------Does anyone know if Buddy Brown was a real person? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us-------------------------- ========================================================================= Date: Mon, 7 Aug 1995 19:16:36 -0400 From: Barry Silverberg Subject: Re: Q:] R&B vs. Soul? Dick Waterman (Jinxblues@aol.com) wrote: : R&B is John Lee Hooker and Jimmy Reed : Soul is Marvin and Smokey and Sam Very interesting statement - leads me to another question. What is the difference between Blues and R&B. I'd have never thought to put John Lee Hooker in as R&B. You turn my thinking around. I like that - : R&B is sitting in a chair : Soul is choreography Certainly conveys the message clearly Dick - thanks again. But are there any musical differences - beat, tempo etc. that sets these apart. NO I won't work over the definitions to death, I just write a lot and was looking for directions when I listen. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 7 Aug 1995 16:45:24 -0700 From: "Gary \"The Wagman\" Wagner" Subject: Re: playlist Lynn (& all), I have the feeling that "Nothin' But the Blues" is a pretty popular name for a radio show. Probably so much so that most major markets could have a show by that name, I suppose. I've been doing a lot of lurking around here on BLUES-L (having just subscribed a few weeks ago) but have not yet gotten into any regular posting of my weekly playlist or anything like that. I think there may be quite a few radio program hosts who are also "zellers" and I wouldn't want to come off with the attitude that the tunes I select to play are so significant that they ought to be posted regularly. My show is not the kind of thing that covers the *historical* side of blues music and I don't pretend to be the most knowlegable guy around. I am not a musician, so I can't validate my opinions that way, either. I just play the stuff I think is great blues, IMHO. :>) Having had the opportunity to dig around for eight hours a week over the last three years and play whatever I wanted from a pretty good collection of blues albums and CDs, I feel *very* fortunate. There are a number of artists I feel aren't getting the kind of recognition they deserve. They include Chris Cain, Lucky Peterson, Smokin Joe Kubek, Ronnie Earl & the Broadcasters, Zora Young, Big Time Sarah, Doug MacLeod, and Tab Benoit... to name just a few. Last weekend I did artist features on Luther "Guitar Jr." Johnson and Robert Cray. If anyone would like me to post more information on what I play, what I like (or don't like) or anything else about my show, send me some email and let me know. Otherwise I'll not be a pest and just keep on lurking (unless I have something *significant* to say). Wagman >Peter > >Is this the same "Nothing But the Blues" show hosted by Gary "The Wagman" >Wagner on KLON out of the Los Angeles area? I happened to miss it on Aug. 4th >(the date of your playlist) but it sounds a lot like what Gary would play. >I'm a newbie on the list and don't know if you post this on a regular basis. >It would sure beat all of the post-its and scraps of paper I jot things down >onto if it's the same show. :-D (If you don't post it on a regular basis and >if it is for Gary's show, could you let me know where you got the playlist? >Thanks!) > >Lynn ========================================================================= Date: Mon, 7 Aug 1995 17:07:09 -0800 From: Don Cicchetti Subject: Promotion Hi Everybody! I have a question, I would love to get all your answers on. How would YOU like to see a blues or blues-based act promoted? Let's say you found a really good band with great original material, and you wanted to see them succeed, (make a good living, sell lots of records, have the freedom/clout to make more good records in the future, etc) yet you know they shouldn't be "packaged" as something they are not for mainstream acceptance, yet you didn't want to limit them to the "blues ghetto" that so many labels and magazines assign this music to. You for SURE don't want any more of this tacky "the next Stevie Ray" Guitar-Player type ads: You know, that ----THE MANTLE DESCENDS--- sort of bollocks, yet you need to convey the passion and strong roots of the music. What television should they do? (shows, ads) Which magazines? Which radio programs? Should you concentrate ads on visuals of the band, or on things the tunes are about, or something else? Should they play small clubs, or larger venues. (take your fan hat off and think of the band's interests for a minute) What should they do about videos/MTV/VH-1 What type of ad, or other promotion would make YOU say "Hey, I should get this disc!" What kind would turn you off, and make the band look cheesy? Do you think corporate tour sponsorship is appropriate? What have I forgotten?? thanks Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 7 Aug 1995 18:08:06 -0600 From: "Paul R. Leach" Subject: Re: covered songs >I know around here in Monterey I've heard Stormy Monday till I'm blue in >the face. I don't mind at all blues bands doing covers but I wish some >would be more imaginative in finding different songs. A couple weeks ago Coco Montoya greeted a request for Stormy Monday with a chuckle and "we try not to do that one anymore." Trying not to embarrass the person who made the request he added "we'll try to do it later." Of course he didnt. That was just ONE of the reasons it was a fine show. -- Paul { * }====# ========================================================================= Date: Mon, 7 Aug 1995 19:29:23 -0500 From: Mike Heidenberg Subject: Re: Peter Green (LONG REPLY...) >The talk of Gary Moore's tribute to Peter Green gets me to wondering - >what CD's >might I get to hear some of _Peter's_ best stuff. (I already have Fleetwood Mac >in Chicage 1969). >Thanxs > Red > >PS Thanxs to all those who replied to my question re: L** Z**. Well, seeing as how I _just_ finished writing a private e-mail msg to someone else answering this very question, I guess I'll take a stab at it :-) PG's work with John Mayall really _is_ essential, even though it's often overlooked. A Hard Road is the album on which he's most prominently featured. He plays very much in the Clapton mode on this album (he did replace EC in the Bluesbreakers, after all, and he's _still_ his favorite guitarist), but even here he plays quite a bit of stuff that EC never would have thought of doing...and his vocals are better than EC's were on the Beano album (by a _considerable_ margin). His track with JM on Raw Blues is very good, but I don't know if you'd want to buy an album just for one PG track. There's some quite good work by PG on the compilation album Looking Back, but far more essential is his work on its sister release, Thru the Years. There are about half a dozen tracks on this latter relase that show PG leading the Bluesbreakers, with John in a support role (when JM is present at all). These are probably the tracks that most directly led to the formation of Fleetwood Mac..... Other than that, the first FM studio albums really are very good (if you can put up with endless Elmore James covers by Jeremy Spencer- he _was_ good at what he did, but unfortunately he didn't do very much). I have The Blues Years box set, which is probably the easiest way to get the best stuff from those albums (as well as some stuff from FM with Eddie Boyd and some other things). FM recorded two albums with Eddie Boyd and one with Otis Spann. Of the two Eddie albums, I think only 7936 South Rhodes is available on CD. I actually _don't_ have this one, but have heard some tracks from it, and it is quite good. Also good (but probably not essential) is an Eddie Boyd album with PG from when PG was still in the Bluesbreakers. PG doesn't play much on this latter release, but what he does play is very tasteful and very much in the Chicago blues style- if you didn't know he was British, you'd probably never guess. The Otis Spann release, Biggest Thing Since Colossus is _absolutely_ essential!!! To hear PG with Otis Spann is a true joy- you get a _sample_ of that on the In Chicago album, but their chemistry really "gels" on BTSC. Not all of the _tunes_ are great, but they (and second guitarist Danny Kirwan, who actually folled me into thinking his playing _was_ PG's on a couple tracks- no small feat) are playing so well that it almost doesn't matter... Then there are the live releases. Most widely available is the Boston Tea Party concert. This was an officially recorded full concert that, for whatever reason, wasn't released until the mid-80's. The whole show is over two hours long, and is a mixture of blues, R&B, and rock. Some of it's incredible, and some it's just plain weird, but it's always entertaining. For some reason, the rights to this album were sold to several different companies. Each company put out only the tracks it wanted to put out, which means that you'll probably have to buy at least three different albums to reassemble the full show. _The_ most essential one, from a blues perspective at least, is any one that has the song Jumping at Shadows. Sheer brilliance from PG on this one..... There are a couple of other legit or at least semi-legit live releases worth looking for. First is Peter Green's Fleetwood Mac Live at the Marquee. This is a CD made from tapes that Bob Brunning, then the bassist for FM, made of the band at their second gig. PG is on fire here, and even Jeremy Spencer does very spirited versions of his tunes. Then there's London Live '68. This is an audience recording, but a very good one on which PG plays great versions of several BB King tunes and Buddy Guy's Don't Know Which Way to Go. The Original Fleetwood Mac Live In Concert is also worth looking for. It's from the Fillmore West in 1970. There's rock mixed in with blues here, but there are really outstanding versions of Like It This Way, Stop Messin' Round, and _especially_ BB King's Got a Good Mind to Give Up Living (this last being one of the BEST things PG ever did, IMHO). What else? Oh yes, there's Roughage '69, which until recently I had thought was a bootleg. Turns out it may be at least semi-legit, as it's actually mentioned in a British guitar magazine as being "essential." Anyway, the main reason to get this is for PG's version of Howlin' Wolf's Sugar Mama. It's truly phenomenal- starts out PG playing unaccompanied minor blues licks that will probably make you cry. I think they actually _did_ make PG cry, as he stops in the middle, and continues only when someone in the audience shouts out, "carry on, Peter." He says he will carry on, and then positively BURNS into Sugar Mama..... Those are _most_ of the essential things. There are some others, but they're probably bootlegs, and the likelihood of actually being able to find them is probably pretty low....hope this helps.... -Mike ========================================================================= Date: Mon, 7 Aug 1995 20:36:50 EDT From: Jim Foltz Subject: Q: Size of blues market I was just curios, how large, in terms of numbers of people, is the market for blues recordings? In the US or worldwide? -- ------------------------------------------------------------------------------ James N. Foltz aa204@freenet.akron.oh.us ========================================================================= Date: Mon, 7 Aug 1995 21:09:40 -0400 From: Greg Hermanns Subject: Re: Tipatina's For Sale Just caught up on my blues-l digests..... Tipatina's on the auction block??? I lived in New Orleans 8 years ago ...for 10 years. Great Place (I'm sure this is new to everyone ;-) ) for all kinds of music. Took my brother-in-law to see The Fess (Professor Longhair) at 'Tipatina's only months before he died!! Very intimate little place with lots and lots of character!! The wife and I go back almost every year (from Cincinnati) for 'Jazz Fest' and try to hit some of our old hangouts. I'd definitely put up some 'do-re-me' or buy stock or........ ah....dreams..... Greg Hermanns gregfh@tso.cin.ix.net ========================================================================= Date: Mon, 7 Aug 1995 16:58:15 -0700 From: "Gary \"The Wagman\" Wagner" Subject: Nothin' But the Blues I just thought of something else I've wanted to say to 'zellers who are musicians: I would be happy to audition any music you have recorded and consider playing it on my show. It would be heard by over 60,000 blues fans in L.A. and elsewhere across N. America via satellite. Unfortuately I cannot play cassette tapes on the air, so it has to be either CD or DAT format (or vinyl, if in good condition). If you want to send me a promo copy of your material, my snail mail address is: Gary "The Wagman" Wagner KLON-FM 88.1 1288 Bellflower Blvd. Long Beach, CA 90815 I love to give airtime to unknown but deserving blues artists!! Wagman ========================================================================= Date: Tue, 8 Aug 1995 11:21:56 +0930 From: sue freeman Subject: Hawaii Visit Thanks all for your responses. Can't find any info on blues society in Hawaii. One last request for help on this one. Cheers Sue ========================================================================= Date: Mon, 7 Aug 1995 22:16:07 -0400 From: "Terry L. Odor" Subject: Re: Re[2]: songs most commonly "covered" live In a message dated 95-08-07 17:13:43 EDT, you write: >If it's blues we're talking about it would HAVE to be "Sweet Home Chicago" The one I hear most often is "Down Home Blues" Terry ========================================================================= Date: Mon, 7 Aug 1995 22:17:29 -0500 From: Patti Bowman Subject: Re: Promotion Don- Are we to believe that money is no object in this situation? or does reality play at least a small part? In other words what are the limits? Been There- Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Mon, 7 Aug 1995 22:21:48 -0500 From: Patti Bowman Subject: Re: Q: Size of blues market > I was just curios, how large, in terms of numbers of people, is >the market for blues recordings? In the US or worldwide? > James N. Foltz aa204@freenet.akron.oh.us I don't know if it's any help but The 1994 Broadcasting & Cable Yearbook only lists 38 blues stations in the US and Canada. -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Mon, 7 Aug 1995 22:29:21 -0500 From: Patti Bowman Subject: Re: Nothin' But the Blues >I just thought of something else I've wanted to say to 'zellers who are >musicians: I would be happy to audition any music you have recorded and >consider playing it on my show. It would be heard by over 60,000 blues >fans in L.A. and elsewhere across N. America via satellite. Unfortuately I >cannot play cassette tapes on the air, so it has to be either CD or DAT >format (or vinyl, if in good condition). If you want to send me a promo >copy of your material, my snail mail address is: > >Gary "The Wagman" Wagner This is the sort of thing that I am trying to set up at my InDeepEndAnts site. Often if you can get a CD in the hands of a willing DJ/programmer, the release will get airplay. Unfortunately without an "in", you can't necessarily get anyone at the station to acknowledge receipt of the CD let alone listen to it & play it. And just because you have airplay, doesn't mean you can sell CD's if no one can find them in the stores. I hate to sound so negative but I don't think that people realize how hard this business is. In other words if Gary is makin' the offer, take him up on it. You need all the friends in this biz that you can get. -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Mon, 7 Aug 1995 22:37:23 -0500 From: Patti Bowman Subject: Re: Hawaii Visit >Thanks all for your responses. Can't find any info on blues society in >Hawaii. One last request for help on this one. >Cheers >Sue Try 808/329-5825. That's the last # that I have for the Hawaiian Blues Society #75-5680 Kuakini Hwy, Suite 308,Kailua-Kona, HI 96740 The last contact name I have is Louis Wolfenson or Bob Gardner Good Luck -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Mon, 7 Aug 1995 23:20:15 -0400 From: Jacquelin Katz Subject: Re: Tracy Nelson - I Feel So Good Is this the Tracy Nelson I used to hear in the '70's who started out in ...was it "mother Earth"?? Something like that... Jackie Katz jkatz@mcls.rochester.lib.ny.us On Mon, 7 Aug 1995 tdevit3@IBM.NET wrote: > GREAT disk...try it! > ========================================================================= Date: Mon, 7 Aug 1995 23:27:01 -0400 From: Tom Grady Subject: R&B/Soul I missed this thread earlier. Hope nobody minds if I pick it up again. Most people probably know that the term "rhythm and blues" was coined by Jerry Wexler (who went on to become a great producer for Atlantic) when he wrote for Billboard in the late '40s. The term replaced "race records," which in term replaced the "Harlem Hit Parade" for that magazine. Although I tend to think of R&B as blues-inspired (and frequently horn-augmented) black music of the '50s and '60s, Billboard still uses the term to describe any black music that hasn't crossed over into the so-called mainstream. I tend to think of soul music as primarily gospel-inspired black music of roughly the same period--highly vocal, often featuring call-and-response techniques (even if the response is instrumental, not choral), highly emotional, dominated by great singers. Anyway, these are the rough (and muddy) distinctions that bounce around in my head. ========================================================================= Date: Mon, 7 Aug 1995 23:43:19 -0400 From: Garry Segal Subject: Re: Promotion Hey Don, When you get those answers compiled........ :--} Garry and those darn Moodswingers Bandpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 7 Aug 1995 22:48:45 -0600 From: Don O Subject: Joey Gilmore Anybody out there know anything about Joey Gilmore? We just got his latest album "Just call me Joey" on the Wilbe label (distributed by Ichiban) and it is very impressive. I only know of one other, "Can't Kill Nothin", on the same label. The first one was interesting, several good original tunes, but mostly pretty standard covers. The new one has mostly originals (mainly written by producer William Bell) and is a standout. If you like Little Milton but always wanted him to play more guitar, then this is for you. There's a couple of tough instrumentals, one called "Smidget" which is kind of a rollicking guitar thing where every once in awhile they'll yell out "SMIDGET". Crazy. There's also a mean slow instrumental blues, kind of jazzy, where the only lyrics (and the title) are "They put the last clean dress on my baby last night." Now that's the blues! Any info appreciated. Don O. ========================================================================= Date: Mon, 7 Aug 1995 22:48:49 -0600 From: Don O Subject: Lee McBee Well I finally got ahold of Lee McBee's new CD on Red Hot Records titled "Lee McBee and the Passions". If you are familiar with Lee's work with Mike Morgan and the Crawl then you pretty much know what you're in for. The difference is this album is consistently better than any of the Crawl albums. Plenty of good harp and growling vocals from Lee, lots of mean guitar work from Kid Ramos and Anson Funderburgh. Only one original tune, but Lee is so good at digging up obscure covers that I had to look at the credits to be sure on most of them. Where does he find songs like "Get Your Mind Out of the Gutter"? Good stuff, but I expected no less from Lee. Don O. not associated, just a fan ========================================================================= Date: Mon, 7 Aug 1995 23:58:28 -0500 From: Dave Daubard Subject: Re: Blues Youth The 10 year old harmonica prodigy at the KC fest name is Brody Buster. The kid can play. Lee Oskar joined him onstage. Playing with virtuoso's should keep the kid humble. I would like for his voice to change some before he sings more than a song or two. I just heard a recording of Kid Johnny Lang. I really like it and I think my listener's will too I don't mind hearing them talk about their baby left them 'cause my 1st gal left me for someone else when I was 12. I certainly had the blues. ========================================================================= Date: Tue, 8 Aug 1995 01:01:05 -0500 From: Patti Bowman Subject: Re: commonly "covered" live >In a message dated 95-08-07 17:13:43 EDT, you write: > >>If it's blues we're talking about it would HAVE to be "Sweet Home Chicago" > >The one I hear most often is "Down Home Blues" > >Terry Did I already miss my chance to say Mustang Sally? Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 8 Aug 1995 15:55:00 PDT From: Grant Hearps Subject: Howard Tate - Get It While You Can I got this as soon as I could, after many recommendations from the list. It is fantastic, I have played it every day since it arrived. Most of the CDs I now buy have been purchased due to endorsements from this list. I have got some great albums from artists whom I had previously never heard of, thanks. My next purchase will include: O.V. Wright - The Soul of O.V. Wright Don Covay - the Razor & Tie album Tutu Jones - I'm For Real Magic Sam - Black Magic Otis Rush - Cold Day in Hell and hopefully some more wonderful soul along the lines of Howard Tate. Can somebody out there help me please with some recommendations. Could you send them to me privately please as I have had to set to nomail until I catch up on my work backlog. Thanks to everyone for sharing your knowledge and enthusiasim for the best music in the world. My children and I will be eternally grateful to you, (we love the blues, my wife doesn't). Grant Hearps. granth@dirvet.tas.gov.au ========================================================================= Date: Tue, 8 Aug 1995 02:05:39 -0400 From: Fred Sokolow Subject: Re: "The History Of The Blues" I came across Francis Davis' book on the blues (The History Of The Blues) by accident & have been reading it. I like it, much of the ground he covers has already been written about a lot, but he does raise some interesting issues and has some fresh approaches to things. He's a fan of the blues but has a journalist's skepticism too, which keeps him from being a wide eyed fan. Some good stuff...Fred Sokolow ========================================================================= Date: Mon, 7 Aug 1995 23:04:39 -0700 From: Linda Eskin Subject: Fingernail hints Hi all. Apparently I'm blessed with fairly sturdy nails, too (I even use 'em for flatpicking and Carter-style playing). Here are some handy tips: I use Vasoline "Hand and Nails" lotion (when I'm not playing guitar), especially before bed. It helps keep the skin from getting dry, nails from cracking, etc. And as a friend of mine says "It doesn't smell like a girl." I find it at drug stores right next to the "Intensive Care" - it's in a pink bottle. I keep my nails trimmed (really short on the left, of course). I find if I let them get much longer than the tip of my finger (on the right hand) they start to chip and break. I immediately trim (with nail clippers) any torn edges or cracks *or* hangnails *or* flaking calouses. Never, ever, ever pick, bite, or tear at anything, or you're asking for trouble. Go to the drug store an buy about 10 nail clippers (around a buck or so each). One for the nightstand, one for the guitar case, one for your desk at the office, one for your car, one for the kitchen... you get the idea. I do "dangerous" things with my left hand, like picking up large books, opening tupperware, screwing my sunglasses back together... With regards to hangnails, on occassions where I've had to do a lot of filing (the office kind), I've had trouble with hangnails. DO NOT TEAR at them! Trim them. I've found it useful to use 3M Scotch tape (the matte-finish clear kind you find everywhere) on the back of each finger. Kind of forming a smooth transition from nail to finger. It's smooth and unobtrusive, and it comes off when you want it to. I've heard all kinds of other things, like eating geletin helps, and that nails are a great reflection of your nutritional habits, but I haven't really worked with these ideas much. I think I just inherited my nails from my Grandma. Happy (hangnail-free) Picking :-) Linda -- | Linda S. Eskin | Guitar - Cats - Fishes - Vegie - Beer | | La Mesa, California | AutoCAD - LISP - DCL - GUI - Tech Pubs | | | Photography - Flying - Woodworking - ... | | lseskin@ix.netcom.com | "If you want it... make it happen!" | ========================================================================= Date: Tue, 8 Aug 1995 05:45:59 EDT From: Joseph Leichter Subject: Re: Blues Youth Yeah. Must do a *real* convincing version of "Five Long Years".So tell me -why do 10 year olds get on Leno and not Cotton? ========================================================================= Date: Tue, 8 Aug 1995 02:32:00 -0600 From: Don Ottensman Subject: TX blues BBQ JVC Jazz Festival Presents the Texas Blues and Soul Barbecue Starplex, Dallas, Texas Sunday, August 6, 1995 This was the second consecutive year that the JVC Jazz Festival has sponsored a big blues party in Dallas. Judging from the results, it may be the last. Nothing to do with the music, mind you. The music was great, it was the crowd that was lacking. My guestimate is 4-5,000 in a venue that will hold 20,000. JVC did it up right, booking 18 bands for three stages, but for some reason the folks just didn't come out. Ticket prices ranged from $20 for the lawn seats to $45 up front. Temperature was in the mid 90's and it was sunny and hot. Doors opened at 2 pm and the show went on until 10:45 pm. The start times on the two side stages were staggered (sort of) with the main stage, but most of the time all three were going at once. That created the dilemma of who to see and who to skip. I decided I wanted to see it all, so I split my time between the three. That meant I usually got to see only 3 or 4 songs on each stage, but I enjoyed the variety and the quality performances on all three stages. Many of the side stage acts could easily have been main stage acts. I'm not going to bore you with five paragraph reviews of each performer but I will touch on a few highlights. Remember this is all IMO and your mileage might have varied. I did see Blues L-er Ted Gurley lurking in the crowd, so maybe he will elaborate more on some of the acts that sent me running. Maybe he ran, too. Richard Chalk was also there and can probably add some comments as well. Henry Qualls Henry was Henry. Plenty of kidding around, some nice lap steel on "Will the Circle be Unbroken". He was backed by Hash Brown on guitar, a stand up bass, and Marc Wilson on drums. As usual he stayed seated for the show and just had a good old time. He was playing Hash Brown's strat and someone asked him "Where's that old guitar?" He replied that he had pawned it! Now this is the same guy that tells people he raises owls like chickens and has wolves for guard dogs. As of today, even Chuck Nevitt isn't sure if it's another one of Henry's stories or if "Maybelline" is really in the pawnshop. Pat Boyack and the Prowlers A good, jumping, swing blues band with vocalist Jimmy Morello doing a tribute to Big Joe Turner and Pat Boyack playing some mean guitar. Jimmy went through two water bottles in the short time I was there. They will be back in the studio for Bullseye on September 11-15. Chris Duarte Too loud, too fast, and too souless for my tastes. Didn't stay long. Keri Leigh and the Blue Devils Mark Lyon (Keri's husband/guitar player) put on a blistering display of slide guitar before bringing Keri up to sing "Voodoo Woman". Keri put on her usual extra effort show. Watching that girl perform always makes me tired. There was a big group of her fans hanging out at the stage and she hung around to talk to everyone afterwards. Big Al Dupree Al took the stage with the same band that had backed Henry. He started out on piano, but after awhile moved over to play sax. He has a rich, deep, voice with a tone that reminds me a lot of the late Zuzu Bollin. Big Al will be the next release by Dallas Blues Society Records (Zuzu Bollin/Henry Qualls). Doyle Bramhall Doyle has recently re-vamped his band in preparation for going back in the studio this November. He is now backed by Zonder Kennedy on guitar, Jim Milan on bass, and Riley Osborn on keyboards. He did his usual mixed set with some tunes from his "Birdnest" album on Antone's Records as well as several of the tunes he wrote for/or with SRV. A definite crowd favorite and a very enjoyable set. Robert Ealey Good old Robert! I really enjoyed his set. He did a bunch of new tunes that he has just cut for an album he plans to self-release this September. Blues-L'er and Topcat Records ho ncho Richard Chalk was up there on second guitar with Robert's usual guitarist, Tone Sommer, on lead. As always, Robert was changing the lyrics as he went along. You never see the same show twice with Robert Ealey, you may hear the same lines, just in different songs! They had another gig that same evening in Fort Worth and still wound up at the jam at J&J Blues Bar where he sang til 2 am. Another crowd pleaser. Look for him in Europe next week. Betty Lewis Betty is best known around DFW for her gospel singing, but here she was concentrating on soul and blues. Sounded great and has me wondering why she doesn't have a record deal. Jeff Healy Band More loud, fast, guitar and some screaming slide. A very talented guitar player but not someone I wanted to stay and listen to. I didn't. Mason Ruffner One song and I was outta there. Larry McCray Alright! Now this was THE STUFF! I have heard all of Larry's albums but none of them has done a thing for me. Why don't his recordings sound like he does live? Because of his albums I had always found something more interesting to hear whenever he has been in town. No longer. Now I know why so many people are excited about Larry McCray and I'm excited, too. My eyebrows immediately raised when I noticed Noel Neal on bass. I first saw Noel when he was playing with James Cotton several years ago. He is one of the few bass players that would get me to a gig just to hear *him* play. My favorite bass player on the planet and yet another of the incredible sons of Raeful Neal. As I walked up, Larry was trading a Flying V for a strat and he proceeded to rip right into it. He did several originals, a long Albert King style instrumental, and played some of the best blues guitar I heard all day. Great soulful voice, too. I only got to hear about 15 minutes of his set but was blown away. Local trombone player Tony High joined the band ons tage at the end of the set. Irma Thomas The soul queen herself backed by 6 pieces, including two sax players. The band was dressed all in white and Irma came out in a bright gold shiny dress grinning from ear to ear. "Time Is On My Side", "You Can Have My Husband", a great mix of soul and blues tunes. It was tough to leave. Popa Chubby (replacing Rocky Hill) He was just getting started as I came up and the song was totally unrecognizable until he started singing the lyrics. It was a song made famous by Freddie King, "Palace of the King". There is something about this guy that is interesting. He definitely has his own take on things. I stuck around for two songs then made the trek to the other side. Sue Foley Another real crowd pleaser. This was the final stop on her current tour and she was headed back to Austin after the gig. She sang several tunes off her latest Antone's CD but the highlight for me were the instrumentals. On one of them she went over and sat on the edge of the low stage and played most of the song almost in the crowd. She also did a rocking John Lee Hooker style instrumental that had the crowd rocking back and forth. Great set. Delbert McClinton Delbert opened with "Little Bit" and stuck with old standards of that ilk until I ambled along to see Omar. I also heard some harp coming through the doors later on what I assume was "B Movie Boxcar Blues". Bugs Henderson was hanging out onstage and I heard he later joined the jam. For those of you that are concerned about his health, Bugs seems to be playing regularly around here again. Omar & the Howlers Another BIG crowd favorite. Omar had the crowd in his back pocket from the first note with his mix of blues/rock/shuffle/swamp stuff. This was just Omar playing a cool looking lime green strat and backed by bass and drums. What more does he need? It wasn't all blues but it was all good. "Hoodoo Man", "Rattlesnake Shake", "Hoodoo Ball", a mix of his more recent stuff and some classics. What a great voice. As Dallas writer Tim Schuller commented to me, "He sure has a MAN's voice." Sunset Heights The only band I missed all day. Disparaging remarks by several folks who were over there and Omar's great set kept me in place. Robert Cray The only act of the whole show with no competition and the longest set of any performer. It was a real pleasure to just sit back and hear an hour and 40 minute set without running around. Cray is touring with just his band, Jim Pugh on keyboards, Kevin Hayes on drums, and Carl Severeid on bass. That's it. No special guests, no horn section. His show was heavy on material from his latest album, "Some Rainy Morning", which was recorded with the same band. He kicked things off with the title track and mixed in 6 other tunes from the album during the set. Of course he mixed in some of his older material, as well, including "I Shiver", "I Was Warned", and "Strong Persuader". After the latter he commented that there sure were some big mosquitos onstage and "There's nothing like getting bit on the neck while you're doing a solo. I hope you have your Off (insect repellant) out there!" Cray's vocals were a soulful as ever and there was LOTS of great, stinging guitar. Without that horn section or a second guitarist, he has to play a lot more. I sure like that a lot. The encore, "Our Last Time", had folks dancing in the aisles and there was a nice piano solo from Jim Pugh. All in all a perfect end to a great day of music. Too bad there weren't more folks there to hear it. After the show I went over to Hash Brown's blues jam at Schooners and stayed til closing. Is 12 hours of blues enough? Heck no! Don O. still at don.o@chrysalis.org just visiting the lunatics ---- The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet ========================================================================= Date: Tue, 8 Aug 1995 13:25:02 +0400 From: "Henrik R. Lassen" Subject: Songs most commonly covered live - Sweet Home Chicago - Caldonia - Crossroads (as done 'originally' by Cream) - Cocaine (as done 'originally' by Clapton) - Before You Accuse Me (-----//-----) - Some other song from the Clapton catalogue. - Stormy Monday (as done 'originally' by Allman Bros) - Black Magic Woman - Any one of the most popular SRV songs - as well as his style ad nauseam. - Red House - I'm Walking (as done 'originally' by Gary Moore) - Got My Mojo Working - The Thrill is Gone - Boom Boom (Out Go the Lights) - At least one Chuck Berry song per set... ======== Henrik Lassen ======== (passionate lurker) ==== Odense, Denmark ==== ========================================================================= Date: Tue, 8 Aug 1995 11:19:57 +0000 From: Pat Hertel Subject: Peter Green Apparently due for release in late August: Rattlesnake Guitar: The Music Of Peter Green Don't have any other info as to label etc. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [8/8/95 7:16 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 8 Aug 1995 08:03:25 -0400 From: Jeff Frankle Subject: Paul (Wine) Jones & Gary Moore I'm desparately trying to locate a recording of Paul Jones called Mule and one by Gary Moore called "A Called Day In Hell". I think it's on Virgin. Any input as to where I could pick them up? Jeff Frankle ========================================================================= Date: Tue, 8 Aug 1995 08:05:45 -0400 From: "Abe W. Mathews" Subject: Re: Most covered songs OK, all of them aren't blues, but here are some of the tunes that I've seen done (or been a part of doing) ten too many times. Course, this is all in northern MI, and we don't get much new music here. Musicland's "Blues" section has maybe 30 discs, mostly Robert Cray, Buddy Guy, and B.B. King. Note that I still enjoy most of these songs, and still (largely due to demand for them) have to include many of them in my live sets. I just get a little tired of every band I hear doing them. Here they are: Thrill is Gone - B.B. King Pride 'n Joy - SRV (The accoustic version) Black Magic Woman - Santana (or was it Green? I don't remember.) Suzie Q. - C.C.R. (?) The Reek of the Edmund Fitzgerald (I hate this one!!!!!) - Gordon Lightfoot Bad to the Bone - George Thorogood Anything by L** Z** Sunshine of Your Love - Cream and the queen mother of bad covers- WIPEOUT!!!!!!!!!!!!!!! Which doesn't stop me from making my drummer do it anyway :) Abe awmathew@mtu.edu ========================================================================= Date: Tue, 8 Aug 1995 08:07:36 -0400 From: Leo Aspiras Subject: Re: Re[2]: songs most commonly "covered" live In D.C., two that come to mind are "I'm Ready" and "Messing With The Kid". Leo 'The Scatman' Aspiras ---------------------- Replied Message Body ---------------------- >Received: from mbone.brown.edu by falcon.dol-esa.gov (5.65/1.35) > id AA22865; Mon, 7 Aug 95 17:41:19 -0400 >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu [128.148.176.55]) by listserv.brown.edu (8.6.10/8.6.10) with SMTP id RAA13525; Mon, 7 Aug 1995 17:08:01 -0400 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERV release 1.8b) > with NJE id 3081 for BLUES-L@BROWNVM.BROWN.EDU; Mon, 7 Aug 1995 > 17:06:00 -0400 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) by BROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 5852; Mon, 7 Aug 1995 17:06:00 -0400 >Received: from unixsrv1.lsumc.edu by BROWNVM.brown.edu (IBM VM SMTP V2R2) with > TCP; Mon, 07 Aug 95 17:05:56 EDT >Received: from MAIL-SH.LSUMC.EDU by unixsrv1.lsumc.edu with SMTP (5.65/25-eef) > id AA07064; Mon, 7 Aug 95 16:05:39 -0500 >Received: from ccMail by mail-sh.lsumc.edu (SMTPLINK V2.10.05) id AA807836373; > Mon, 07 Aug 95 16:03:17 cst >Message-Id: <9507078078.AA807836373@mail-sh.lsumc.edu> >Date: Mon, 7 Aug 1995 16:03:17 CST >Reply-To: JBards >Sender: Blues Music List >From: JBards >Subject: Re[2]: songs most commonly "covered" live >Comments: To: Michael Hewitt >To: Multiple recipients of list BLUES-L ------------------------------------------------------------------ If it's blues we're talking about it would HAVE to be "Sweet Home Chicago". (Otherwise, it's "Inna Gadda Da Vida"..... =). Jim ______________________________________________________________________________ _ Subject: Re: songs most commonly "covered" live From: Michael Hewitt at INTERNET-SH Date: 8/7/95 3:39 PM At 11:34 AM 8/7/95, Marion Brown wrote: >IMHO, the most common tune covered live in Memphis is "Dock on the Bay" - >figures....... > >-- >[%- Oh come now... you mean to tell me the most covered song isn't Johnny B. Goode? Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Tue, 8 Aug 1995 07:59:09 GMT From: Susie Q Subject: Delta blues Could someone post a list of reissues for these Delta/Country blues artists: Blind Lemon Jefferson Papa Charlie Jaskson Charley Patton Mississippi John Hurt Furry Lewis Son House Missisippi Shieks (Bo Carter, Sam Chatmon) Willie Brown Tommy Johnson Ishman Bracey Mississippi Fred McDowell Bukka White And Skip James. ========================================================================= Date: Tue, 8 Aug 1995 06:19:34 MDT From: Tom Havey Subject: Re: Drinkin Again Who sang "Drinkin' Again" "...tell everybody, I'm drinkin' again" "...hey baby, I'm drinkin' again" T.Havey Boise ID ========================================================================= Date: Tue, 8 Aug 1995 07:55:14 -0500 From: Jeff Seale Subject: Re: Q:] R&B vs. Soul? Soul is what you sing when you tryin to get the woman (or man) R&B is what you sing after you got the woman (or man) and the Blues is what you sing after the woman (or man) done left ya! -Jeff (I think I remembered that right) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Tue, 8 Aug 1995 08:53:06 -0400 From: Steve Levine Subject: Re: songs most commonly "covered" live +>What covers are YOU hearing? Stormy Monday, Mustang Sally, Sweet Home Chicago (already mentioned, I know) Red House, Help Me ========================================================================= Date: Tue, 8 Aug 1995 08:56:19 -0500 From: Richard Flohil Subject: Re: Tracy Nelson - I Feel So Good Yes, Jackie, it IS the same Tracy Nelson who fronted Mother Earth, and who did a marvellous album for Atlantic which featured a song with Willie Nelson and Linda Ronstadt called Let's Sweep Out the Ahes in the Morning, which was a near-hit (well, it mde the back end of the Billboard charts!). Not blues, mind you, but quite terrific. Her very first album, way back, was on Prestige and had a quite high blues quotient. it's tough to find-if you need a tape, private E-mail and it's yours-after I come back from the Edmonton Folk Festival next weekend with Ry Cooder, Ali Farke Tour=E9, Rosco= e Gordon (Yay!), Amos Garrett, Staple Singers, Junior Wells and, as they say, more... Regards, Richard ========================================================================= Date: Tue, 8 Aug 1995 07:58:36 CDT From: L W Subject: Lee McBee ----------------------------Original message---------------------------- Well I finally got ahold of Lee McBee's new CD on Red Hot Records titled "Lee McBee and the Passions". If you are familiar with Lee's work with Mike Morgan and the Crawl then you pretty much know what you're in for. The difference is ____________________ IMHO Lee McBee was to the Crawl what B'Nois is to Smokin' Joe...As in Mike M or Joe could be replaced , but Mcbee ad B'Nois were/are the backbone of the band LW ========================================================================= Date: Tue, 8 Aug 1995 08:02:49 CDT From: L W Subject: Re: Blues Youth ----------------------------Original message---------------------------- Yeah. Must do a *real* convincing version of "Five Long Years".So tell me -why do 10 year olds get on Leno and not Cotton? ________________ The same reason Nacny Sinatra has been on HO? and James Cotton hasn't. Neither show gives a shit about blues, they want the $$$$$ and anything else is secondary LW ========================================================================= Date: Tue, 8 Aug 1995 08:07:10 CDT From: L W Subject: Covers The covers I HATE and seem to hear alot are: Hideway Sweet Home Chicago Stormy Monday Got My Mojo Working LW ========================================================================= Date: Tue, 8 Aug 1995 09:14:08 -0400 From: Steve Levine Subject: Re: Blues Youth +The 10 year old harmonica prodigy at the KC fest name is Brody Buster. The +kid can play. Lee Oskar joined him onstage. Playing with virtuoso's should +keep the kid humble. I would like for his voice to change some before he +sings more than a song or two. Recently I was channel surfing and I saw Buster Brody on VH1. His harp playing was pretty impressive for a ten year old (I didn't hear him sing). At the end of the segment the idiot VH1 guy said something like, "If he keeps it up maybe someday he'll be up there with John Popper and tv pan pipe guru Zamfir," which really annoyed me - that shows what the public awareness/perception of blues harp is these days. ========================================================================= Date: Tue, 8 Aug 1995 08:20:30 CST From: William Shute Subject: Billy Vera & Judy Clay CD From: Bill Shute BILLY VERA AND JUDY CLAY "Feautring Storybook Children and Greatest Love" Ichiban Soul Classics SCL 2101-2 (CD--also available on cassette) VERA/CLAY Storybook Children Country Girl-City Man We're In Love Let It Be Me When Do We Go Bring It On Home To Me Do Right Woman-Do Right Man Ever Since So Good (To Be Together) (above songs rec. l967) Reaching For The Moon Tell It Like It Is (rec. l969) JUDY CLAY You Can't Run Away From Your Heart It Takes A Lotta Good Love (recorded in Memphis for Stax, pr. Hayes/Porter, l967) The Love Of My Man*** I Got To Love Somebody's Baby*** Sister Pitiful Get Together Savin All For You Greatest Love (recorded for Atlantic l969-70) ***tracks are prev. unreleased Ichiban's wonderful Soul Classics series continues with three new releases: Mary Wells' Atco sides (which I'll get to soon on blues-l),Cissy Houston sides for Janus (which I have on order), and this essential collection of the complete Billy Vera/Judy Clay duets, plus Judy's complete recordings as a solo for Stax (the Stax sides predate her working with Vera as a duo) and later for Atlantic. I can still remember hearing "Storybook Children" on the radio as a child (age 8!), and thinking it was a great tune. Now hearing it after almost three decades, I realize that it's a lot more. The story of how the song even got recorded and how Vera got teamed up with Judy Clay is too complex to go into here--Vera explains it well in David Nathan's fine liner notes. I also don't want to make too much of an issue about the interracial aspect of the duo, which undoubtedly was responsible for some of the attention the duo received. At this time, most of Billy Vera's success had come as a songwriter ("Don't Look Back" is to me a rocknroll classic!) and that's how he pitched the song to Jerry Wexler, who--in his patented mogul fashion--is rumored to have banged his fist on the table and bellowed "that's a f####ng smash!" While the second verse makes quite clear that the song is "about" a couple where the woman is married to someone else, like all great songs it works on many levels and many chose to interpret it along interracial lines. Myself, I find the song incredibly heartbreaking not for that reason, but because it captures beautifully how LIFE and responsibilities can make what we desire most simply impossible. >From the understated guitar that opens the song to the subtle UNDER- production to the honest, longing voice of Vera to the heartfelt Gospel-tinged pleading of Clay to the beautiful melding of their voices togetheron the choruses...this is TO ME one of those once-in-a-career records that is perfect from beginning to end. Whether you want to call it soul or pop-soul, it's one of those little musical melodramas that seem to work so well in the soul and country idioms (thank God Barbara Mandrell never covered it with Lee Greenwood or someone like that!). But there's the rest of the album too (sorry for getting carried away, I obviously LOVE that song). The follow-up single Country Girl- City Man is also a classic soul duet, and Vera wisely chooses to find the soul within his natural singing style and not to ape any cliched "soul" mannerisms or affect some kind of accent. This is usually the best way (in my humble opinion) for a white artist to work within a traditionally black style, and knowing what we fans do about Vera's REAL interests in music, it is essentially VERA'S tradition also, whatever his ethnicity. The covers (see the track listing) work well too, and I consider Vera-Clay the equal of any soul duo paired by their respective labels. And the l969 "reunion" single "Reaching For The Moon" is another neglected instant-classic that ought to become a hit on your CD player. Even 'Tell It like It Is" works well for me. In short, Vera-Clay were a solid soul singing duo--and the combination of Vera's understated yet heartfelt approach and Clay's more dynamic rootsy style is delicious, and each truly COMPLEMENTS the other. No wonder Jerry Wexler saw so much potential in the duo! Clay's solo sides ought to interest any 60s soul fan. Her l967 Stax single is familiar to many, but once again got lost in the sea of fine releases coming out of Stax/Volt. The covers of the youngbloods' "Get Together" (you won't even recognize it! it sounds like a SOUL original) and the re-titled "Mis/Sis ter Pitiful" work well, and her hit "Greatest Love" is majestic and it's easy to see why it could not fail to have clicked. The production on BOTH sets of tracks is sympathetic and NEVER overwhelming or dated--the instrumentation is well-chosen and always allows the singer/singers room to breathe. Thanks to Ichiban for reissuing this material...and for their entire Soul Classics series. For the record, here is a listing of the single-artist releases: SCL 2501 PATTI LABELLE AND THE BLUEBELLES+++ SCL 2502 JACKIE MOORE SCL 2503 MARGIE JOSEPH SCL 2504 DORIS TROY+++ SCL 2505 BARBARA LYNN SCL 2506 THE SWEET INSPIRATIONS+++ SCL 2509 MARY WELLS SCL 2101 BILLY VERA/JUDY CLAY SCL 2102 CISSY HOUSTON (+++are albums I have previously reviewed on blues-l) Bill Shute San Antonio, TX (where the local bands DO NOT cover "Sweet Home Chicago") ========================================================================= Date: Tue, 8 Aug 1995 08:28:20 -0500 From: Dave Daubard Subject: Re: Lee McBee I had the CD since the KC fest. Red Hot received the CD 2 days for the fest knows how to get down & dirty. Lee was really excited and a ton of fun. His bass player, Willie J. Campbell just joined the Fabulous Thunderbirds. Billy Dye is now playing guitar with Lee. If anyone needs to call Red Hot Records cause they can't find the CD, the number is913-648-8747. ========================================================================= Date: Tue, 8 Aug 1995 08:37:24 CDT From: Dave Kneifl Subject: Re: Blues Youth On 8/7/95, Dave Daubard wrote: > The 10 year old harmonica prodigy at the KC fest name is Brody Buster. The > kid can play. Lee Oskar joined him onstage. Playing with virtuoso's should > keep the kid humble. I would like for his voice to change some before he > sings more than a song or two. I just heard a recording of Kid Johnny > Lang. I really like it and I think my listener's will too > I don't mind hearing them talk about their baby left them 'cause my 1st > gal left me for someone else when I was 12. I certainly had the blues. I saw Brody Buster on the Tonight Show last Friday night. He plays well for his age. When you consider that this kid has (possibly) as much as 60 years or more to perfect his talent, we could be in for some good music in the future. As far as kids playing the blues without having lived long enough to "suffer" the blues, Jay Leno took up this subject up with Brody. He asked him if he had ever been to prison. Brody replied, "No, but some of my band members have." When asked if a "baby" had ever left him, he said no, and added that he has been "dating" the same person since kindergarten, to which Jay replied "So, that's about ... 5 years now, huh?" If he keeps it up, Brody could be a force to be reckoned with in the future. Just think, in *11* years he'll be able to *legally* enter a bar (in Wisconsin anyway) without an escort. DK ========================================================================= Date: Tue, 8 Aug 1995 08:41:06 CDT From: K Luke Subject: blues brothers movie web site With all this talk about the Blues Brothers, here are the Web and ftp addresses for people who need to know more about the movie. http://www.cs.monash.edu.au/~pringle/bluesbros/faq.html ftp://yoyo.cc.monash.edu.au/pub/blues_bros/FAQ.txt Also, the internet movie database at http:www.msstate.edu/Movies/ will allow you to look up and check out all the musicians in the movie. "It's a 106 miles to Chicago, we've got a full tank of gas, half a pack of cigarettes, it's dark, and we're wearing sunglasses." "Hit it." -- Kevin Luke luke@lagrange.amd.com my opinions only... ========================================================================= Date: Tue, 8 Aug 1995 09:49:42 -0400 From: Hugh Hardy Subject: Canuck question Still on the subject of commercials... In Canada, Labatt's Blue has a new commercial with some very funky blues - aggressive, but clean, Strat work. If this was an album, I'd buy it! Who is this??? Hugh H. ========================================================================= Date: Tue, 8 Aug 1995 07:51:19 -0600 From: "Paul R. Leach" Subject: Re: Q: Size of blues market > I was just curios, how large, in terms of numbers of people, is >the market for blues recordings? In the US or worldwide? Well, the circulation numbers in the latest Blues Access magazine list their readership as 12,000. That particular number doesn't answer your question but serves as a stark point of reference in comparison to, say, the circulation of Rolling Stone. -- Paul { * }====# ========================================================================= Date: Tue, 8 Aug 1995 08:38:09 -0500 From: Richard Shurman Subject: Re: Little Walter - Otis Rush - Live in Chicago That (bootleg) LP with AWFUL Little Walter and okay Otis Rush was recorded at the University of Chicago in the mid 1960s. ========================================================================= Date: Tue, 8 Aug 1995 09:04:52 -0500 From: Dave Daubard Subject: Kid Ramos I just heard a release from the Kid called "Two hands,One Heart" that really the Kid was on "Too Small to Dance" by the Big Rhythm Combo. Anyone have this one? I would like to find it. Thanks ========================================================================= Date: Tue, 8 Aug 1995 09:16:17 -0500 From: David Silberberg Subject: Re: Q:] R&B vs. Soul? A soul singer is an R & B singer who went to a Southern Black church - and knows exactly where Ray Charles was going with "I Got A Woman". David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 8 Aug 1995 10:29:51 -0400 From: "Abe W. Mathews" Subject: Finally able to post. G'mornin! Well, work is now slacking off so that I can post all of the blues-related things that have happened to me over the last couple weeks. There's a couple, so this might get a little long. First, my band's being jerked around (still) by our "standing" gig. We play(ed) every Saturday night for the last year and a half at the same bar. This past May, we were told that they were closing the bar for renovations during the month of June, and that we'd kick off their summer grand re-opening on the 4th of July. The 4th came and went, and we found out that the bar had not been closed at all. No renovations had been done, and they were still keeping the bar open on weekends. Asking around, we've heard that we're unemployed for anywhere from another month to six months, depending on the owner's mood. At least they don't have another band playing, but I kinda wish the owner would shoot straight with us. We've had a couple of other possiblilites for standing gigs, but have turned them down because we figured we had this one for good. (As we were told by the owner). Which brings me to a question. Are all bar owners slime? I don't mean to offend if you own a bar, but every owner of manager I've met is a complete head case. OK, enough ranting. My next blues related experience was at a real dive of a bar (who's owner is also, you guessed it, slime). We had a keyboard player sitting in with us. I'd played with this guy before, but I was never able to hear his amp. This time, we set up right next to each other. After a couple sets, my boss asked me to sing a few, so I started with "Leave My Little Girl Alone". I have never experienced a slow blues like that before in my life. For the first time, I was able to concentrate on singing, and not have to carry the rhythm. I have to say it, I LOVE HAMMONDS. The sound that we had was purely magic. Too bad there were only 15 people in the bar to hear it. :( Oh well, ending with "Green Onions" and "Werewolves of London" was more than worth the drive to get there. I picked up a copy of Otis Rush's Ain't Enough Comin' In. Good album, not at all what I expected. I didn't picture Otis having that voice. I really like the horn arrangements, though. I like the marriage of Chicago-style guitar and a good horn section. Makes you wonder "Why didn't *I* think of that?" Finally, are any bluzellers going to make it to the Bayfront Blues fest in Duluth this weekend? I'll probably be there for the Cray show at least. I'd like to hook up with any 'ellers that are going to be nearby. I think that's all Abe awmathew@mtu.edu ========================================================================= Date: Tue, 8 Aug 1995 11:02:59 -0400 From: "Munson, Bill" Subject: Re[2]: The Band's Blues Roots >Great book by Levon Helm about the Band called This Wheels on Fire. Well >written and great stories. Plenty of blues encounters and amazing behind the >scenes info. Yes, but don't trust any dates or session info. Not all wrong, but certainly not all right. ========================================================================= Date: Tue, 8 Aug 1995 11:03:12 -0400 From: "Munson, Bill" Subject: Re[2]: The Band's Blues Roots >It probably doesn't help, but they didn't select that name. People >called them the Band because they were Dylan's band for a while. >They signed with Capitol as "the Crackers", but it didn't >stick. First Capitol single ("The Weight") was issued as by just a list of the five guy's names. The name the Band certainly saved on printing costs and reduced the chances of misspelling Jaime Robbie Robertson. ========================================================================= Date: Tue, 8 Aug 1995 10:08:08 CDT From: L W Subject: WDIA/Bukka White Questions: Is is TRUE that WDIA was the first black radio station in the country....? It was/is broadcasting out of Memphis.....? Was Rufus Thomas a DJ there....? I'll ask this again: Anyone have any info on how Bukka Wite got booked to play the Olympic Games in Mexico in 1968 (he performed, didn't compete :-)) LW ========================================================================= Date: Tue, 8 Aug 1995 10:31:12 -0400 From: Willy Evans Subject: Most covered songs A lot of these most covered songs that are mentioned are songs that my audiences like the most! The most requests that I get for blues/r&b songs are: Mustang Sally Stormy Monday The Thrill is Gone Sweet Home Chicago Crossroads Anything by Stevie Ray Vaughn I have one club where people actually sing along with Sweet Home Chicago! Plus I love playing Stormy Monday! That is one of my favorite progressions to play leads to! I'd like to play other stuff, but that's what the people want to hear! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Tue, 8 Aug 1995 11:17:50 -0400 From: Rick Miller Subject: Riffin Rick returns (to blues) Hey gang, I just wanted to say hi and let folks know that I'm back from an outstanding week on the lakes of central Ontario. I didn't miss my job at all, but I did miss my access to Blues-L. To my pleasant surprise, on Sunday morning, driving back OUT of the Kawartha lakes, I tuned in "The Wolf" (CWLF ? FM, a classic rock station) on the ol' Alpine, and got a blues program which featured interviews and music. I wish to hell I could remember the name of the guy they were inter- viewing, because I really like his stuff. He did some great covers of Howlin' Wolf, Robert Johnson, and Elmore James tunes. Not sure if he was Canadian or AMerican. Any of you Canuks on line tuned in to the WOLF-FM last Sunday, the 6th? Glad to be back! :) Riffin Rick ((((( oo-) /- I'm gonna get up in the morning, I believe I'll dust my broom. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 8 Aug 1995 11:18:02 -0400 From: Steve Levine Subject: DC Blues Festival I just checked the DC Blues Society home page and it looks like the festival lineup has been changed again. Mississippi Heat and Larry Wise have been added to the lineup - looks like there will be lots of good harp playing at this year's festival. The seventh annual DC Blues Festival will be on Saturday, September 9 at the Carter Barron Ampitheater, from noon-8 pm. It is a free festival. The url for the festival is http://intelus.com:80/DCBlues/festival.html. ========================================================================= Date: Tue, 8 Aug 1995 11:24:55 -0400 From: Tom Grady Subject: Re: songs most commonly "covered" live In a message dated 95-08-08 08:57:12 EDT, Steve.Levine@CORP.WRGRACE.COM (Steve Levine) writes: >+>What covers are YOU hearing? Everywhere in Memphis recently I heard "Tell Mama" and "See Saw." ========================================================================= Date: Tue, 8 Aug 1995 11:24:01 +0000 From: "P.W. Fenton" Subject: Re: Finally able to post. On 8 Aug 95, Abe W. Mathews had this to say... > Are all bar owners slime? I don't mean to offend if you own a bar, but > every owner of manager I've met is a complete head case. Do ALL bands think like that? Basically, as far as a club is concerned, you, or any other band for that matter, have two concerns - playing music and getting paid. The club's owner, or manager, has many hundreds of concerns that have nothing to do with bands. Just because their focus is not on you doesn't make them slime. Put yourself in the club owner's shoes. If you sold cars for a living would you think everyone who didn't buy one from you was "slime"? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 8 Aug 1995 10:21:05 CDT From: L W Subject: Sunflower - almosta review My favorites in order: A.....J and the Stone Gas Band, Othar ...and the Fife and Drum band, Si Perry, JB and The Midnighters.....(notice Charlie Musselwhite or Lonnie Pitchford aren't included). I presented the money it went well, there were some picture taken so look for them somewhere, sometime. I met a bunch of blues-ellers, I won't get into names. I will say that we had the extreme pleasure of having a room next to Bonnie The K.....(it cost xtra to get that room :-)) We visited Muddy's cabin and exactly the moment we got back in the car, the rain came falling down.... LW ========================================================================= Date: Tue, 8 Aug 1995 08:30:06 -0700 From: Adrian Spidle Subject: Re: Re[2]: The Band's Blues Roots Can someone post bibliographic info on this? Date, publisher, for instance... Thanks, Adrian Spidle On Tue, 8 Aug 1995, Munson, Bill wrote: > >Great book by Levon Helm about the Band called This Wheels on Fire. Well > >written and great stories. Plenty of blues encounters and amazing behind the > >scenes info. > > Yes, but don't trust any dates or session info. Not all wrong, but certainly > not all right. > > ========================================================================= Date: Tue, 8 Aug 1995 10:10:45 PDT From: "R. J. Bauman" Subject: Re: Promotion -- One fan's opinion ===============What have I forgotten?? thanks Don==================== I would try to target a specific demographic of some sort. This would focus you on all the other issues more effectively. Sorry if I'm stating the obvious, but I'm surprised how often people don't get this. One way to simplify this process is by the examining the patronage of certain establishments which feature live music before you jump into a booking deal. I'd much rather play to a smaller crowd in a blues bar than to a larger one where nobody's listening. The revenue from that bigger gig won't make your career. The band's career is built by repeat business of a following built over a long period of playing, so a promoter shouldn't put the band in a short -sighted revenue scheme where the band is playing out all over the place to masses of people who aren't going to buy their records. 1) As far as making it big financially, I think you could do everything right and it would still come down to luck in the end. 2) Artists tend to have a "shelf life." After a certain number of records, the core audience dwindles. I think this is most dramatic among the college age and under crowd, who chase fad to fad. The wisdom is that an artist who wants to stay on top has to evolve constantly and not keep doing the same old thing. I disagree with that thinking. There's plenty of music out there to choose from. Why should a certain artist have to cover all of that ground? Why not keep playing the way you started playing if that's where your head is? I think a more mature audience already knows what they like and don't like and that makes it a good target audience. As for MTV, it's way beyond me anymore. I can't watch it, except for Beavis and Butthead:-). I would definately market a good live video if you can make one! 3) Reading Musician a couple months ago there was a great cover story on "If I knew now what I didn't know then" about the music business. I remember turning you on to this mag regarding the future of stereo so maybe you've already read it? It basically says that an artist needs to demand more control over over all aspects of their careers. Too many outside interest come into conflict with what the artist really wants and the music eventually suffers. To that end, the band's input is way more important than mine. But a promoter is interested in money first and that coflict can be hard to overcome. Sorry if this is all obvious, but promoters sometimes need to temper their enthusiasm for what's in the best interest of the band over the long term. RJ Bauman ========================================================================= Date: Tue, 8 Aug 1995 10:43:05 CST From: JBards Subject: Re: Chris Whitley's Blues From The Gutter I have to confess that since Jim McGlynn suggested that I give "Din" another try, I have and it has grown on me. I think this review is prefectly accurate and I couldn't improve on it, so I'll leave it at that. Interesting note- a friend of mine, a neuropharmacologist we hired from Harvard, acquired a taste for alternative music while he was up there- he's always bringing down CDs for me to listen to like "Sponge" and "The Grifters" and lots farther out than that. Generally, his cup of tea is not mine, but when I leant him "Din" he went nuts over it. I think my original review of "Din" represents the feelings of lots of Chris Whitley fans who were bowled over by the first album and expected to the second to be an extension of the first. It is in fact, something more than a 90-degree turn, and might be better characterized as a leap into a another dimension. It still won't please most of the readership here, but it's a very respectable piece of work. -Jim _______________________________________________________________________________ Subject: Chris Whitley's Blues From The Gutter From: ac928@osfn.rhilinet.gov at INTERNET-SH Date: 8/8/95 3:42 AM A couple of months ago Jim Bardsley and I had a discussion about Chris Whitley's second album, "Din of Ecstasy," after he'd posted his initial negative reaction to it. Because I know Whitley's blues-infused first album, "Living With The Law," attracted favorable attention from many here, and after a few months of continued listening to this latest release, I think it's worthwhile to urge those of you open to non-blues electric guitar music to give it a listen. I used the title of Champion Jack Dupree's album in the header because like Dupree's work, "Din" is an intensely personal cry from the heart of drug-induced darkness. Whether or not Whitley is currently struggling with that demon (and having seen him several times over the past three years I have my own thoughts about that) this latest release is, I believe, an astonishing piece of work. It ain't blues. It's original power trio music propelled by Whitley's frenetic blues-derived guitar (lotsa slide) and haunted vocals. The overall effect is Hendrixian without for a moment literally copping Hendrix's style. Whitley plays guitar like a man possessed. The compositions are idiosyncratic and frequently wall-of-sound-ish, but I swear there's a real beauty in there that'll grow on you if given half a chance. See him if he's in your neighborhood. I'm sorry to say I've got a bad feeling about the likelihood of his being around until ripe old age. We've all heard about people burning the candle at both ends. This guy's candle, I'm afraid, is Roman. Sorry to go on about something that's not strictly blues. I just didn't want Jim's initial negative reaction to Whitley's latest to stand as the last word here about it. I'm sure many of you will be as impressed with "Din Of Ecstasy" as I've been. Jim McGlynn -- ========================================================================= Date: Tue, 8 Aug 1995 11:48:45 -0400 From: Tom Freeland Subject: Re: WDIA/Bukka White In a message dated 95-08-08 11:15:08 EDT, you write: >Questions: Is is TRUE that WDIA was the first black radio station in the >country....? It was/is broadcasting out of Memphis.....? Was Rufus Thomas >a DJ there....? > > Rufus was and is, to start with the last first. I *believe* he still has a Sunday show on WDIA and he was certainly a DJ there forever, for sure by the early 50s and I think possibly starting in the late 40s, when WDIA went to its format. It was and is broadcasting out of Memphis. Claims of "first" this that or the other are hard to verify, but I have seen the claim often made that it was the first radio station to adopt a format of black dj's appealing to a black audience. Tom Freeland ========================================================================= Date: Tue, 8 Aug 1995 10:56:34 -0500 From: Jeff Seale Subject: Blues-l meeting this weekend! It's never too late to start planning for the weekend ;-) For everyone within driving distance of San Antonio, we're having a blues-l party at Billy Blues with the legendary TEXAS JOHNNY BROWN this Saturday, August 12th. The show starts at 9:00pm and runs 'til 1:00am. Last time TJB was in town, the place was packed, so I suggest you arrive early. Bill Shute said he would be adorned in his Blues-L t-shirt. I'm going for the Lightnin Hopkins shirt myself. Another tell-tale sign will be the presence of Bill's lovely kids (who will no doubt be the first ones on the dance floor!) So come on down and joins us. Find out what all this hype is about for yourself! -Jeff (who loves this monthly gig!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / I'm just sittin' here wonderin' \ / The world's gone to Hell \( and we blame someone else for the trouble we're in. -Joe Ely ========================================================================= Date: Tue, 8 Aug 1995 10:56:27 CST From: William Shute Subject: popularity of the blues From: Bill Shute The folks at Antone's Records told me that Doyle Bramhall's album sold over 50,000 copies and that Sue Foley's albums have moved over 40,000 each (I'll reserve any commentary about what the latter signifies!). Perhaps some of our Chicago friends could tell us what a typical Alligator "blues" album (ie, one without "crossover" appeal into another genre--something like, say, the Billy Boy Arnold album) sells. My guess would be that labels on the order of Earwig and the like would be VERY happy to move 5000 copies of an item. How much do L. Cohn's superb Blues reissues on CBS/Sony sell on average (not counting Robt. Johnson)? Once again, I'd guess 2 to 3000, but I may be way off. My experience in the record biz has been in the "60s punk" and rockabilly genres, where we had maybe 500-750 hardcore buyers and maybe another thousand or two "soft" buyers who were potential buyers, but no more than 20% would buy any particular release. The Blues Market is WAY beyond that, although it wasn't always. Also, the overseas market for blues is perhaps LARGER than the US audience...or so it seems to me. Most blues-l people would probably fall into that "hardcore" category-- if they don't, it's only because of poverty! However, it takes that "soft" market, the "occasional" buyer to make a "hit" in blues terms.. Perhaps someone who knows a blues label prez could ask him/her these questions? Many artists have told me how many copies THEY WERE TOLD were pressed of an item, but many labels (not casting aspersions here--I'm sure US blues labels wouldn't do this, right? cough...cough...)are notorious for "under-counting" the pressing when dealing with the artist. A friend of mine who negotiated a deal with a US reissue label(which has now branched into blues/R&B) on behalf of the family of a deceased 60s R&R performer told me that the label reported to him that 2000 lps were pressed (this was in the mid- 80s, pre-CD). My friend called distributors in SIX cities and found more copies than that sitting in warehouses. Within the last two years, this same label put out a series of "regional" compilations on which appeared a certain Texas recording from the l960s. The owner of the recording (the artist had put it out on his own label initially!) was NEVER contacted, although he had been interviewed in two widely-available magazines within the last year, either of which could have given the label this artist's phone number--and in fact, the liner notes plagiarized one of the articles, so clearly someone at this label had read the article! One good thing about the blues is that many labels--Topcat and Earwig come to mind--are run by fans who are also personal friends of the artists, and these labels exist to support the artists. That's great, and jazz and blues have always attracted that to some extent--that's how a now-major like Blue Note was begun in l939! Anyway, to get back to the original point, it would be interesting to know how many units are sold of, say, a James Harman release on Black Top. He's neither a superstar (although he's a superstar in my home! and many of yours) nor a newcomer, so maybe he would somehow be typical? I would never ask a musician I didn't already know a question like that, as he'd probably think I was working for the IRS! How many of US are out there? Bill Shute San Antonio, TX (ps, don't ask me to identify any specific parties from the above situations) ========================================================================= Date: Tue, 8 Aug 1995 12:17:15 -0400 From: Tom Morgan Subject: Bartender's Bop Playlist Here is yesterday's playlist. A little musical tour stopping off here and there. I'm enjoying both the Little Georgie and the Shuffling Hungarians and Garry and the Moodswingers CDS, both came to my attention via blues-l. Garry is a member as well as is Billy Price, whom I played also. Title Group Year Label -------------------- -------------------- ---- -------------- See See Rider Rainey, Ma 24 Milestone Stewball Leadbelly 40 BMG/RCA Jonah and the Whale Lord Buckley 51 Discovery Dipsy Doodle Golden Gate Quartet 38 BMG/RCA Ain't That A Mess Miller, Al 36 Jass Ballad of Little Little Georgie 94 Queen Bee Georgie, The Signifyin' Hill, Michael 94 Alligator Minkey/What What You Say Lookin Back Poppa Chubby 95 OKeh Snake Dance Ball, Barton and 90 Antones Strehli Brassy Bessie Little Georgie 94 Queen Bee I Won't Hurt You Holmes Brothers 93 Rounder Anymore You're The Boss King, B.B. 93 MCA Cool Azul Spector, Dave 94 Delmark I Lost Everything Cooke, Sam 63 ABKCO Who Will The Next Price, Billy 94 Corona Fool Be Insecurity Segal, Corky 94 Alligator Serenade To A Poodle Gaillard, Slim 47 Verve Hip Gan, The Lord Buckley 51 Discovery Babalu (Orooney) Gaillard, Slim 51 Verve Help The Bear McCracklin, Jimmy 94 Bullseye Blues Must Have Been The Geraci, Little 94 Tone Cool Devil Anthony Hungry Women Gary and the 94 Bluelight Moodswingers Crazy 'Bout You Lynn, Barbara 94 Bullseye Blues Mean Old World Cooke, Sam 63 ABKCO My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture WebMaster: Dave Matthews Band ========================================================================= Date: Tue, 8 Aug 1995 11:53:01 -0600 From: Ranko Vujosevic Subject: Iowa Blues on Sale I am sure I am violating some of Blues-L rules by posting this, but since proceeds go to our Blues Society (a non-profit organization) I thought you guys would not mind.... Anyhow, Iowa Blues Compilation I (1994), and Iowa Blues Compilation II (1995) are on sale for $12 each (mailing cost included) from Johnson County Blues Society PO Box 2114 Iowa City, IA 52244 phone: 319/354-4239 CDs contains song from anuone that means something in Iowa blues scene, from Catfish Keith, to legends of Iowa Blues - Patrick Hazell, the Blue Band, Joe Price, to young-bluz-blood - Blues Instigators, Radoslav Lorkovic, etc. CDs are recorded by Hot Fudge Music. Ranko ========================================================================= Date: Tue, 8 Aug 1995 16:57:40 GMT From: j.mac@METRONET.COM Subject: Re: Karaoke Hell Encore > shannon oconnor writes: > Any truth to the rumor that karaoke was brought to this country > through Memphis, TN? > >>>> Let's hope not. Since Karaoke is a Japanese invention, my guess is that it infested the west coast first and then spread across the land like kudzu. I guess anyone that ever lip-sync'd with their favorite record is technically done Karaoke, but at least that is done in the privacy of one's home. The next level down were/are lip-sync contests, but those are usually done tongue in cheek. I saw a person in elaborate costume lip-sync to a Rolling Stones song on stage at a nightclub in Tel Aviv once, but I attributed that to the lack of big name artists touring Israel at the time (it was a pretty tense). The worst part about Karaoke are the cheezy background recordings. It seems they find some wonk with a lot of sequencers who spits out 400 titles like "The 101 Strings play Beatles hits" together without vocals in a day and release it as Karaoke. I've also seen Karaoke videos with the "bouncing ball" lyrics scrolled across the bottom of the screen. Let's face it folks, if you don't know the words, you have no business with a live microphone in your hand. Somethings are just too dangerous. I just hope I never see one of those stupid Karaoke machines when I have easy access to a firearm... Do yourself a favor - insist on LIVE music and make an ugly face at anyone that suggests otherwise. There are too many good local blues bands around to waste your hearing on Karaoke. Pickin' and grinnin' (LIVE, of course) JMAC ========================================================================= Date: Tue, 8 Aug 1995 17:04:27 GMT From: j.mac@METRONET.COM Subject: Re: Muddy's House > L W writes: > Is it OK to take a piece of wood from Muddy's house....? I've noticed folks > say they got a "splinter" or "chip".....I'd like to get a piece that is large > enough for a guitar bridge (for the Mudbox :-))......A lot of my friends are > wood workers and could make it work, so that'd be neat.. > > Will I be able to get a piece large enough.....? > > LW > >>>> If every guitar player that visits the site takes a piece of wood, soon there will be nothing left. Instead, take your favorite guitar and play a song while at the cabin. Try to invoke the spirit of Muddy and bring all of the honesty and emotion that he had into your song. Let the atmosphere of the place inspire you. Play as if you were auditioning for the man himself. The experience will make you a better person and the cabin will be no worse for wear. Some friends of mine told of a friend of theirs that visited the cabin and who, despite a warning about a hoodoo curse posted on the cabin, picked off a small splinter as a souvineer. When they got home they found that their apartment had been broken into and all of their records and guitars had been stolen. This is a true story! You may not believe in curses, but for my money it's better not to tempt fate. I visit Blind Lemon Jefferson's grave about once a year to see that it is kept clean. I bring a guitar and play for a few minutes for inspiration and as a tribute and leave with nothing more substantial than a good feeling. It's worth the effort. ========================================================================= Date: Tue, 8 Aug 1995 13:02:46 -29900 From: Michael Kaloyanides Subject: Re: Tracy Nelson - I Feel So Good Yes, this is the same Tracy Nelson of Mother Earth fame. Fellow Bluezeller Mark Naftalin played keyboards, did arrangements, and co-produced Mother Earth recordings if I'm not mistaken. Also Mike Bloomfield, alias Makal Blumfeld, did some guitar tracks for them. On Mon, 7 Aug 1995, Jacquelin Katz wrote: > Is this the Tracy Nelson I used to hear in the '70's who started out > in ...was it "mother Earth"?? Something like that... > > Michael Kaloyanides ========================================================================= Date: Tue, 8 Aug 1995 17:13:38 GMT From: j.mac@METRONET.COM Subject: Re: Blues Brothers - defending > Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM writes: > Now, to be fair, The Blues Brothers served to introduce a lot of new fans > in the late 70s to blues, myself included. A lot of us, our first album > was "Briefcase Full Of Blues," and we graduated from that to find the > original takes of their tracks, by Fred MacDowell, Junior Wells, etc. > And it gave Cab Calloway, John Lee Hooker and the old Stax guys some > really good exposure at a time (1979-1982) when there didn't seem to be a > lot going on in blues -- pre-SRV, pre-Robert Cray, etc. Amen! The two things that allowed me to forgive two guys dressing and acting like real blues players were that they were doing it out of a sincere love of the music and that, as a result, a lot of people were turned onto the blues who otherwise wouldn't have been. Akroyd and Belushi went out of their way to acknowledge the original artists and I loved the admonition to "buy all the blues records you can find" on the first album. I can't confirm this, but I read somewhere that Ackroyd and Belushi insisted that that particular bit of between-song patter be included on the released album. IMHO, if, as a result of the blues brothers, more albums by B. B. King, John Lee Hooker, Otis Rush, Willie Mabon, Buddy Guy, etc., etc., were sold and more new blues lovers were born then hearing yet another white cover band was worth the trouble. ========================================================================= Date: Tue, 8 Aug 1995 17:23:47 GMT From: j.mac@METRONET.COM Subject: Re: Hangnails etc. There was a story about Stevie Ray Vaughn using superglue to re-attach nails separated from his fingers after several nights of high intensity playing on a guitar with very heavy strings. When asked by the staff at Guitar Player about this, Stevie not only confirmed the story, he demonstrated how he did it! He showed the staff how he replaced fingertips by using superglue to attach the tips of his left hand fingers to skin on his forearm and quickly pulling his left hand away, tearing off little circles of skin. Yipes! That would make me drink too. No wonder he usually wore long sleeve shirts. That boy was certainly dedicated... ========================================================================= Date: Tue, 8 Aug 1995 13:33:16 -0500 From: Kevin Boyle Subject: Re: Drinkin Again Tom Havey asked who sang Drinkin Again - If memory serves it was Ry Cooder on his CD "Slide Area".... I haven't heard many good comments from 'zeller's on this CD, but I found it a decent listen (perhaps not up to par with his other recordings) and certainly wet my now insatiable appetite for Ry's incredible slide playing...a great Blue Suede Shoes, don't you step on my blue suede shoes! Keepin de' Blues Alive Kevin B. ========================================================================= Date: Tue, 8 Aug 1995 12:19:10 CDT From: Dave Kneifl Subject: Re: Q: Size of blues market Paul R. Leach writes: > Well, the circulation numbers in the latest Blues Access > magazine list their readership as 12,000. That particular > number doesn't answer your question but serves as a stark > point of reference in comparison to, say, the circulation of > Rolling Stone. I agree that is a good starting point, but I think we all realize, as mentioned above, that there are a lot more people buying blues recordings than buying Blues Access. I've been a blues fan since about the mid-80s, when rock went to hell ;-), but first heard about Blues Access last year - from, of all sources, Rolling Stone. Now a plea - Blues Access is a great magazine, but it seems hard to come by in Madison (Wisconsin). If any Madison area Blues-ellers can suggest a place to get the magazine around here, please let me know privately or on the list. (It has been spotted at Borders on University Avenue, but they don't seem to have it all the time). DK kneifl@admin.uwex.edu ========================================================================= Date: Tue, 8 Aug 1995 17:36:05 GMT From: j.mac@METRONET.COM Subject: Re: Strangest Slides I've seen a bone used as a slide. It was a large leg bone, cut short and hollowed out. It sounded okay, but was a bit scratchy. Parts of it had been worn smooth by the strings and sounded better but, overall, I wasn't too impressed. It also doesn't last too long if played on wound strings. I've used the back edge of a straight-razor. I got an old one and dulled the blade a bit (just in case). It's easier to use lap style but you can play upright with the blade between your fingers. The metal is solid and smooth and the back end is narrow. A straight razor isn't the easiest thing to use and doesn't have the best sound, but it sure looks b-a-a-a-d-d-d! I've used a mic stand in a pinch, but control is a bit of an issue. That's a trick for getting noise rather than for playing a song. On Austin City Limits, Danny Gatton used a FULL (open) beer bottle to play slide. He was, naturally, outstanding. The audience loved the foam spilling everywhere as he played. He wiped the neck down afterwards, while playing of course! I've seen slides made out of all sorts of round metal tubes. Chair legs, conduit, radiator pipes, tube sleeves, old copper water pipes, brass tubing, etc. The key to tone seems to be the thickness of the metal and the smoothness of the surface. One last thing - on occasion, I used to slide a few notes during a song using my wedding ring. My wife thought that was about the rudest thing I could do to a symbol of our marriage and it drove her nuts. That's probably one of the (many) reasons we aren't married any more... ========================================================================= Date: Tue, 8 Aug 1995 17:44:26 GMT From: j.mac@METRONET.COM Subject: Re: Web Site for Blues Bands? > Steve Leigh writes: > I wish there was a way for blues bands all over the country (world?) > to publish their own home page on the net for nothing, or next to > nothing. As we all know, we're all "starving artists" and it sure > would be nice if someone out there (a REAL blues promoter/advocate) > could offer this service. > > Any comments welcome. Thanks much to all who may respond. > --Steve "Spider" Leigh, basement blues band, Rockford, IL, USA > >>>> There is! There is a web site in Tampa, Florida that will give bands or solo artists a single web page FREE. You can write your page in HTML or text. They say they will soon have a gig list service, but you can use your page to list upcoming gigs. The only rules are a) musicians/bands only, b) you can't post copyright material, c) reasonable taste. For $30 per year they will give you 2mb of space for more elaborate pages, provide mail forwarding and list services, and will give you a mail domain name. They will scan pictures and make .WAV files from tapes for a small fee. The site is called the Internet Rockhouse and their URL is "www.rockhouse.com". The main page looks like a house (if you use Netscape) and they have a "blues room" dedicated to blues artists & bands. To see what I've done, point your browser at http://www.rockhouse.com/swamptones. I wrote all the HTML pages myself. My site is under construction (I'm new to HTML) but it works. There are a few other sites that are said to provide similar services to bands listed in the Musican Magazine 1995 Guide To Promotion and Touring, but I haven't had time to check them out yet. Visit the Internet Rockhouse and see what you think! ========================================================================= Date: Tue, 8 Aug 1995 12:43:10 PDT From: "R. J. Bauman" Subject: Re: Karaoke Hell Encore ========================I just hope I never see one of those stupid Karaoke machines when I have easy access to a firearm...======= I guess that means the firearms will be locked up if you're ever by my place :-) Some of you take this Karaoke thing WAY too seriously. It's all for FUN. A)I would never get the opportunity to SING in a live band. B) It can be a blast watching somebody really stink one up. The average up -tight wannabe singers who really are trying to sound proffesional and are concerned how they are coming off to their "audience" are the people to blame for lame Karaoke. C) I would not compare live Karaoke to live bands any sooner than I would compare live bands to any other form of bar room/niteclub entertainment like pool tables and video games. Everybody knows live music is better. There's not much of an argument to the contrary. I'm not that sensative about this. I could go the rest of my life without hearing Karaoke, fun as it can be. Unlike Karaoke, though, live music is a business to the performing musicians out there. KARAOKE IS NOT THE ENEMY, OK? ========================================================================= Date: Tue, 8 Aug 1995 12:35:12 CDT From: L W Subject: >Amen! The two things that allowed me to forgive two guys dressing and acting >like real blues players were that they were doing >it out of a sincere love of the music and that, as a result, a lot of people >were turned onto the blues who otherwise wouldn't >have been. Akroyd and Belushi went out of their way to acknowledge the origina >artists and I loved the admonition to "buy all >the blues records you can find" on the first album. I can't confirm this, but It's called manipulation. They were just saying what you wanted to hear. If Dan Ackroyd cared about blues he would do something with that National TV show of his....Actions speak louder than words and so far he hasn't acted...It's a fact..period..If he WAS sincere about the blues, Honey Boy Edwards would take precednce (sp) over Nancy Sinatra, Seboha (whoever the kids were), and all that other trash they have in between Pontiac commercials..... If anyone has actual proof that Dan Ackroyd cares about the blues, in a way other than cashing in on it, please send me private mail...If you need proof he doesn't, tune in to late Saturday night TV and catch all those blues performers he's giving nationwide exposure to.....Sorry to be harsh, but I'm offended that Dan Ackroyd has been discussed more than REAL blues people LW 'flames ignored' btw: I have nothing against the Blues Brothers, the band that backed the TWO COMEDIANS was excellent. ========================================================================= Date: Tue, 8 Aug 1995 17:50:22 GMT From: j.mac@METRONET.COM Subject: Re: Strangest Slides > Peter Dwyer writes: > "I'm curious what's the strangest thing you've seen someone use for a slide" > > The liner notes of Dylan's first Album contains this gem ;-) on the liner > notes in regard to IN MY TIME OF DYING: "The guitar is fretted with the > lipstick holder he borrowed from his girl, Susie Rotolo, who sat devotedly and > wide-eyed through the recording session". > > Bulls**t from 35 years ago! > > Peter Dwyer > >>>> I saw someone use a lipstick tube for a slide once. A woman at a table near the stage was putting on lipstick and the guitar player leaned over and asked her to borrow it. It didn't sound very good - my guess is that the metal was too thin. The crowd sure got a kick out of it though! I don't suppose that the fact that the woman loaning the lipstick was very attractive and dressed to the nines hurt either. ========================================================================= Date: Tue, 8 Aug 1995 12:51:27 CDT From: L W Subject: Karoke Rumor I've heard that the HO? is buying Muddy's house and will have a Sunday Night Karoke show broadcasting from there....Any truth to that rumor....:-) I have NEVER,EVER heard/experienced Karoke..... LW ========================================================================= Date: Tue, 8 Aug 1995 13:56:31 +0000 From: "P.W. Fenton" Subject: Re: Promotion -- One fan's opinion On 8 Aug 95, R. J. Bauman had this to say... > > 1) As far as making it big financially, I think you could do everything > right and it would still come down to luck in the end. > In my opinion it has almost never come down to luck. It is nearly always the result of hard work and perseverence. It only looks like a lucky break from WAY outside. People who get "lucky breaks" work very hard to put themselves in the path of that apparent luck. This includes artists that you don't particularly care for, as well as the ones you may respect. People who attribute success to luck, are the ones who sit on their butt and wait for it to come along. YOU have to go to IT. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 8 Aug 1995 11:05:17 PDT From: Eric LeBlanc-CISTI Subject: THE BLUES BUYER'S GUIDE THE BLUES BUYER'S GUIDE / ANDREW GORDON, BLUES BUYER'S GUIDE INC., 22 HOWARD ST., MELROSE, MA. 02176., USA. 64 pages. $U.S.12.98. call 800-704-1520 ============================================================================= "I wonder how many clueless American kids like myself were turned onto the blues by the likes of (Rod) Stewart and his '60s era contemporaries? The first blues album I bought was "The London Howlin' Wolf Sessions" and the only reason I bought it way back when was because I saw Keith Richards' name on the jacket. I sure as heck had never heard Howlin' Wolf on the radio in my neck of the woods! Sorry if this topic has been beat to death prior to my signing on the list, but it is a sad commentary on American commercial radio when citizens first learn of a uniquely American art form by way of fans from another country." ~ Craig Edmundson 3 Aug 1995 When I read this posting, I knew then that I had to get to reviewing this new publication. As they say, strike when the iron is hot! With the number of blues releases increasing every year & the prices remaining high, how do you expect someone to know what to buy, especially if you're a beginner or are looking for something new. One way is to subscriber to blues magazines & trust the reviewers. BLUES-L member Andrew Gordon has come up with this useful BLUES BUYER'S GUIDE, by compiling over 1000 reviews from Blues Access, Blues Revue, Living Blues, and Westcoast Blues Review - the 4 leading North American blues magazines. He assignes each CD a rated from Excellent (5.00), Very Good (4.00), Good (3.00), Fair (2.00) to Poor (1.00). This rating is based on his interpretation of what the reviewer meant - not always an easy task but I have to say Andrew has done an excellent job. The Guide has 2 sections, "The Review Grid" where you can scan the rating of a particular CD, and a "Summaries" where Andrew summaries every CD review, including rating, reviewer's name, blues magazine, and CD title/label/number. I recommend this guide to everyone who would like to spend their money wisely, and who are looking for something new for their next blues CD purchase. The present edition covers 1994-1995June issues - over 1000 review summaries of 600+ CDs. It is available from the above address or call 800-704-1520. For more information, email Andrew at BBGINC@aol.com As an example so what you can glean from scanning the reviews, I've listed the 23 CDs that were reviewed by all 4 publications & their point rating. RATING ARTIST(S) CD TITLE LABEL ============================================================================= 5.00 CAMPBELL, EDDIE C. THAT'S WHEN I KNOW BLIND PIG 5.00 WHITE, BUKKA 1963 ISN'T 1962 GENES 5.00 WHITE, BUKKA THE COMPLETE BUKKA WHITE COLUMBIA/LEGACY 4.75 GUY, BUDDY D.J. PLAY MY BLUES JSP 4.75 WILLIAMS, LEE 'SHOT' COLD SHOT BLACK MAGIC 4.69 BROWN, CHARLES THE COMPLETE ALADDIN RECORDINGS MOSAIC 4.69 LITTLE MILTON WELCOME TO THE CLUB - .... MCA/CHESS 4.69 MALONE, DAVID & THE .. I GOT THE DOG IN ME FAT POSSUM 4.69 MCGHEE, BROWNIE THE COMPLETE BROWNIE MCGHEE COLUMBIA/LEGACY 4.69 PIAZZA, ROD & THE .... LIVE AT B.B. KING'S, MEMPHIS BIG MO 4.50 BOYD, EDDIE FIVE LONG YEARS EVIDENCE 4.50 JOHNSON, SYL BACK IN THE GAME DELMARK 4.38 DAWKINS, JIMMY BLUES AND PAIN ICHIBAN 4.06 JOHNSON, SNUFF WILL THE CIRCLE BE UNBROKEN BLACK MAGIC 4.06 MCCRACKLIN, JIMMY A TASTE OF THE BLUES BULLSEYE BLUES 4.06 TAMPA RED THE GUITAR WIZARD COLUMBIA/LEGACY 4.00 BURKE, SOLOMON LIVE AT THE HOUSE OF BLUES BLACK TOP 3.94 HARMONICA FATS TWO HEADS ARE BETTER ... BEE BUMP 3.75 MCTELL, BLIND WILLIE DEFINITIVE BLIND WILLIE MCTELL COLUMBIA/LEGACY 3.63 VARIOUS Z ZELEBRATION : ... Z. Z. HILL MALACO 3.44 SEALS, SON NOTHING BUT THE TRUTH ALLIGATOR 3.44 SUNNYLAND SLIM DECORATION DAY EVIDENCE 2.50 VALENTINE, CAL THE TEXAS ROCKER BLACK MAGIC ============================================================================= EXCELLENT (5.00), VERY GOOD (4.00), GOOD (3.00), FAIR (2.00), POOR (1.00) ========================================================================= Date: Tue, 8 Aug 1995 11:39:47 PST From: Mike McCourt Subject: Bar owners There's a popular theory that there is really only ONE bar owner. A tunnel connects all the bars and this owner changes disguises as he travels underground from one bar to the next. :) This might explain your experience. -- mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: Finally able to post. Author: "Abe W. Mathews" at ccUnix Date: 8/8/95 8:05 AM Are all bar owners slime? I don't mean to offend if you own a bar, but every owner of manager I've met is a complete head case. ========================================================================= Date: Tue, 8 Aug 1995 14:10:38 -0400 From: bob unger Subject: WARNING - only slight blues content Sorry to ask a technical question here on the list again, but with the overwhelming response to my last one (about PKZIP/PKUNZIP) I thought I would try again - I promise this will be the last Ot. I want to install a Web browser here on my Unix system at work. Can anyone point me to somewhere where I can get the information on how to do this? Any help would surely be appreciated. SLight blues content - My friend has been raving about this guy Chris Anderson and his cd "Old Friends" I think it's more blues-rock than blues. Anybody ever hear of him? Recommendations? Opinions? BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 7 Aug 1995 13:30:16 EST From: shannon oconnor Subject: Re: songs most commonly "covered" live Answering as an observer of live bands in the Cincinnati area... Song I always hear from every band: "Pride & Joy" Song I don't care if I ever hear again because of over-coverage: "Stormy Monday" Worst cover: "Dust My Broom" (By my favorite local band [Bill Shute, you know exactly who I'm talking about]. Too much guitar wanking. When it starts, it's my cue to head to the Ladies' Room.) Sacred song that shouldn't be covered: Can't think of one. ______________________________ Reply Separator _________________________________ Subject: songs most commonly "covered" live Author: William Shute at INTERNET_KDC Date: 8/7/95 12:38 PM From: Bill Shute As I heard this weekend the forty-second version of "Hideaway" that I've heard live in the last two months, I wondered what songs others are hearing "covered" frequently at live gigs. In Texas, it seems that EVERY band--even those passing through the state!--will do at least one Freddie King instrumental, either "Hideaway" or "San-ho-zay." Even well-known artists with repertoires of their own will do Freddie King instrumentals. And hey, that's great by me! I love Freddie King tunes, and as long as they are played well, I have no problem with that and will clap and stomp with the rest of the appreciative portion of the audience. What other songs do you all seem to hear EVERY weekend, no matter who is playing? In terms of composers, I have seen a resurgence in Jimmy Reed covers over the last year. He fell out of favor for a while--at least compared with the MASSIVE popularity he has had at times in the past-- but his compositions can be adapted to whatever style a band has. Certainly I haven't heard anyone who attempted to SOUND like Reed either in the vocal, harp, or band-feel. What covers are YOU hearing? What covers would you NOT LIKE TO HEAR AGAIN? Are there some songs where you feel no one should cover them because the original is somehow "sacred" (whatever that means!)? Do some of you musicians out there have covers that work really well with the audiences you play for? How about obscure covers that the majority of the audience think are originals (unless you tell them otherwise)?What's the worst cover you've ever heard? the best? I'm particularly interested in LIVE PERFORMANCES, not on recordings. Well? Bill Shute San Antonio, TX (and non-black bands under 40 seem to have to do one SRV tune also...) I hope this topic leads to some interesting blues-l discussion... ========================================================================= Date: Tue, 8 Aug 1995 14:33:51 -0400 From: David Goldstein Subject: Not Sloppy Drunk Anymore Sam Myers (of Funderburgh fame) sings about not being sloppy drunk anymore. I was wondering if this is a trend: healthier blues lyrics! I look forward to someone's rendition of "Tofu's Too High". ========================================================================= Date: Tue, 8 Aug 1995 13:42:40 CST6CDT From: Sara Oxton Subject: Re: popularity of the blues I think when we try to assess the size of the Blues market, we should pay attention to things like BB King's hamburger commercial, Crossroads Beer, and blues music used as backgrounds for commercials (Levi's jeans and Budweiser come to mind right away). Those crafty Madison Avenue types have cultivated Blues music as implicitly "cool". And consumers seem to go for it. Why this hasn't translated into record sales is a mystery. ========================================================================= Date: Tue, 8 Aug 1995 13:42:16 -0700 From: "Mark D. Head" Subject: Shawn Pittman I live in Dallas and caught this guy at Greenville Bar and Grill, perhaps 3 or 4 months ago. As is too often typical with local talent, I was drinking my beer and *casually* listening to his music. But then it always seems to be that extraordinary talent demands more of its listeners. As he continued with song after song of both technically proficient and passion-filled playing, I kept watching and listening more and more closely. I'm no expert on emerging talent but this cat can play guitar...... Anyone else heard of him, have thoughts, etc? Regards, Mark ========================================================================= Date: Tue, 8 Aug 1995 18:44:09 GMT From: Paul L Pearson Subject: Happy birthday Magic Slim August 7 was Magic Slim's birthday. With help from Ranko (nice to meet you, Ranko) I got tickets for the Bluesmore Fest in Cedar Rapids and got to see a cool day of blues capping off with the Magic Man himself. Awesome show!! BTW, I think it was Victor that was asking about a song that Slim does. Something about 'walking down Broadway with my shoes in my hand.' The chorus for that song goes "Shame. Shame the way she treat poor m.e"c Anybody I.D. this song?? I love it. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Tue, 8 Aug 1995 14:06:09 -0400 From: Willy Evans Subject: Re: Karaoke Hell Encore On Tue, 8 Aug 1995, R. J. Bauman wrote: > > Everybody knows live music is better. There's not much of an argument to the > contrary. I'm not that sensative about this. I could go the rest of my life > without hearing Karaoke, fun as it can be. Unlike Karaoke, though, live music > is a business to the performing musicians out there. > > KARAOKE IS NOT THE ENEMY, OK? > Depends on your perspective, clubs are renting karaoke machines INSTEAD of bands because it is cheaper. I have lost at least 5 gigs to KARAOKE machines. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Tue, 8 Aug 1995 13:51:36 -0600 From: Ranko Vujosevic Subject: Jessie Mae Hemphill's Discography One of people who sent money for Jessie's fundraiser asked whether she recorded anything except those songs on two compilations: 'Deep Blues," and "Giants of Country Blues Guitar." I know only about "Feelin' Good" album (only LP, no CD, as far as I know) on High Water in 1991. She received 1991 W.C. Handy Award for best Country Blues Album for it. Does anybody know whether High Water (or anybody else) have intention to release "Feelin Good" on CD? Any other recording by JMH? Ranko ps. There is a nice article on JMH and North Mississippi Hill Country blues in Living Blues (I think) December 1991 (the one with Roosevelt Booba Barnes on the cover. ========================================================================= Date: Tue, 8 Aug 1995 13:56:52 CDT From: L W Subject: POB Bash Info Since the tapes have gone out and I said something about having another POB Jam in August, I just wanted let everyone know that it has been canceled. We will have another (bigger & better) when the weather cools off. As most of you know we don't have a/c and this time of year would not be fun for ya'll. We're used to it, though. So stay tuned, it will happen again as soon as it cools off. My wife is dead- set on making it a FISH FRY....so it probally will be LW ========================================================================= Date: Tue, 8 Aug 1995 15:27:35 -0400 From: Peter Welch Subject: Re: Happy birthday Magic Slim According to Paul L Pearson: > > August 7 was Magic Slim's birthday. With help from Ranko (nice to meet > you, Ranko) I got tickets for the Bluesmore Fest in Cedar Rapids and got > to see a cool day of blues capping off with the Magic Man himself. > Awesome show!! > > BTW, I think it was Victor that was asking about a song that Slim does. > Something about 'walking down Broadway with my shoes in my hand.' > > The chorus for that song goes "Shame. Shame the way she treat poor m.e"c > > Anybody I.D. this song?? I love it. > > -- > > Paul L. "Pro" Pearson > President, Kurt Rambis Fan Club (unofficial) > Ames, IA Chapter > "Shame, Shame, Shame" originally done by Jimmy Reed, is that it? -Peter W. ========================================================================= Date: Tue, 8 Aug 1995 15:33:03 -0400 From: "William E. Forrester" Subject: Re: Drinkin Again On Tue, 8 Aug 1995, Kevin Boyle wrote: > Tom Havey asked who sang Drinkin Again - If memory serves it was Ry Cooder > on his CD "Slide Area".... Dinah Washington also had a semi-hit called Drinking Again. Bill Forrester ========================================================================= Date: Tue, 8 Aug 1995 14:52:02 -0500 From: Bruce Roberts Subject: Re: Promotion -- One fan's opinion > > 1) As far as making it big financially, I think you could do everything > > right and it would still come down to luck in the end. > > > In my opinion it has almost never come down to luck. It is nearly > always the result of hard work and perseverence. It only looks like a > lucky break from WAY outside. People who get "lucky breaks" work > very hard to put themselves in the path of that apparent luck. This > includes artists that you don't particularly care for, as well as the > ones you may respect. People who attribute success to luck, are the > ones who sit on their butt and wait for it to come along. YOU have > to go to IT. I have to agree with Paul (I guess I knew it would happen some day). I think it comes down to hard work. Being willing to play anywhere anytime. You have to get your name out there and show people what you can do. I still remember seeing SRV on "Solid Gold" back in the early 80's...hey you've got to do whatever it takes. Just look at Gary Primich's schedule. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Tue, 8 Aug 1995 15:57:39 +0000 From: "P.W. Fenton" Subject: Web Page Sneak Preview Anyone with a web browser can take a sneak peek at what will be the "Blues-L Shopping Center" by visiting: http://www.vistech.net/users/bluesell/members.html As you may know, myself, and Clint Pulley have been compiling a list of the commercially available music offerings of Blues-L members. It is not finished. I have more to add, and there could be a little more trickling in, but you can get an idea of what it's gonna look like. Perhaps when it's done, and if the proposed Blues-l website comes into being, we can move it over there. I will also have a link to it from my home page. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 8 Aug 1995 14:34:01 -0500 From: Richard Shurman Subject: Re: Happy birthday Magic Slim The mystery song is "Luv Sumbody" or some similar on-purpose misspelling by its writer Jimmy Dawkins. Dawkins recorded it for JSP; Little Johnny Christian had probably the most popular version on a local 45 (on Dawkins' Leric label if I remember right); Slim has a live version on his Live At B.L.U.E.S. LP (which is overdue for CD release IMHO); and Billy Flynn did a version (I think he played organ on it) on his Leavin' In The Morning CD. It's become a staple around Chicago. ========================================================================= Date: Tue, 8 Aug 1995 20:13:59 GMT From: Jim Jaszewski Subject: Re: Web Site for Blues Bands? Steve Leigh (leighs@MORAN.COM) wrote: : I wish there was a way for blues bands all over the country (world?) : to publish their own home page on the net for nothing, or next to : nothing. As we all know, we're all "starving artists" and it sure : would be nice if someone out there (a REAL blues promoter/advocate) : could offer this service. You know there're Blues societies in major cities... Toronto has a pretty active one (and it's easy for bluesmen/women to get on community radio). Just a suggestion... BTW: Are there any Blues lyrics sites on the Web?? -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Jim Jaszewski WWW homepage: ++++ stop the execution of Mumia Abu-Jamal ++++ ++++ if you agree copy these 3 sentences in your own sig ++++ ++++ more info: http://www.xs4all.nl/~tank/spg-l/sigaction.htm ++++ -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ========================================================================= Date: Tue, 8 Aug 1995 16:19:39 -0400 From: Garry Segal Subject: Re: Promotion -- One fan's opinion The only addage Ive ever heard about promoting anything that makes sense to me is " * LUCK * IS WHEN PREPARATION MEETS OPPORTUNITY " Should be stitched on the inside of every hopeful musicians underwear. :--) Garry and those darn Moodswingers BlueSngr@aol.com Band Page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Tue, 8 Aug 1995 16:34:58 -0400 From: Lynn Moncrief Subject: Re: Not Sloppy Drunk Anymore >Sam Myers (of Funderburgh fame) sings about not being sloppy >drunk anymore. >I was wondering if this is a trend: healthier blues lyrics! ---------------------------------------------------------------------- I hope not!!!!! :-D Lynn ========================================================================= Date: Tue, 8 Aug 1995 16:35:02 -0400 From: Lynn Moncrief Subject: Q: Size of blues market DK, Posting this to the list in case anyone else would like to know. Have you tried the magazine rack in Tower Records? That's where I got my copy. (I'm in California, but Tower Records probably has a store in Madison.) Failing that, the subscription address is: 1455 Chestnut Place Boulder, CO 80304-3153 Phone: 303-443-7245 Subscription rates are: $12.00/yr in the U.S.--$16.00/yr in Canada and $20.00/yr overseas BTW, this issue has some interesting articles pro and con the House of Blues clubs. Lynn >Now a plea - >Blues Access is a great magazine, but it seems hard to come by in >Madison (Wisconsin). If any Madison area Blues-ellers can suggest >a >place to get the magazine around here, please let me know >privately or on the list. (It has been spotted at Borders on University >Avenue, but they don't seem to have it all the time). >DK >kneifl@admin.uwex.edu ========================================================================= Date: Tue, 8 Aug 1995 16:31:18 -0400 From: Lynn Moncrief Subject: Re: WARNING - only slight blues >SLight blues content - My friend has been raving about this guy >Chris Anderson and his cd "Old Friends" I think it's more >blues-rock than blues. Anybody ever hear of him? >Recommendations? Opinions? >BU Bob, Hmmm. Don't know of Chris Anderson's "Old Friends" CD, but I have a greeeeat CD called "Old Friends" which is a reunion of Sunnyland Slim, Honeyboy Edwards, Kansas City Red, Big Walter Horton, and Floyd Jones recording together for the first (and only?) time, though they were friends since the '30s and 40s. It's industrial-strength, take-your-shoes-off blues all the way. Lynn ========================================================================= Date: Tue, 8 Aug 1995 15:50:08 -0500 From: Pat Seger Subject: tix for BBF (Duluth) Due to circumstances beyond my control I have a pair of tickets to the Bayfront Blues Festival in Duluth/Superior this weekend which I cannot use :( I would like to offer them to any Twin Cities bluezeller that was planning on attending. You can have them at the advance ticket price of $12 each (covers all three days). I also have a pair of tickets to the festival's Saturday night blues cruise with Honeyboy Edwards for $14 each. If anyone is interested please let me know. If I can't attend, at least I will know someone enjoyed the weekend ;) Red ========================================================================= Date: Tue, 8 Aug 1995 16:01:52 -0500 From: Michael Baseflug Subject: POB Tapes status Sorry for posting to the list, but its the best way to get in touch with the 40 of ya who requested copies of the POB tapes. I sent a batch of 12 out last week. It was the first batch I sent. I told some of you that your copy would be sent sooner, sorry for the delay. it's taken longer than I thought to get them ready. If you haven't received your copy yet, don't fret, I'm getting them out as fast as I can. I will get everyone who requested their copy. Its not too late for anyone else to request a copy. Email me with POB somewhere in the subject line if you're interested. Its 100% free, and you get 2 tapes commemorating a mighty good time and good blues. later, bloozers -- mike B (mbaseflu@ftw.mot.com) i will light the match this morning, so i won't be alone watch as she lies silent, 'cause soon light will be gone oh i will stand, arms outstretched, pretend i'm free to roam. oh, i will make my way through one more day ========================================================================= Date: Tue, 8 Aug 1995 16:20:00 CDT From: Bonnie Kalmbach Subject: Johnnie Billington Johnnie Billington, in addition to being a fine and dedicated educator of young blues musicians - is an excellent, excellent guitarist in his own right. He has two cuts on the tape "Clarkdale, Missisippi - Coahoma the Blues" which is on sale at the Delta Blues Museum. Most of the musicians at the Sunflower Blues Festival are on that anthology. Unfortunately,it is not out yet on CD. Jim O'Neal is still writing the liner notes - which seem to be turning into a book on the history of the Clarksdale blues musicians - but it should be a fascinating read when it appears. I'm not surprized that LW would want to collect equipment for Mr. Johnnie's young musicians - he and Brenda are two of the nicest people you're ever likely to meet. And I met a number of great folk from Blues-L at the Sunflower Festival - and are we ever a bunch of interesting characters! I'm really sorry I didn't meet Dick Waterman but I'll probabllly catch up to him later. Mebbe I'll add a little more on Sunflower after a bit. What a great little festival! -Bonnie, who returned home to Wisconsin with some great memories, some pretty good CD's and a cat! ========================================================================= Date: Tue, 8 Aug 1995 14:49:16 PDT From: Eric LeBlanc-CISTI Subject: LOOKING FOR A JOB AT SONY MUSIC? I just noticed this on the SONY WEB SITE . If I was only younger :-) "UNCLE" eRIC Do you like HTML, PERL, UNIX and Music? Then do we have a job for you! Sony Music is looking for a Webmaster. Potential candidates must have the following qualifications: * Extensive experience with HTML, PERL, UNIX commands & utilities * Knowledge of C++ is a plus * Experience with both Windows and Macintosh * High motivation, imagination and creativity required Job functions include: * Overseeing all HTML production efforts - both internal and external * Supervising internal HTML developers * Hands-on HTML 'fine tuning' and HTML creation * Coordinating Web projects with label representatives * Coding cgi-bin scripts (PERL, C++) * Compiling usage statistics for management * The position is located in midtown Manhattan, NYC * Sony Music is an equal opportunity employer * Salary is commensurate with experience If this sounds like the job for you, send your resume to: scott_lawrence@sonymusic.com Mail it to: Scott Lawrence Sony Music Online 550 Madison Avenue New York, NY 10022 Or fax it to: 212-833-7705 ========================================================================= Date: Tue, 8 Aug 1995 17:57:15 -0400 From: Dick Waterman Subject: Clarksdale Check Presentation Film has been developed from Clarksdale and the picture of ol' LW presenting Blues Museum curator John Ruskey with the check is just fine. I have sent a copy over to 'Living Blues' to accompany the notes that MKAldin are including for the next issue. I'm still too newbie to understand this scanner stuff but I will make the picture available. Not only was LW giving away money but he was wearing his Blues-L shirt while doing it! On a secondary issue, John Ruskey agreed with my earlier post that anyone contributing anything to Johnnie Billington through the Blues Museum is entitled to a full deduction because of their tax exempt status. He indicated that any equipment would be greatly appreciated but their real 'dream' is to have their own small PA system to take to gigs and save continual rentals costs. dick waterman ========================================================================= Date: Tue, 8 Aug 1995 15:31:31 -0700 From: Bob Cummings Subject: Internet Blues sites? I'm doing a research project on locating Blues sites on the Internet. If you know of any Blues homepages or sites that would have information of interest to another blues fan or artist please e-mail me. After my project is complete I will share this information by posting here and/or making available through a homepage or my internet provider. Thanks in advance, Bob Cummings Clark College Vancouver, Wa. U.S.A. cummings@clark.edu ========================================================================= Date: Tue, 8 Aug 1995 16:20:45 -0700 From: Jennifer Meserve Subject: Re: songs most commonly "covered" live > >What covers are YOU hearing? I hear Stormy Monday virtually every time I go out. ========================================================================= Date: Tue, 8 Aug 1995 19:33:56 -0400 From: Tom Grady Subject: Re: Re[2]: The Band's Blues Roots In a message dated 95-08-08 11:32:54 EDT, spidle@FISH.WASHINGTON.EDU (Adrian Spidle) writes: > >Can someone post bibliographic info on this? Date, publisher, for >instance... The hardcover edition of THIS WHEEL'S ON FIRE was published by Morrow in 1993; the paperback just came out a month ago. A more reliable but less lively book is ACROSS THE GREAT DIVIDE, by Barney Hoskyns, published by Hyperion in 1993; a paperback of that book was also just released. ========================================================================= Date: Tue, 8 Aug 1995 19:49:32 -0500 From: Patti Bowman Subject: Blues Access in WI >>Now a plea - >>Blues Access is a great magazine, but it seems hard to come by in >>Madison (Wisconsin). If any Madison area Blues-ellers can suggest >a >>place to get the magazine around here, please let me know >privately or on >the list. (It has been spotted at Borders on University >Avenue, but they >don't seem to have it all the time). > >>DK Am I missing something? Have you tried to SUBSCRIBE to the mag. Just a thought ;-> Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 8 Aug 1995 20:29:28 -0400 From: craig o'donnell Subject: Re: Worn out covers ...> What other songs do you all seem to hear EVERY weekend, no matter ...> who is playing? I dunno bout every weekend but I could do without STORMY MONDAY... --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Wed, 9 Aug 1995 10:25:42 +1000 From: Richard Holliday Subject: Re: Little Walter - Otis Rush - Live in Chicago Cindi Plaisance wrote: >I've got a Little Walter/Otis Rush recording called "Live in Chicago' >on Intermedia Records (QS 5003) which has absolutely no dates anywhere. >>From the album jacket cover, I'd guess it could have been anytime >in the 60s or even early 70s... anyone have a clue when this might have >been recorded? More to the point, is it any good, Cindi? Richard R.Holliday "One good thing about music, "When it hits, you feel no pain". R.N. Marley ========================================================================= Date: Tue, 8 Aug 1995 20:58:36 -0400 From: Bkg agent Subject: Re: Covers Those numbers that were named previously are mild compared to such worn out ditties as: Mustang Sally 634-5789 Knock on Wood etc, etc. Janice L. Bays Nickeltune Music, Inc. ========================================================================= Date: Wed, 9 Aug 1995 11:16:18 +1000 From: Greg Heness Subject: STAX BLUES BROTHERS All this talk of the Blues Brothers has made me get out and play a cd well worth a listen, and to my ears, presents a lot of a lot of very good blues.(Dare I say, much better than the Blues Brothers of recent discussion). This is the Stax Blues Brothers cd. Mighty Joe Hicks, The Jook, Albert King, Steve Cropper, Pop Staples, Jimmy McCracklin, Little Milton, Little Sonny and Johnnie Taylor. One of the highlights for me is a trio of Albert King, Steve Cropper and Pop Staples doing Tupelo (Parts 1&2). For anyone who hasn't heard it I strongly suggest you get a listen in. Greg. ========================================================================= Date: Tue, 8 Aug 1995 21:25:30 -0400 From: Rosebud Agency Subject: Robert Cray Itinerary The Robert Cray Band is now on tour in support of their latest release, Some Rainy Morning. Produced by Robert Cray, this is their ninth recording and first ever without horns. The band is also touring as a four-piece, putting more emphasis on Cray's guitar and vocals as well as Jimmy Pugh's keyboard playing. The band supported the first two weeks of The Rolling Stones' Europe tour in June followed by five more weeks on their own throughout Europe. The U.S. tour began July 29 with a weekend of sold-out shows in Salt Lake City and Oakville, California. The three-time Grammy winner continues on the road for the balance of the year and into 1996. Tour dates are as follows: 8/5/95-Austin TX-Sixth Street Music & Heritage Festival 8/6/95-Dallas TX-Starplex Amph 8/8/95-New York NY-Irving Plaza 8/9/95-New York NY-Irving Plaza 8/11/95-Eau Claire WI-The State Regional Arts Centre 8/12/95-Duluth MN-Bayfront Blues Festival 8/14/95-Chicago IL-Skyline Stage / Navy Pier 8/15/95-Chicago IL-Skyline Stage / Navy Pier 8/16/95-Kalamazoo MI-Kalamazoo State Thtr. 8/18/95-Indianapolis IN-The Vogue 8/19/95-Rochester MI-Meadowbrook Music Festival 8/23/95-Portland ME-State Theatre 8/24/95-Boston MA-Harborlights 8/25/95-Latham NY-Starlite Music Theatre 8/26/95-Lincoln NH-Loon Mountain 8/28/95-Devon PA-Valley Forge Music Fair 8/29/95-Westbury NY-Westbury Music Fair 8/31/95-Eugene OR-Cuthbert Amphitheatre 9/1/95-Portland OR-Rose Garden Amphitheater 9/2/95-Seattle WA-Bumbershoot 9/3/95-Jacksonville OR-Britt Festival 9/10/95-Washington DC-Kennedy Center Open House 9/11/95-Providence RI-Lupo's Heartbreak Hotel 9/12/95-Rochester NY-Water Street Music Hall 9/14/95-N. Tonawanda NY-Melody Fair 9/15/95-Toronto ONT-Massey Hall 9/16/95-Montreal QUE-Le Spectrum de Montreal 9/17/95-Burlington VT-Flynn Theatre 9/19/95-New Haven CT-Toad's Place 9/20/95-Binghamton NY-Broome County Forum Thtr 9/22/95-Columbus OH-Brewery District Festival 9/23/95-Cincinatti OH-Bogart's 10/3/95-Saratoga CA-Mountain Winery 10/4/95-Saratoga CA-Mountain Winery 10/7/95-Universal City CA-Universal Amphitheatre 10/8/95-Costa Mesa CA-Pacific Amphitheatre 10/13/95-Wichita KS-The Cotillion 10/14/95-Lawrence KS-Liberty Hall 10/15/95-St. Louis MO-American Theatre 10/17/95-Columbia MO-Blue Note 10/18/95-Peoria IL-Madison Theatre 10/20/95- Madison WI-Madison Union Thtr. 10/21/95- Rockford IL-Coronado Theatre 10/22/95-Louisville KY-Palace Theatre 10/24/95-Nashville TN-328 Performance Hall 10/25/95-Chattanooga TN-The Tivoli Theatre 10/27/95-Winston-Salem NC-Lawrence Joel Coliseum 10/28/95-Norfolk VA-The Boathouse 10/31/95-Charlotte NC-N.C. Blumenthal Performing Arts Center 11/1/95-Knoxville TN-Bijou Theatre 11/3/95-Atlanta GA-Center Stage 11/5/95-Birmingham AL-Five Points Music Hall 11/7/95-St. Petersburg FL-Jannus Landing 11/8/95-Ft. Meyers FL-Barbara Mann Performing Arts Hall 11/9/95-West Palm Beach FL-Heritage Fest. 11/10/95-Cocoa Beach FL-Brevard County Fair 11/28/95-Bakersfield CA-Fox Theatre 11/29/95-Fresno CA-Tower Theatre 12/1/95-San Francisco CA-Warfield Theatre ========================================================================= Date: Tue, 8 Aug 1995 21:14:23 -0600 From: Don O Subject: Q: SIZE OF BLUES MARKET > From: Jim Foltz > I was just curios, how large, in terms of numbers of people, is > the market for blues recordings? In the US or worldwide? This is an interesting question to which, of course, there is no correct answer. People are into the blues at different levels and are certainly into many different types of blues. The market for a Junior Kimbrough CD would probably be different from a Stevie Ray CD. There is some overlap, but many people that would like one of those two have no interest in the other. So right off the market depends on what kind of blues you are talking about. A Charlie Patton re-issue will never sell as many as a new Eric Clapton. Sad but true. Record labels, especially blues labels, are notoriously tight fisted with sales figures. Anytime I see one in print I always find it interesting. A couple of years ago Bob Koester in an interview stated that the best selling blues album on Delmark, Jr Well's Hoodoo Man Blues, had sold about 60,000 units to date. Bruce Iglauer in a recent interview stated his best selling unit is the 20th Anniversary collection which had sold about 250,000 units. I believe the Robert Johnson box has sold over 500,000. Now remember, these are alleged total sales over a number of years. A way to judge the really hardcore group is to look at the PAID subscription base of the major blues magazines. You have to be careful about some of the numbers that are slung around because they are sometimes based on reader polls that tell them that 3.72354 people read each issue. They multiply that times the number distributed and claim that as their readership. Last time I talked to Living Blues about this subject, which was a couple of years ago, I was told their PAID subscription base was about 8,000 with additional newsstand sales of about 7,000. That's 15,000 worldwide per issue. I was amazed it was that small. Blues Access at the same time had a PAID subscriber base of about 2,500. Maybe Bob Vorel or Tony Burke will share their numbers with us as well. I think the vast majority of blues fans are into it in a very casual way. They may go to a couple of club shows a year and buy only one or two blues CDs a year. Most people are just too busy with their job, family, and life in general to have the sickness as bad as us folks that subscribe to a daily blues user group. Don O. ========================================================================= Date: Tue, 8 Aug 1995 19:24:09 PDT From: Berry Kercheval Subject: Re: computer blues >>>>> "Jeff" == Jeff Seale writes: In article Jeff Seale writes: Jeff> This showed up as a "message of the day" when I logged in Jeff> after lunch. Pretty weak! Jeff> I've got the : Segmentation violation -- Core dumped blues. This was written by a friend of mine when we were both working at Zehntel, a manufacturer of printed circuit board testers. We had just gotten our first Unix machine -- a PDP-11/70 running PWB 1.0. If you remember what that is you're as old as I am.... He's a minister now. I'm still a programmer. I dunno who's better off. --berry ("Woke up this morning, and I saw the net was down....") -- Berry Kercheval :: Xerox Palo Alto Research Center -- The Information Superhighway Roadie ========================================================================= Date: Tue, 8 Aug 1995 22:28:35 -0400 From: craig o'donnell Subject: Re: Worn out covers ...I don't play Stromy Monday. Mmmm. Strommy Monday? There's a good blues song in there about everyone's favorite "Dixiecrat". Y'know, it's not that covers bother me. They're sort of part & parcel of the blues. it's people who play covers as in learning Clapton note-for-note. THAT peeves me. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Tue, 8 Aug 1995 22:32:13 -0400 From: Avraham Teitz Subject: Re: Promotion -- One fan's opinion P.W. Fenton quoted RJ Bauman, saying: >On 8 Aug 95, R. J. Bauman had this to say... > > 1) As far as making it big financially, I think you could do everything > right and it would still come down to luck in the end. > Then P.W. wrote: >In my opinion it has almost never come down to luck. It is nearly >always the result of hard work and perseverence. It only looks like a >lucky break from WAY outside. People who get "lucky breaks" work >very hard to put themselves in the path of that apparent luck. This >includes artists that you don't particularly care for, as well as the >ones you may respect. People who attribute success to luck, are the >ones who sit on their butt and wait for it to come along. YOU have >to go to IT. IMHO luck enters into it *after* the hard work and perseverence. In other words, you work your butt off, and then hope that you get a lucky break that will allow you to show all that hard work. There are many many players who have worked hard and gone nowhere, due to problems completly beyond their control. One must work one's hardest and then hope for the best. OTOH, I know of no-one who didn't work and went far. Like one talmudic proverb says: "If a person says he didn't work hard, yet he acheived his goal, he is not believed, however, if he says he worked hard *and* he achieved his goal, he is believed" Thus, both P.W. and RJ can both be correct, as follows: PW agrees with RJ, that luck belongs in the equation, however this occurs only after lotsa hard work. RJ on the other hand could hold like PW that luck alone is insufficient. (I couldn't help spinning a little talmudic logic of my own). BTW P.W., I checked out your web page - cool! I tried to sign the guest book, but the program bombed. Avi Teitz ATeitz@aol.com ========================================================================= Date: Tue, 8 Aug 1995 22:32:36 -0400 From: Lynn Moncrief Subject: Re: STAX BLUES BROTHERS >All this talk of the Blues Brothers has made me get out and play a >cd well worth a listen, and to my ears, presents a lot of a lot of very >good blues.(Dare I say, much better than the Blues Brothers of >recent discussion). This is the Stax Blues Brothers cd. Mighty Joe >Hicks, The Jook, Albert King, Steve Cropper, Pop Staples, Jimmy >McCracklin, Little Milton, Little Sonny and Johnnie Taylor. One of >the highlights for me is a trio of Albert King, Steve Cropper and Pop >Staples doing Tupelo (Parts 1&2). >For anyone who hasn't heard it I strongly suggest you get a listen >in. >Greg. Greg, Now see what you've gone and done?! I was going to get back to work after reading these messages and now I'm jammin' to Stax Blues Bros. on the stereo, now that you reminded me of it! ;-D BTW, "Tupelo Pts. 1& 2" is what sent me on a months-long quest for this CD after hearing it on the radio. And speaking of The Jook, whose "Slow and Easy" is playing at this instant, I strongly recommend checking out his "Chill Out" CD (on which he too happens to do "Tupelo"). The title cut (with Carlos Santana backing him up) and the "Serves Me Right to Suffer/Syndicator medley" (with Van Morrison) are especially awesome on this fantastic CD. Lynn ========================================================================= Date: Wed, 9 Aug 1995 23:17:53 GMT From: Andrew Gregg Subject: Re: songs most commonly "covered" live In article <950808112454_133263093@aol.com>, Tom Grady wrote: >In a message dated 95-08-08 08:57:12 EDT, Steve.Levine@CORP.WRGRACE.COM >(Steve Levine) writes: > >>+>What covers are YOU hearing? Every person who's ever picked up a slide in a band - "Rollin' & Tumblin' /Dust my broom" ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Tue, 8 Aug 1995 23:26:30 -0400 From: Jacquelin Katz Subject: Re: Re[2]: The Band's Blues Roots I remember some disputes concerning this book when it first came out. Are there any others you're aware of? Do you know which date/session info is contested and by whom? Just curious, thanks. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Tue, 8 Aug 1995, Munson, Bill wrote: > >Great book by Levon Helm about the Band called This Wheels on Fire. Well > >written and great stories. Plenty of blues encounters and amazing behind the > >scenes info. > > Yes, but don't trust any dates or session info. Not all wrong, but certainly > not all right. > ========================================================================= Date: Tue, 8 Aug 1995 23:29:34 -0400 From: Jacquelin Katz Subject: Re: Most covered songs On Tue, 8 Aug 1995, Willy Evans wrote: > > I have one club where people actually sing along with Sweet Home Chicago! I thought everybody did everywhere?! Jackie Katz jkatz@mcls.rochester.lib.ny.us ========================================================================= Date: Tue, 8 Aug 1995 22:34:08 -0500 From: "Alice E. Brown" Subject: Springfield Blues Society ? Is there someone on the list from the blues society in the Springfield, Mo. area ? Members of the Blue Star Blues Society in Northwest Arkansas would like to make contact with someone in Springfield. Alice ========================================================================= Date: Tue, 8 Aug 1995 23:34:06 -0400 From: Jacquelin Katz Subject: Re: Finally able to post. Car salesmen may be an unfortunate choice for your analogy Jackie Katz jkatz@mcls.rochester.lib.ny.us On Tue, 8 Aug 1995, P.W. Fenton wrote: > On 8 Aug 95, Abe W. Mathews had this to say... > > > Are all bar owners slime? I don't mean to offend if you own a bar, but > > every owner of manager I've met is a complete head case. > > Do ALL bands think like that? > > Basically, as far as a club is concerned, you, or any other band for > that matter, have two concerns - playing music and getting paid. > The club's owner, or manager, has many hundreds of concerns that > have nothing to do with bands. Just because their focus is not on > you doesn't make them slime. Put yourself in the club owner's shoes. > > If you sold cars for a living would you think everyone who didn't buy > one from you was "slime"? > > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.vistech.net/users/bluesell/ > ========================================================================= Date: Wed, 9 Aug 1995 13:36:49 +1000 From: Daniel Bruce Subject: Re: STAX BLUES BROTHERS > > >All this talk of the Blues Brothers has made me get out and play a >cd well > worth a listen, and to my ears, presents a lot of a lot of very >good > blues.(Dare I say, much better than the Blues Brothers of >recent > discussion). This is the Stax Blues Brothers cd. Mighty Joe >Hicks, The Jook, > Albert King, Steve Cropper, Pop Staples, Jimmy >McCracklin, Little Milton, > Little Sonny and Johnnie Taylor. One of >the highlights for me is a trio of > Albert King, Steve Cropper and Pop >Staples doing Tupelo (Parts 1&2). > > >For anyone who hasn't heard it I strongly suggest you get a listen >in. > > >Greg. > > > Greg, > > Now see what you've gone and done?! I was going to get back to work after > reading these messages and now I'm jammin' to Stax Blues Bros. on the stereo, > now that you reminded me of it! ;-D > > BTW, "Tupelo Pts. 1& 2" is what sent me on a months-long quest for this CD > after hearing it on the radio. > > And speaking of The Jook, whose "Slow and Easy" is playing at this instant, I > strongly recommend checking out his "Chill Out" CD (on which he too happens > to do "Tupelo"). The title cut (with Carlos Santana backing him up) and the > "Serves Me Right to Suffer/Syndicator medley" (with Van Morrison) are > especially awesome on this fantastic CD. > > Lynn > Incidentaly that song is actually from an album called 'Jammed Together' which is avaialble on CD from Stax. Just thought you might like to know -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Wed, 9 Aug 1995 00:03:25 -0400 From: Jacquelin Katz Subject: Re: Re[2]: The Band's Blues Roots The book is "This wheel's on fire and the story of The Band" by Levon Helm and Stephen Davis. William Morrow and Co., 1993. ISBN: 0-688-10906-3; 0-688-14070-X (pap.). I got the paperback for $12.00. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Tue, 8 Aug 1995, Adrian Spidle wrote: > Can someone post bibliographic info on this? Date, publisher, for > instance... > > Thanks, > > Adrian Spidle > > On Tue, 8 Aug 1995, Munson, Bill wrote: > > > >Great book by Levon Helm about the Band called This Wheels on Fire. Well > > >written and great stories. Plenty of blues encounters and amazing behind the > > >scenes info. > > > > Yes, but don't trust any dates or session info. Not all wrong, but certainly > > not all right. > > > > > ========================================================================= Date: Tue, 8 Aug 1995 23:19:07 PDT From: "R. J. Bauman" Subject: Re: Q: SIZE OF BLUES MARKET ==============I think the vast majority of blues fans are into it in a very casual way. They may go to a couple of club shows a year and buy only one or two blues CDs a year. Most people are just too busy with their job, family, and life in general to have the sickness as bad as us folks that subscribe to a daily blues user group.========================== May I add my first AMEN post to that. If there was a 12 step program to get off this ride, I'm not sure I'd take it, though. I'm nowhere near burned out!!! I haven't even got all the CD's yet!!! RJ Bauman ========================================================================= Date: Wed, 9 Aug 1995 14:54:42 +1000 From: Greg Heness Subject: re Stax Blues Brothers- Jook(?) Of course I meant "The Hook" not "The Jook". Must do those typing lessons! Greg ========================================================================= Date: Wed, 9 Aug 1995 00:58:42 -0400 From: Avraham Teitz Subject: Re: Promotion Regarding how to promote a blues band: 1. Make sure the band is worth the effort - this is going to be a long haul. All short timers/ego trippers/hangers-on/party-ers have to check out *now*. If you're going to spend the time (and since time is the currency of life, this is very precious stuff) don't do it unless you want to do it right (or unless you're the unscrupulous kind that wants to leach off of/party at the expense of the uninformed/naive dreamers) . The band must be great - either emotionally and/or technically on stage and on record. Hone and refine the craft of performing.Weed out the psychologically/musically/chemically unfit from the band. They will only screw things up later for everyone. Shape up or ship out. 2. Get great songs, with strongly identifiable lyrics that the intended audience can relate to, with great (i.e hummable) melodies. The songs should be lived in and written first hand, i.e., no bayou/alligators/swamp stuff from city boys. 3. Seize every opportunity (with both hands...) to expose people to this wonderful music. Do whatever it takes, (i.e. I was SRV's roadie and he laid his hands on me), but be truthful. If the band has the goods, and they persevere, they'll be heard, though it might take 10-20 years for it to happen. If enough people like the music, you'll be economically viable. If they don't, there's always day jobs. 4. Love what you do. It's hard enough keeping the faith when you've got religion, but if you're faking it, you won't have the endurance to survive. P.S. regarding the "blues ghetto" - if you play straight ahead blues, this is where you'll be, since the Madonna/grunge/Gloria Estefan crowd doesn't want to be in this neighborhood, and therefore you'll be pushed to the side. You have to be able to distinguish yourself in the ghetto. Avi Teitz (getting of my soap box) ATeitz@aol.com ========================================================================= Date: Wed, 9 Aug 1995 01:20:04 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Blues Brothers - defending _____ Reply Separator _____ Author: INTERNET:j.mac @ METRONET.COM@CISHUB Received: 08/08/95 12:48:00 PM Subject: Re: Blues Brothers - defending > Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM writes: > Now, to be fair, The Blues Brothers served to introduce a lot of new fans > in the late 70s to blues, myself included. A lot of us, our first album > was "Briefcase Full Of Blues," and we graduated from that to find the > original takes of their tracks, by Fred MacDowell, Junior Wells, etc. > And it gave Cab Calloway, John Lee Hooker and the old Stax guys some > really good exposure at a time (1979-1982) when there didn't seem to be a > lot going on in blues -- pre-SRV, pre-Robert Cray, etc. <> I'm not the only one -- when I was in college there were these two guys I knew who knew every line from the film, wore the hats and the shades, and more importantly, sought out all the music! <> There are a couple of minor things that they didn't quite go back far enough to seek out the roots, but by and large they were very good about crediting the original artists. I've gotta say that there were a few things I never much liked but were on the album and were popular, like The Chips' "Runner Biscuit." There were a lot of places in the movie where there was really, really good music playing that wasn't credited in the credits or in the soundtrack album, like the original Louis Jordan recording of "Let The Good Times Roll" and, except for a quick shot of the 8-track playing in the Bluesmobile, the take of Sam & Dave doing "Soothe Me." <> Admittedly a pretty POWERFUL cover band, and one, thanks to the involvement of the Stax boys, has more than its share of credentials. Paul Shaffer never did anything for me on the records, but for that matter neither did the piano player in the movie, Murphy Dunne. Scott ========================================================================= Date: Wed, 9 Aug 1995 01:20:04 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Delta blues _____ Reply Separator _____ Author: INTERNET:Susie_Q @ TUNANET.COM@CISHUB Received: 08/08/95 07:42:00 AM Subject: Delta blues Could someone post a list of reissues for these Delta/Country blues artists: <> <> <> <> <> <> I've seen a CD titled Son House: The Man Who Taught Robert Johnson, or something like that. <> Several Bo Carter and Mississippi Sheiks tracks appear on a 2-CD reissue on Jass called "Them Nasty Blues: a 2-disc Copulation Compilation" that was done a couple years ago. Somewhere I have a catalog number (I have the set and it's got some pretty obscure lowdown blues) Willie Brown Tommy Johnson Ishman Bracey Mississippi Fred McDowell <> More than I can count -- I also have a number of them on LPs done in the 1960s Scott ========================================================================= Date: Wed, 9 Aug 1995 01:36:53 -0400 From: craig o'donnell Subject: Carry an Okie! ...C) I would not compare live Karaoke to live bands any sooner than I would ...compare live bands to any other form of bar room/niteclub entertainment like ...pool tables and video games. Sensible advice. The thread's been funny but then again, some of you may remember Rick Dee's "Disco Duck" ... Karaoke in nihongo means literally "empty orchestra" or more like "music minus one". Japanese (mainly guys, I guess) get drunk & sing. The songwriters get royalties on the karaoke music discs, so wot the hell. My personal theory is that, since bars in Japanese cities are often very small, there's no way a live band could fit anyway. --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Wed, 9 Aug 1995 01:36:57 -0400 From: craig o'donnell Subject: Luck? ... People who attribute success to luck, are the ...ones who sit on their butt and wait for it to come along. YOU have ...to go to IT. Ohhh, PW, pullllease! It's a buyers' market for record companies and clubs -- musicians out there often NEED TO PLAY and get sucked into bad deals. So on the one hand it's basic psychology, on another it's a distorted marketplace, on hand #3 we have Hard Work and on hand #4 there's ... luck. Or if you prefer right place/right time. And I think hard work is a relative term. How hard have, say, Paula Abdul or LaToya Jackson worked? --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Wed, 9 Aug 1995 01:14:12 -0600 From: Don O Subject: SHAWN PITTMAN > Anyone else heard of him, have thoughts, etc? His current band is called The Icemen and also features Paul Size on guitar. Two very good young players. Paul previously had national exposure with the Red Devils (a band I did not like at all, but I still enjoyed Paul's playing). If this band sticks together they have the potential to hit the national scene sort of like the T-Birds. The latest rumor is they have a fat cat backer who is paying for a demo CD which will be shopped through Pauls's contacts to major labels. I suspect you won't be seeing them at the Greenville Bar and Grill for long. Don O. ========================================================================= Date: Wed, 9 Aug 1995 01:14:28 -0600 From: Don O Subject: NOT SLOPPY DRUNK ANYMORE > Sam Myers (of Funderburgh fame) sings about not being sloppy drunk > anymore. I was wondering if this is a trend: healthier blues lyrics! Sweet Sam does not always practice what he sings. Quote: "Bartender! One more in the key of Whis, if you please!" Don O. ========================================================================= Date: Wed, 9 Aug 1995 01:11:00 EST From: KERRY <0002013806@BOB.COM> Subject: KID JONNY LANG Hello I am new to the blues group & am wondering if there has been any talk about the 14 year old phenom KID JONNY LANG? Just to inform those that don't know, he is a great talent from of all places Fargo North Dakota. The story goes that about 13 months ago he picked up a strat and has been going crazy ever since. The name of his group is Kid Jonny Lang and the Big Bang. There has been a segment on the local news here plus a lengthy article in the Star Tribune news paper. Supposedly he has moved to Mpls. St. Paul to be closer to an active blues market and is on the verge of the big time. From what I've seen and heard he is a natural player. They pack them in wherever they play & the women love him. K-MAN 201-3806@BOB.COM ========================================================================= Date: Wed, 9 Aug 1995 03:48:40 -0400 From: DeniseTapp Subject: Re: Muddy's House I had the good fortune to visit Muddy's house about an hour before sunset last Saturday, during the Sunflower Fest. The remains of the house sit on a carefully manicured pecan grove, to the west of which is a beautiful and enormous cotton field. Near sunset, the steam rises above the cotton plants creating a mist which gives the spot a special charm. My friends and I were delighted to be joined on our pilgrimage by Charlie and Henrietta Musselwhite and a friend of theirs visiting from Brasil. We had a great visit together, shared the beauty of the surroundings and took lots of photos of the once-strong cedar shack and its backdrop. No true lover of the blues would ever want to deface this fragile, yet enduring monument, as LW has admitted. And no true lover of the blues should miss an opportunity to spend a few quiet moments at this beautiful spot. Denise ========================================================================= Date: Wed, 9 Aug 1995 09:42:21 EZT From: Jean-Pierre Urbain Subject: Jessie Mae Hemphill Hi, I'm back from hollidays .... fine to read Blues-L again. By reading yesterday's mail, I'd like to add that in addition to hear very good High Water LP, her very first Lp entitled "SHE WOLF" was published in Europe somewhere in the early 80's on VOGUE (France) V513501 and is (IMO) as good as her High Water LP. Recordings made by David Evans. If someone wants more detail, I can check home. Hard to find even here in Europe, but definitly worth looking for. Jean-Pierre Urbain P.S. In addition to her High Water Lp she also had some (I don't remember how many,2?, have to check at home) 45's on Highwater and if my memory works well she is also present on a Black and Blue anthology (Entitled Mississippi Blues ?) recorded while Evans was touring in Europe with her, James Son Thomas and hezekiah and the Houserockers .. in the mid 80's... She also appeared in a very nice film/documentary done by Marguerite Yourcenar in the early 80's. ========================================================================= Date: Wed, 9 Aug 1995 09:59:59 +0100 From: Bo Carlsson Subject: Re: Happy birthday Magic Slim >The mystery song is "Luv Sumbody" or some similar on-purpose misspelling >by its writer Jimmy Dawkins. Dawkins recorded it for JSP; Little Johnny >Christian had probably the most popular version on a local 45 (on >Dawkins' Leric label if I remember right); Slim has a live version on his >Live At B.L.U.E.S. LP (which is overdue for CD release IMHO); and Billy >Flynn did a version (I think he played organ on it) on his Leavin' In The >Morning CD. It's become a staple around Chicago. The Antones houseband (silent partners) also recorded it and so did yours truly after learning the song on tour with Dawkins. Mr Bo Carlsson ========================================================================= Date: Wed, 9 Aug 1995 11:06:06 +0000 From: Pat Hertel Subject: Re: Dave Hole (fwd) Here's a quote from the interview I was referring to which certainly gives the impression that "The Plumber" is NOT on Alligator. Thanks to Pat Beaudry. Take note of his showtime in case you're in the Ottawa area. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/8/95 6:57 AM] "Wednesday's worse..." ---------- Forwarded message ---------- Date: Tue, 8 Aug 1995 17:32:40 -0400 From: Patrick Beaudry To: phertel@cmc.doe.ca Subject: Re: Dave Hole He said and I quote: "A missing album there, one that came out called The Plumber that could possibly be available here and there on some kind of import if people wanted to be radical about it and scouring for it but not really... there are a few disk? tapes as most bands do, there's 1 or 2 of them floating around but not on any particular label..." -- If you don't like the blues, you've got a hole in your soul... PAT BEAUDRY'S MIDWEEK BLUES / CHUO-FM89.1 / WEDNESDAYS AT 8 p.m. Ottawa, Ontario, Canada ========================================================================= Date: Wed, 9 Aug 1995 07:33:49 EDT From: Joseph Leichter Subject: worst use of a 12 bar Just a heard a commercial whose soundtrack is a remake of James Brown's "Feel So Good". It was a laxative commercial..can this be topped? ========================================================================= Date: Wed, 9 Aug 1995 07:40:19 +0000 From: "P.W. Fenton" Subject: Calling Cathi Norton "Cathi Norton... please pick up the white courtesy telephone" But seriously... I have a bad e-mail address for Cathi, and I need a good one. I have "canorton@poisson" which ain't even an address. There is a "poisson.com" but they have never heard of Cathi. I'm stuck. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 9 Aug 1995 08:05:33 -0400 From: RLaMour Subject: Re: Tracy Nelson - I Feel So Good Catch Tracy Nelson at Fleetwood's in D.C. tonight w/ Kenny Neil at their first anniversary party. Tracy will be in appearing in Denver August 25 w/ Leo Kotke at the Performing Arts Complex. Other Tracy Nelson dates: Sept. 3 in Seattle at the Bumbershoot Festival. Sept 8 at Jack's Sugar Shack in Hollywood and Sept 10 in San Diego at the Street Scene. I book Tracy @ RNA Booking (512) 416-1300. She doesn't do many shows...so catch her when you can! She's great. E-mail for me for itinerary. ========================================================================= Date: Wed, 9 Aug 1995 08:03:00 EDT From: edward c liu Subject: Re: Strangest Slides Howdy all, This thread came up a while ago and I saved the responses from it at the time. The summary list is: - Freddy Cisneros (aka Little Junior One Hnad) has used a rubber chicken and a phallic vibrator to slide - A friend of BLUES-L's Shannon O'Connor uses an empty shot glass, beer and hot-sauce bottles (sometimes empty), large glasses of water, and: "when he came and stood beside where I was sitting, turned the guitar face down, and slide the neck of the guitar against a brass pipe railing I was leaning on." - Kenny Neal has been known to use a microphone stand - Dave Inglar used a copy of Steven Calt's book on Skip james - Big Al (of Big All & the Heavyweights) played slide with a lady in the audiences' shoe -- while the lady was still in it - Steve Miller used a magnetized piece of metal Thanks to Dick Shurman, Shannon O'Connor, Steve Levine, Don O., John Davies, and Cathi Norton for the assorted slide stories listed above. Favorite humor slide story, pulled from BLUES-L: when Elmore James was inducted into some "Hall of Fame" type place, Robbie Robertson of the Band was selected to give the speech. Robbie said that in younger days, he practiced for nearly 6 months to try and get that "Elmore" sound before someone finally told him that Elmore played with a slide. I can picture a young Robbie Robertson standing there dumbfounded, saying, "He....plays....with....a SLIDE...." -- Ed Edward C. Liu | "You people veer dangerously close to sanity. edwick@cc.bellcore.com | But fortunately, you never quite make it all | the way there." -- H. Ellison The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 9 Aug 1995 08:21:17 -0400 From: "Abe W. Mathews" Subject: Re: Finally able to post. Why is it that I feel morally obligated to disagree with you at every turn, P.W.? You seem to be a likeable fellow. Then again, all musicians are protective. :) <---That's a smiley, relax. > On 8 Aug 95, Abe W. Mathews had this to say... > > > Are all bar owners slime? I don't mean to offend if you own a bar, but > > every owner of manager I've met is a complete head case. > > Do ALL bands think like that? > > Basically, as far as a club is concerned, you, or any other band for > that matter, have two concerns - playing music and getting paid. Agreed. However, for me the primary is the music, because I have no intention of ever making this into a career. All I've ever wanted is to have a bar band with reasonably steady gigs. As long as the pay is enough to cover gas, strings, picks, and maybe dinner, I feel I'm ahead of the game. > The club's owner, or manager, has many hundreds of concerns that > have nothing to do with bands. Just because their focus is not on > you doesn't make them slime. Put yourself in the club owner's shoes. I understand (I think) the pressures put on an owner. I've tried to put myself in their shoes. However, I don't think treating a band like dirt is going to inspire the band to new hights of musical achievement. I realize that shouldn't matter, but a sh*tty attitude from the management can sour the whole gig for me. > If you sold cars for a living would you think everyone who didn't buy > one from you was "slime"? Yes, under certian circumstances. Call the worst of gigs a car wreck. It can be almost as emotionally fulfilling as one. Following your analogy, PW, the car purchaser is slime if: 1) After telling the purchaser several times that the car was a Japanese subcompact, the purchaser brought it back because he thought it was an American pickup. (The "I thought you guys were country!" Syndrome.) 2) The purchaser takes the car, wrecks it, and then refuses to pay for either the car or the damage, saying "Well, we never shook hands on it now, did we?" (This one's my fault. I made the mistake of believing in the value of a person's word) 3) The purchaser wraps his new car around a tree, then brings it back refusing to pay for it because not enough people came to see his new car. (As part of our *verbal* contract, club owners are responsible for advertisement and getting in the people in the first place.) 4) The purchaser stops payment on the car, but will not return the car, saying it needs repairs. The repairs are supposed to take a couple of weeks. After several months, the repairs are still gonna take a couple of weeks. Then you find out, not only has he still been driving the car, but he never had any real intention of fixing it anyway. In the above situations have all happened, and normally cost me part of my income. Not a large part, granted, but it hurts. Music is a very real part of who I am. That's not going to change. I think my first mistake was naively trusting people whose job it is to be slime, just to stay in business. That will change. Getting off my little Ivory Box Abe awmathew@mtu.edu ========================================================================= Date: Wed, 9 Aug 1995 12:28:45 +0000 From: Pat Hertel Subject: Re: worst use of a 12 bar On Wed, 9 Aug 1995, Joseph Leichter wrote: > Just a heard a commercial whose soundtrack is a remake of James Brown's > "Feel So Good". It was a laxative commercial..can this be topped? > They realy missed an opportunity here ... "Constipation Blues" by ScReamin Jay Hawkins :):):):) :):):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [9/8/95 8:24 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 9 Aug 1995 08:47:24 EDT From: george morales Subject: radio concerts(low blues content) Although the blues content in this message is very low, I thought the following info would be of use to others on the list. I have subscribed to a list called "radio Concerts" and it lists upcoming radio broadcasts.It also lists upcoming musical guests on late night talk shows.I have used it as a reference when I am searching for blues and other musical performers I enjoy. To subscribe type: sub in the subject line to subscribe to this digest The address is radio-concerts-request@cs.albany.edu You can also send a help message for details. ========================================================================= Date: Wed, 9 Aug 1995 09:52:50 EZT From: Jean-Pierre Urbain Subject: Re: Blues-buyers guide I just want to send these few lines to second eRic's review of Andrew's work. When I came back from hollidays I found it in my mail and really enjoyed reading it. I therefore started to write a review yesterday evening, but when I came this morning at work I saw that eRic had already done (as always) the job.... So I just want to second eRic's remarks on this guide which is really very useful for those who are (especially starting) collecting blues and who are looking for comments on recently published CDs. Let me (as European) make one suggestion(or questionj) for Andrew: - why not including the reviews published in the great UK (IMHO really one of my prefered blues mag for the quality of the material) BLUES and RHYTHM magazine and so having a maybe different view on the subject ... - and if Andrew reads french I would also suggest to include SOUL BAG's reviews. That would be a hard work (I agree :-) ..) but would give a very complete view. Given that the folk at Soul Bag already have a kind of rating for each album they review it should not too difficult to integrate it. Nevertheless, these are just suggestions and I'd like once again to say that this guide is really to be recommended and we should thank Andrew for his work! Jean-Pierre Urbain P.S. I have no relation/financial interest in this guide. ========================================================================= Date: Wed, 9 Aug 1995 09:34:36 EDT From: "Eric C. Shoaf" Subject: Karaoke Redux The recent Karaoke thread has been interesting mostly, from my perspective, because of the concerns of performing musicians. Here are a couple of their comments and there were many others: >>Unlike Karaoke, though, live music >>is a business to the performing musicians out there. >>Depends on your perspective, clubs are renting karaoke machines INSTEAD >>of bands I'd like to put this in historical context. I've been researching old music journals for magazine articles. In "International Musician" mag- azine, a publication of the Musicians Union, there is an article in one of the 1958 issues called "Jukebox to Cost Working Musicians Millions". After reading the article you would be convinced that in ten years, by the end of the 1960s, there would be no more live music because of this evil monstrosity called the jukebox. I think we all know that hasn't happened. In fact, jukeboxes are now nostalgia items while live music is alive and well. This isn't to discount the fact that there might be a few paying gigs lost now because of Karaoke. But I don't think anyone expects the whole Karaoke thing to last much longer. E. Shoaf ========================================================================= Date: Wed, 9 Aug 1995 14:47:47 EZT From: Jean-Pierre Urbain Subject: Review: MISSISSIPPI HEAT - NEW CD Maybe it has already been done on Blues-L during my hollidays, ... but as some of you know I'm a Mississippi Heat fan so I just felt I had to send this. The first thing I did when I came back home (aroung midnight after a full day of driving) was obviously to look at my mail box, find out a nice envelope and to listen to the new CD of Mississippi Heat which was in there. MISSISSIPPI HEAT: THUNDER IN MY HEART Van der Linden Records VR102 Playing time: 66:22 Van Der Linden Records 5331 S. Greenwod Chicago, IL 60615 USA Ph/Fax 312-288 29 26 Deitra Farr: vcls Billy Flynn: gtr, vcls James Wheeler: gtr, vcls Bob Stroger: bass, vcls Allen Kirk: drums, Pierre lacocque; hca My first reaction was simply to say that this is the perfect follow-up of their previous excellent "Learned The Hard Way" and for those who have this album this should already be sufficient to say that this is an excellent piece of Chicago Blues. Mississppi Heat is for me one of the nicest thing that has happened to Chicagop blues these last years. They form a real BAND in the best tradition of the Chicago blues of the 50's, a band where all the individuals have their room to express their musical abilities within the band's sound, and they don't need to start out flashy gtr or harp solos or whatever. Needless to say, all the members are among the best musicians around, and I find it so enjoyable to hear the gtrs of James Wheeler and of Billy Flynn which are not only excellent lead guitar players but who also play so intelligently ryhtm gtr in a way which should reminds us how important rhyhtm gtrs can be in Chicago blues. Those who've always loved the dicrete but incredibly efficient gtrs of people like Luther Tucker and Robert Lokwood when they were behind guys like SBW, ... should really give a listen to the subtil interlay between Billy Flynn and James Wheeler. All songs but one are originals (written by Pierre, Billy Flynn, Deitra, James Wheeler, ..) in the 50's tradition of Chicago blues with a nice variety of rhythm (slow blues, shuffle, bo didley beat, ...) played with much nuances. Similarly to what was found on their previous CD, I also do particlarly like the variety of vcls since we find nothing less than four members of the band singing: Deitra Farr (who really knows how to SING with very much sensibility,... she doesn't shout at all but simply let her soul speaks - Yes I'm a fan! :-)...), the delicious Bob Stroger (I specially like his "Loan Me Train Fare", in the good old tradition of train blues with the nice harp from Pierre Lacocque ) and James Wheeler (whose vcls are still so charming and sometimes nicely nonchalant) and Billy Flynn (among other on his "Stop Drinking"). Pierre Lacocque blows better and better over the years with very much feeling and in the real tradition of the two Walters (listen to the instrumental "Steamrollin'" which closes the CD). Hhe's definitly one of my prefered harp players these days. The addition of Ken Saydak on piano (on the nice "Natalie" with James Wheeler on vocals) and organ is a good idea to enrich this already great band. There's finally a point with which I'd like to end this brief unstructured pseudo-review: although they are all individually outstanding musicians (again, Billy Flynn and James Wheeler are really outstanding gtr players that deserve much more recognition compare to some others ...) Mississippi Heat is not just a few talented people (and moreover wonderfully nice and good people) together, it's something more, it's a real band, and that's what makes them so good. Needless to say, "Thunder in My Heart" is highly recommended. Jean-Pierre Urbain P.S. Disclaimer: I have no relation/financial interest in their CD. I don't know yet who's distributing this one in Europe but as soon as I know, I'll send it to the list. ========================================================================= Date: Wed, 9 Aug 1995 10:16:23 -0400 From: Rick Miller Subject: Bar managers givin' blues I can sympathize with you Abe. I think in general, it's not so much that they're dicks, by nature, it's just that they're in business for themselves, and all others come VERY secondary. My band has had some interesting dealings with bar owners, managers, and booking agents in their employ. Basically, you're treated like bands are a dime-a-dozen (true) and therefore you can be taken advantage of, if the guy is of a mind to do so. Mind you, we are indebted to a few managers from the area for going out on a limb for us as a fledgeling blues band, and giving us a chance to make a name for ourselves too. As a bunch of suburban boys, naiive (somewhat) in the ways of the music scene, my band has yet to really see the gritty side of the bar business that causes guys to treat bands that way. OUr drummer, who is a serious professional from NY City and has toured the US and Europe with bands, tells a different tale. The bullshit that flows in the big city music scene, I guess, is enough to turn you off running a bar or playing in a band completely. Hmmmmm. No thanks. Basically, there's a symbiosis here. Bars need good bands as an attraction to draw customers. Bands looking for a place to gig and make some bucks and apply their art, need receptive bar owners to hire them. Can't we all just get along?! :) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Wed, 9 Aug 1995 09:32:23 -0500 From: Bill Balcerzak Subject: Re: Blues Brothers - defending On Wed, 9 Aug 1995, j.mac@METRONET.COM wrote: > Amen! The two things that allowed me to forgive two guys dressing and > acting like real blues players were that they were doing it out of a > sincere love of the music and that, as a result, a lot of people were > turned onto the blues who otherwise wouldn't have been. I don't doubt their sincerity or love of the blues. However, - in my experience - they weren't dressing or acting anything like "real blues players" but rather caricatures - and IMHO gaudy Hollywood versions - of blues musicians. I can understand doing this for a comedy film but why Mr. Akroyd continues to put on this character for HOB radio and TV interviews is incomprehensible to me. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bill Balcerzak (Ball-sir-zak) /* bill@gis.mces.msstate.edu Extension GIS, Box 9642 /* TEL: 601.325.8321 Mississippi State, MS 39762 /* FAX: 601.325.7844 ========================================================================= Date: Wed, 9 Aug 1995 10:17:01 -0400 From: Gerald Leddy Subject: Need help I need to make a choice between the two due to limited funds and hungry children, any input would be appreciated: I want to add a Little Walter to my blues collection, and know y'all can direct me to the `better' of the two. Which one of these: Blues with a Feeling or My Babe Thanks, Jerry. ========================================================================= Date: Wed, 9 Aug 1995 07:33:38 -0700 From: Karen Johnson Subject: Re: Worn out covers > .. >Y'know, it's not that covers bother me. They're sort of part & parcel of >the blues. it's people who play covers as in learning Clapton >note-for-note. THAT peeves me. > > > --- > Craig O'Donnell > Author, Cool Mac Sounds (Hayden 1994) > --- > You mean like Clapton's version of Tore Down -- which is Freddie King note for note? KJ ========================================================================= Date: Wed, 9 Aug 1995 09:37:52 EWT From: Andy Dillon ISHC Subject: first guitar Oh that first guitar thread......Xmas 74, me a mere 12 year old, Mom and Dad visit one and only guitar shop where the wily owner has on displaya specially shipped in batch of Korean nasties with razor blades for strings, ready for the Xmas onslaught by the parents of people just like me. for less than $10 I clutched this in a plasti bag with a copy of mel-bay's teach yorself guitar thown in. I did leanr to play When the Saints go Marching in, and could almost do a bluesy version of the melody to Leaving on a Jet Plane, but since I wanted to be Ritchie Blackmore this was not too inspiring! First amp - an unknown valve PA amp with a fender cabinet containing 2 speakers. don't ask - my mother gave them away to a local kid when I emigrated to the UK and I am too pained to consider what they might have been - at the time I was using them I was a bass player in a college punk band and hated them .....oh what a waste youth is on the young. Now I have a standard strat...but I need a new amp...Carvin anyone? Andy Indiana University ========================================================================= Date: Wed, 9 Aug 1995 10:39:07 +0000 From: "P.W. Fenton" Subject: Blues-L Shopping Center The "New & Improved" nearly completed version of the "Blues-L Shopping Center Sneak Preview Web Page" is up at: http://www.vistech.net/users/bluesell/members.html Check it out P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 9 Aug 1995 10:01:36 -0500 From: Jeff Seale Subject: Lonnie Johnson & Buddy Holly I was watching an interview with Sonny Curtis about when he and Buddy Holly were starting out. He said they used to go out and sit in Buddy's car late at night and listen to a radio program out of Shreveport, LA called Stan's Record _______. He said that they really liked Lonnie Johnson's stuff. 1. What was the correct name of this radio program and the station? 2. What type of stuff did Lonnie Johnson play? recommendations? -Jeff (you always gotta go back to the homeeboy!) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Wed, 9 Aug 1995 11:02:32 -0400 From: Charles d'Orban Subject: LW asks: >Questions: Is is TRUE that WDIA was the first black radio station in the >country....? It was/is broadcasting out of Memphis.....? Was Rufus Thomas >a DJ there....? I haven't read it but there is a history of WDIA: TITLE: Wheelin' on Beale : how WDIA-Memphis became the nation's first All-Black radio station and created the sound that changed America AUTHOR: Cantor, Louis. PUBLISHED: New York : Pharos Books, 1992. ISBN: 0-88687-633-8 I think that it has recently gone out of print and I've seen it in the "sale" section of a book store for about $6. Charles. ========================================================================= Date: Wed, 9 Aug 1995 10:07:55 PDT From: "R. J. Bauman" Subject: Karaoke Irony ==============This isn't to discount the fact that there might be a few paying gigs lost now because of Karaoke. But I don't think anyone expects the whole Karaoke thing to last much longer. E. Shoaf============ One of my favorite fun spots in Indy's north side, called the Old Windmill Roadhouse Cafe and Dance Hall, had live music on weekends. The place was always packed. On weekdays they had country line dancing (yuck) a very elaborate Karaoke set-up(no comment). The owner (an eclectic/nutty guy, but not slime) closed the place because he couldn't get enough business on weekdays to justify the weekend revenue. A very good band lost it's weekend gig because Karaoke weren't successful enough. RJ Bauman RJ Bauman ========================================================================= Date: Wed, 9 Aug 1995 11:16:24 -0400 From: "Abe W. Mathews" Subject: Re: Luck? Craig O'Donnel writes- > And I think hard work is a relative term. How hard have, say, Paula Abdul > or LaToya Jackson worked? Do they still work? I haven't heard anything from either of them since their initial "Flash in the Pan". Sorry, but I have to believe that hard work counts for something. Look at B.B. King. Hard work (and a buttload of touring) have paid off enough where he's finally able to eat hamburgers for money!! Well, bad example I guess. Bottom line, if you work hard, I think you won't burn brightest, but you will burn longest. No talent acts don't seem to last past a second album. Abe awmathew@mtu.edu ========================================================================= Date: Wed, 9 Aug 1995 10:41:16 CDT From: Dave Kneifl Subject: Jerry Garcia is Dead !! Not exactly blues news, but music news... Jerry Garcia of the Grateful Dead, is even more grateful now. He died this morning !!! DK Dave Kneifl Program Assistant Private phone: (608) 265-6657 UW Extension Office phone: (608) 262-2011 Independent Learning E-mail: kneifl@admin.uwex.edu 432 N Lake St, Rm 104 Madison WI 53706 Why doesn't DOS ever say "EXCELLENT Command or File Name"? ========================================================================= Date: Wed, 9 Aug 1995 11:52:33 -0400 From: Tom Morgan Subject: Book about Black radio In another time and place, Charles d'Orban said: > > LW asks: > >Questions: Is is TRUE that WDIA was the first black radio station in the > >country....? It was/is broadcasting out of Memphis.....? Was Rufus Thomas > >a DJ there....? > > I haven't read it but there is a history of WDIA: > > TITLE: Wheelin' on Beale : how WDIA-Memphis became the nation's first > All-Black radio station and created the sound that changed America > AUTHOR: Cantor, Louis. This is an excellent book. Anyone who is interested in Black radio as well as for information about Rufus Thomas and Memphis Gospel groups should go out and grab it or at least get it at your local library. :) Tom My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture WebMaster: Dave Matthews Band ========================================================================= Date: Wed, 9 Aug 1995 11:54:35 EDT From: george morales Subject: Jerry Garcia is Dead I just heard on the radio that Jerry Garcia passed away. I don't know how many people would classify the Dead as a blues band, but I have seen them perform their take on Wang Dang Doodle,Little Red Rooster in concert and the crowd loved it. Sorry for the non-blues content George ========================================================================= Date: Wed, 9 Aug 1995 11:57:37 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Bad news (limited blues content) Item Subject: Message text It's 11:55 AM in Pittsburgh and they just announced Jerry Garcia, founder and leader of the Grateful Dead has died. No further info is available as yet. Jim Smith ========================================================================= Date: Wed, 9 Aug 1995 12:04:42 -0400 From: Steve Levine Subject: Jerry Garcia I know that the Grateful Dead is not a blues band (althought they have recorded many traditional and modern blues tunes) so I'll keep this short. I just read that Jerry Garcia was found dead this morning. I haven't heard any details yet, but I thought I'd pass the announcement along. -Steve ========================================================================= Date: Wed, 9 Aug 1995 11:14:41 -0500 From: Roger Struve Subject: Jerry Garcia I was just informed that Jerry Garcia died today of natural causes. What a loss....does anyone know the complete details? delta doc roger ========================================================================= Date: Wed, 9 Aug 1995 12:23:05 EST From: Alora Paul Subject: if this ain't blues, i don't what is... National Public Radio reported at 12:05pm on Wednesday that Jerry Garcia died of natural causes in his room at a Marin County drug treatment center. dark, dark day. alora apaul@whoi.edu ========================================================================= Date: Wed, 9 Aug 1995 09:32:52 PDT From: Eric LeBlanc-CISTI Subject: JERRY GARCIA HAS DIED AT 53 JEROME JOHN "JERRY" GARCIA b. 1942/AUG/01, SAN FRANCISCO, CA d. 1995/AUG/09, MARIN, CA ========================================================================= Date: Wed, 9 Aug 1995 12:30:48 EDT From: Joseph Leichter Subject: Re: Jerry Garcia is Dead Did a mean version of "Smokestack Lightnin'"....Requiescat in pacem.. ========================================================================= Date: Wed, 9 Aug 1995 12:38:20 -0400 From: bob unger Subject: Garcia Just heard that J.G. died at 4:30 this morning in a re-hab center. They tried to resuscitate (sp?) him and obviously failed. BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 9 Aug 1995 12:42:31 -0500 From: Erica Wissolik Subject: AP WIRE STORY ON GARCIA Since you're all talking about it, here's the wire story. 32 AP 08-09-95 12:19 PET 46 LINES PM-Obit-Garcia, 1st Ld-Writethru, a0558-554-547-542,0402 URGENT Rock Icon Jerry Garcia Dies at Age 53 Eds: COMBINES bulletin series; recasts lead; adds details AP Photo NY135; Others upcoming NOVATO, Calif. (AP) Jerry Garcia, the master guitarist whose band the Grateful Dead symbolized the 1960s counterculture and remained a top concert draw three decades later, died today at a drug treatment center. He was 53. No cause of death was immediately given. He was found at 4:23 a.m. by a counselor at Serenity Knowles, a residential treatment center for drug addiction, said Dan Murphy of the Marin County sheriff's office. A nurse attempted CPR, and sheriff's department staff who were summoned also failed to revive him, Murphy said. The Grateful Dead, with its roots in the Bay Area's psychedelic scene of the 1960s, combined rock, bluegrass and folk influences into a unique stew. Garcia was lead guitarist, composer and vocalist. Among the band's best known songs were ``Truckin','' ``Casey Jones,'' and ``Friend of the Devil.'' Its only top 10 hit was the 1987 song ``Touch of Grey,'' with its refrain ``I will survive.'' But the Dead was almost more a way of life than a band to the thousands of ``Deadheads,'' many of whom followed the group from concert to concert. The band has been the most popular act in the United States, grossing tens of millions of dollars each year. ``You need music,'' Garcia once said. ``I don't know why; it's probably one of those Joe Campbell questions, why we need ritual. We need magic, and bliss, and power, myth, and celebration and religion in our lives, and music is a good way to encapsulate a lot of it.'' The bearded, rotund Garcia had a history of health problems that caused frequent breaks in the Dead's grueling concert schedule. In 1986, he entered the hospital in a diabetic coma. He also has admitted past drug abuse. Garcia slimmed down, stopped smoking and hired a personal fitness trainer after falling ill with exhaustion in 1991. In recent years, Garcia also developed a line of colorful neckties. But the years of constant touring took its toll. ``It was a meltdown. Too many cigarettes, too much junk food and too little exercise,'' band spokesman Dennis McNally said last year. McNally was unavailable for immediate comment today. ========================================================================= Date: Wed, 9 Aug 1995 09:51:45 -0700 From: Joe Lempkowski Subject: Re: Little Walter - Otis Rush - Live in Chicago Richard Holliday writes: >More to the point, is it any good... It seems this LP or CD gets discussed every couple of months. I got suckered buying this back when I was in college. It is a horrible release. The sound quality stinks. Little Walter's performance is unlistenable. The four of five cuts he recorded are his worst work. The Otis Rush stuff is ok, but it isn't worth the price of the CD. (I paid five dollars for my copy back in the early 80's.) I would bet that the person who recorded this thing had the tape recorder under his coat. It is really bad stuff. There are a lot better Little Walter and Otis Rush recordings available. Caveat emptor (and all that kind of stuff.) Cheers, Joe ========================================================================= Date: Wed, 9 Aug 1995 13:06:39 EWT From: "CATHI N." Subject: Looking for Rudi Sorry bluesers...my message to Rudi Vendermeiren will not go through...Rudi...where are you? Can you send me an e-mail with your correct address? I have a letter from Stuart (Cooler Kings) for you. Thanks everyone... Cathi N. ========================================================================= Date: Wed, 9 Aug 1995 14:06:47 EDT From: Jessica Sowin Subject: Jerry Garcia >does anyone know the complete details? heart attack. ========================================================================= Date: Wed, 9 Aug 1995 11:41:45 -0800 From: Michael Hewitt Subject: Re: Blues Brothers - defending At 9:32 AM 8/9/95, Bill Balcerzak wrote: >On Wed, 9 Aug 1995, j.mac@METRONET.COM wrote: > >> Amen! The two things that allowed me to forgive two guys dressing and >> acting like real blues players were that they were doing it out of a >> sincere love of the music and that, as a result, a lot of people were >> turned onto the blues who otherwise wouldn't have been. > >I don't doubt their sincerity or love of the blues. However, - in my >experience - they weren't dressing or acting anything like "real blues >players" but rather caricatures - and IMHO gaudy Hollywood versions - of >blues musicians. I can understand doing this for a comedy film but why >Mr. Akroyd continues to put on this character for HOB radio and TV >interviews is incomprehensible to me. > >~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >Bill Balcerzak (Ball-sir-zak) /* bill@gis.mces.msstate.edu >Extension GIS, Box 9642 /* TEL: 601.325.8321 >Mississippi State, MS 39762 /* FAX: 601.325.7844 According to the interview I saw on the Mouse Channel (which is how this thread started) Dan and John adopted the sunglasses and fedoras because they saw JLH wearing them on an album cover. The suits came from a style of dress that (according to DA) was popularized by the beat poets and musicians in order not to be singled out on the streets during the fifties & sixities...what I believe he called the Men in Black look (also supposedly tied to the UFO investigators). They were never intended to look like real blues players per se, but indeed were stylized for effect. Remember, these were comedians doing a send-up of a blues band in a way that showed their appreciation for the art form. In a sense, mockery as a form of flattery. No one imagined that the bit would go as far as it did. Even DA acknowledges that each succeeding album sold dramatically fewer and fewer copies. Why does DA still insist on doing the "Elwood" bit? Probably because it has developed into a minor-class icon and is recognizable by blues and non-blues fans alike, it's paying homage to his late friend, it's nostalgic, it's fun for him and someone is willing to pay him for it (a man has to eat, doesn't he?). Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Wed, 9 Aug 1995 14:54:35 -0400 From: "Abe W. Mathews" Subject: Raggin' on Ackroyd LW ("Flames Ignored"> Writes: > It's called manipulation. They were just saying what you wanted to hear. If > Dan Ackroyd cared about blues he would do something with that National TV show > of his....Actions speak louder than words and so far he hasn't acted...It's a > fact..period..If he WAS sincere about the blues, Honey Boy Edwards would take > precednce (sp) over Nancy Sinatra, Seboha (whoever the kids were), and all that > other trash they have in between Pontiac commercials..... Not flamin', LW, but I kinda disagree. The list had a little discussion about B.B. King cashing in on his image to make some money with Wendy's. I don't think this is any different. Sure, B.B. is an original, and Ackroyd is a lighter bad copy, but try to look at it from Mr. Ackroyd's position. Does he own the show? I'd bet not. I don't know either, but I'd bet he's just a hired hand. Dan Ackroyd really hasn't had that easy of a time lately. None of his movies have done as well historically as the BB movie. If all of your movies have been turing into flops, and someone offers you big money to don some shades and hawk Pontiacs, would you do it? He probably still loves the blues, but I'm sure he's got to pay the bills, too. I don't really like HO?, but they did have the Allmans, and Keb' Mo', and Taj Mahal, and JLH, and that's something. The reason people watch is the public is being duped into thinking they really like the blues with things such as B.B.'s spots for Budweiser and Wendy's. If a show called House of *&$(# says that Sheryl Crow is blues, then dad gum it, every John Doe in the country must be a blues fan. It's not right, it simply *is*. > btw: I have nothing against the Blues Brothers, the band that backed the TWO > COMEDIANS was excellent. Without a doubt, that would be the "died and gone to heaven" band to jam with. While I'm thinking of it, I'll bet Jimi, Stevie, and the Alberts are calling Jerry Garcia up for a tune as we speak. Abe awmathew@mtu.edu ========================================================================= Date: Wed, 9 Aug 1995 14:04:40 CDT From: L W Subject: ----------------------------Original message---------------------------- >Not flamin', LW, but I kinda disagree. The list had a little discussion >about B.B. King cashing in on his image to make some money with Wendy's. I >don't think this is any different. Sure, B.B. is an original, and >Ackroyd is a lighter bad copy, but try to look at it from Mr. Ackroyd's Apples & Oranges....A Comedian and a musician. I don't think the two belong in the same paragraph..Robin Willliams and Ackroyd sure, but not BB KING ! To give some credit to HO?, I read in Bluespeak that the HO? radio show was doing a live broadcast from the Sunflower Festival...I don't know if they actually did, but it's a great idea.... I'm not really "down" on Ackroyd. LW ========================================================================= Date: Wed, 9 Aug 1995 14:20:54 EWT From: "CATHI N." Subject: Slime (was "finally able...") Well, I might regret this, but I just had to comment on the bar-owners-slime thread. Playing music is a tricky business. First you've got musicians. They are a motley lot. Have you ever tried to get a group of them anywhere..ON time? All would-be jugglers and acrobats should be required to take a graduate course in band leadership. I love musicians (and sometimes I get a weekend pass from Bellevue). Did you ever try to get a bank loan as a musician? Rent a house? Impress your mother-in-law? She's generally as enthusiastic/hopeful about your prospects as a drunken mouse at a cat convention. Bar owners often take a similar view. They get thousands of people calling them up for gigs...thousands of nights when the band: is bad, loud enough to peel enamel off teeth; drunk before the end of the first set; abusive to the audience... Well, (sigh) lots of things. And bar owners... They know they've got you over a barrel. If it's time for them to feel important, they can make you call them back 25 times before they'll talk to you. It's their shindig...they can shoot at your boots with six-guns and you gotta dance. There's little recourse if they decide to rip you off, double-book your band, tell you things like "Oh no...I meant $50 for both nights!", etc. ad nauseum. (Abe--you mean more than one band had an owner-with a pistola in their face saying something like "You aren't arguing are you?")? I know...contracts... Seems like a nice thought, but some club owners won't sign them, won't return them, get insulted that you want one, or "forget" it because you've played there before. On the other hand...I've also known bar owners who have almost gone out of business because they honored the musicians so much they jepardized their income to pay the bands well/support their music. What I'm trying to say is...it's a big, dark forest out there and wolves live inside AND outside granny's house. Too bad we're so addicted to her apple pie. Cathi N. ========================================================================= Date: Wed, 9 Aug 1995 15:25:40 -0400 From: Tom Grady Subject: Re: Jerry Garcia In a message dated 95-08-09 14:36:26 EDT, Jessica_Sowin@SONYMUSIC.COM (Jessica Sowin) writes: > >>does anyone know the complete details? The early Reuters wire story said that he was found dead at 4:23 am (PST) at Serenity Knolls, a drug and alcohol rehab center in Marin County. Efforts by staff to revive him were unsuccessful. ========================================================================= Date: Wed, 9 Aug 1995 15:25:59 -0400 From: Dick Waterman Subject: Re: Looking for Rudi I saw him on the night of December 24th. He was guiding Santa's sleigh with his nose so bright. Sorry that I don't know what he does for the rest of the year. dick waterman ========================================================================= Date: Wed, 9 Aug 1995 14:09:30 -0500 From: Richard Shurman Subject: Temporarily incommunicado If my nomail command works this time, I won't be getting or responding to messages for a couple weeks. Enjoy, and I don't want to return to any (more) bad news! ========================================================================= Date: Wed, 9 Aug 1995 21:38:22 +0200 From: Robert Paul Schwippert Subject: fab t-birds review ? The Fabulous Thunderbirds are coming to play here in Amsterdam Holland in sept. I only really know them from the Jimmie Vaughan era. Has anyone seen them play recently and is it worth going? Is Kim Wilson in the current line-up again? Who is the current guitar player? Pls let me know. Thanks Robert Paul ========================================================================= Date: Wed, 9 Aug 1995 16:59:13 -0400 From: Joyce Ann Moon Subject: Jerry Garcia Just heard... Jerry Garcia is dead. E-mail: jmoon@libby.rbls.lib.il.us Joyce Ann Moon ** Phone#: (309)797-4141 Tech Services (( Fax#: (309)797-0480 Moline Southeast Library #### Moline, Il. 61265 ####### ( C ) ( H ) ( I ) ( L ) ( I) \*/ ========================================================================= Date: Wed, 9 Aug 1995 17:57:05 -0400 From: Dick Waterman Subject: Just this one . . . I said when I came online last month that I was not going to do a whole lot of story-telling. However, to mark Jerry Garcia's death, it seems appropriate to tell just this one . . . Some years ago I asked Elizxabeth Cotton if she was getting royalties for her song "Sugaree" that had been done by The Grateful Dead as "Shake, Sugaree." She said that she had not so I wrote a letter asking for an accounting. I got back a hailstorm of mail from their publisher, Ice Nine Music (Vonnegut fans will appreciate this irony), with chapter and verse scolding about all of the Public Domain versions of the song prior to Ms. Cotton's copyright. The matter was doomed at that point but I had a chance conversation with John Scher, their East Coast promoter and quasi-manager. I told him the story and he asked, "Does Jerry know about this?" I told him that I was quite sure that it had never come to his personal attention. He told Jerry and wheels immediately went into motion. The decision was that she would not collect on "Sugaree" but they would do "Oh, Babe, It Ain't No Lie" on their next album and she would be given an advance on the writer's royalties. They sent her about $700.00 - very big money back then - and she went out and bought herself the biggest refrigerator/freezer on the market. It was the talk of the town. I saw her some time later and asked if people were curious to know where she got the money to buy such a magnificent appliance. "Oh, yes indeed," she said. "I just tell everybpdy it come to me as a gift from some dead people in California!" R.I.P. good man Jerry Garcia . . . . . dick waterman ========================================================================= Date: Wed, 9 Aug 1995 19:14:45 -0400 From: Daniel Dimitroff Subject: worn out songs >On 7-AUG-1995, "TGrady@AOL.COM" said: > >Speaking of "Sweet Home Chicago," there seem to be as many versions of that >song as there are of "Louie, Louie." I know the Johnson lyrics, but I don't >have any transcriptions of the others. Can anybody help? > >Thanks. Oh my gawd, my band did to covers we had never done before during a gig this weekend. The songs: "Sweet Home Chicago" and "Louie, Louie!" Unbelievable. We also did "Wild Thing," but we've done it before. And "House of the Rising Sun" is pretty popular, too. Dan "'cause the crowd asked for them" Dimitroff ========================================================================= Date: Wed, 9 Aug 1995 19:16:46 -0400 From: Daniel Dimitroff Subject: Peoria Blues Fest RIVER CITY BLUES SOCIETY PRESENTS: --------------------------------- Riverfront Blues Festival Eckwood Park Peoria, IL Sept. 1st & 2nd Friday: ------ Savoy Brown featuring Kim Simmonds Sally Weisenburg Band Buchie Satterfield Saturday: -------- Dave Chaistain & The Blues Rockers Rooster Alley Luther "Guitar Junior" Johnson Lorrie Ann and The 3D Rhythm Band Duke Tomato and the Power Trio Kenny Neal Charlie Musselwhite Tix are $10 in advance for both days. E-mail me for more info. I'll be there both days working the beer truck (but don't except any free beer :-). Dan **************************************************************************** * DIMITROFF@DELPHI.COM * Warning: Bang SIG * ddimitr@heartland.bradley.edu * **************************************************************************** * TOKIN' BLUE * **************************************************************************** * Aug 12 The Red Barn (acoustic set) Peoria, IL * * Aug 25,26 Banana's East East Peoria, IL* * Sept 8,9 Gamblers Moline, IL * * Oct 7 Rosebud's La Casa Peoria, IL * * Nov 25 Rosebud's La Casa Peoria, IL * **************************************************************************** * Support you local blues society. Thank you. * **************************************************************************** ========================================================================= Date: Wed, 9 Aug 1995 19:36:15 -0400 From: Barry Silverberg Subject: Re: Raggin' on Ackroyd Abe W. Mathews (awmathew@MTU.EDU) wrote: : If a show called : House of *&$(# says that Sheryl Crow is blues, then dad gum it, every : John Doe in the country must be a blues fan. It's not right, it simply : *is*. I've been ruminating over this point for quite a while. The smaller a blues world we create the less air time blues will get. It would be interesting if we were to include i.e. REM as blues artists - then artists like Qualls, Johnson, Jones, etc would rise quite quickly. Abe you are right - the world follows. Knowing this, it is possible to tip the scales. Just a thought at 7:30 PM Wednesday. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 9 Aug 1995 19:23:00 CDT From: "" Subject: Re: Muddy Estate Can anyone out there tell me who I contact at the family or estate of Muddy Waters? Same for Big Momma Thornton. Thanks. Richard Chalk TopCat Records ========================================================================= Date: Thu, 10 Aug 1995 20:00:37 GMT From: Andrew Gregg Subject: Re: Dave Hole - The Plumber(fwd) In article , Pat Hertel wrote: > Here's a quote from the interview I was referring to >which certainly gives the impression that >"The Plumber" is NOT on Alligator. The plumber is alive and well. I have ordered it in the last three months for a friend and have recieved it. Not as bluesy as 'SFB', but a good album nonetheless ********************************************************************** * Andrew Gregg * "Ive go a bird that whistles * * Dept of Primary * Ive got a bird that sing * * Industry * And I worried about that bird * * ooOO00OOoo * and I worry about everything * * Email : * and I worry when I see my * * mpagregg@aries.dpi.tas.gov.au * subjects bow down to the * * * Worrier King - Warren Zevon * ********************************************************************** ========================================================================= Date: Wed, 9 Aug 1995 20:56:17 CDT From: Dave Daubard Subject: MIGHTY BLUE KINGS While we were in KC for the fest, the Mighty Blue Kings played C-U. Everyone is raving about their show. Someone local sent me a story from the Tribune about them. It said they have a CD. Does anyone have it? They are a 7 pc. band. 2 sax players, Stand up bass, guitar, pianist, drummer, & singer. They are already booked back again so I'll get a chance to see them soon. -- ========================================================================= Date: Wed, 9 Aug 1995 22:11:53 -0400 From: James Leftwich Subject: Re: popularity of the blues Hey, Yeah...I agree it would be cool to see how many records get sold. I heard that Billboard Magazine will soon be publishing the top selling blues releases every week. Any truth to this? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" ;) ========================================================================= Date: Wed, 9 Aug 1995 22:25:02 -0400 From: James Leftwich Subject: Re: Raggin' on Ackroyd Hey, I wouldn't go so far as to say Ackroyd is washed up as a Hollywood actor. Didn't he get nominated for his role in _Driving Miss Daisy_? >From what I've heard he's shown a surprising versatility (i.e., he can do more than comedy)... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Wed, 9 Aug 1995 23:21:04 -0500 From: "K. Kelly" Subject: Not Sloppy Drunk Anymore On my college radio show "The Blues Explosion" at the University of Iowa my most popular feature is "The All Alcohol Set", four to six blues songs about alcohol (Whiskey and Women, I Got Juiced, I'm Loaded, Cool Can of Beer, etc.) More than the live guests or new releases, this feature always gets the most comments. Damn college students......... Kyle ========================================================================= Date: Thu, 10 Aug 1995 01:08:40 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Internet Blues sites? You're free to include That Blues Music Page at The Weightless Dog: http://www.charm.net/~turtle/blues.html Many links to other blues resources, and I'm developing a page detailing 40s and 50s Chicago electric and jump blues... Turtle _____ Reply Separator _____ Author: INTERNET:cummings @ CLARK.EDU@CISHUB Received: 08/08/95 05:42:00 PM Subject: Internet Blues sites? I'm doing a research project on locating Blues sites on the Internet. If you know of any Blues homepages or sites that would have information of interest to another blues fan or artist please e-mail me. After my project is complete I will share this information by posting here and/or making available through a homepage or my internet provider. Thanks in advance, Bob Cummings Clark College Vancouver, Wa. U.S.A. cummings@clark.edu ========================================================================= Date: Thu, 10 Aug 1995 01:08:46 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Lonnie Johnson & Buddy Holly <> 1. What was the correct name of this radio program and the station? <<2. What type of stuff did Lonnie Johnson play? recommendations?>> Lonnie was a dixieland-influenced guitar player who ranged all over the material... a recent gem has surfaced, a reissue called "Stompin' At The Penny," where Lonnie plays in Toronto in 1965 with a local band and goes through a number of blues, dixieland and gospel tunes. The original was apparently pressed only for the Canadian market in 1965 and the original run was under 1000 copies, but the CD reissue can be found in most big stores and should also be able to be gotten from the Roots&Rhythm catalogue. Turtle Visit the Weightless Dog Home Page! http://www.charm.net/~turtle ========================================================================= Date: Thu, 10 Aug 1995 05:41:14 GMT From: John Litwack Subject: Evolution of "Trouble in Mind" The blues song "Trouble in Mind" is credited to Richard M. Jones and Bertha "Chippie" Hill, who recorded it first in 1926. But the song seems to have had earlier versions, beginning as a spiritual. What other information can you provide about the evolution of the song from spiritual to blues. ========================================================================= Date: Thu, 10 Aug 1995 00:44:13 -0500 From: Rob Varak Subject: Re: Need help Geral Leddy wrote: I need to make a choice between the two due to limited funds and hungry children, any input would be appreciated: I want to add a Little Walter to my blues collection, and know y'all can direct me to the `better' of the two. Which one of these: Blues with a Feeling or My Babe - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I'd reccomend Blues With a Feeling with mustard, but if the kids are really hungry, try My Babe deep fried w/ barbecue sauce. Rob (who's hating law school and reduced to bad puns and gags) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Thu, 10 Aug 1995 00:53:54 -0500 From: Rob Varak Subject: Re: MIGHTY BLUE KINGS I have heard nothing but raves about this band. They play semi-regularly (straight from oxymorons are us) at the Green Mill in Chicago. I mean to get out and see them as soon as school decides to release me from its latest death grip. BTW Dave, where did they play in Chambana? Rob (who wishes he was singin at the Blind Pig in Champaign right NOW!) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Wed, 9 Aug 1995, Dave Daubard wrote: > While we were in KC for the fest, the Mighty Blue Kings played > C-U. Everyone is raving about their show. Someone local sent me a > story from the Tribune about them. It said they have a CD. Does > anyone have it? They are a 7 pc. band. 2 sax players, Stand up > bass, guitar, pianist, drummer, & singer. They are already booked > back again so I'll get a chance to see them soon. > > -- > ========================================================================= Date: Thu, 10 Aug 1995 02:21:38 -0400 From: craig o'donnell Subject: Re: Luck! ...> And I think hard work is a relative term. How hard have, say, Paula Abdul ...> or LaToya Jackson worked? ... ...Do they still work? I haven't heard anything from either of them since ...their initial "Flash in the Pan". You AND I could live happily on what the'vey made, I'm sure . The people who worked hard in this case are their managers/handlers and the songwriters and everyone else who had points on the gross from album sales. Anyway, no need to beat this to death. I worked professionally as a musician and later as a recording engineer and I'm very cynical about "the process". --- Craig O'Donnell Author, Cool Mac Sounds (Hayden 1994) --- ========================================================================= Date: Thu, 10 Aug 1995 02:34:25 -0600 From: Don O Subject: REVIEW: MISSISSIPPI HEAT - N > Needless to say, "Thunder in My Heart" is highly recommended. > > Jean-Pierre Urbain Let me echo J-P's rave review of this CD and this band. First rate stuff for a band that is putting out their own CDs. You will not be disappointed if you get this one. They are asking $17 postpaid. > MISSISSIPPI HEAT: THUNDER IN MY HEART > Van der Linden Records VR102 > Playing time: 66:22 > > Van Der Linden Records > 5331 S. Greenwod > Chicago, IL 60615 > USA > Ph/Fax 312-288 29 26 Don O. not associated etc., just a big fan of what they have been doing. ========================================================================= Date: Thu, 10 Aug 1995 07:46:32 -0400 From: Bob vanArsdall Subject: Roots of the Graeful Dead Grateful Dead Records and Shanachie have announced an album to be released this fall called "Roots of the Grateful Dead" which looks a lot like the Yazoo "Roots of Robert Johnson" and "Roots of Rock" sets. It will have originals from Rev Gary Davis ("Samson and Delilah"), Bobby Bland ("Turn On Your Lovelight"), Chuck Berry ("Promised Land"), Joseph Spence ("We Bid You Goodnight"), Charlie Patton, Howling Wolf, and a number of non-blues artists like Marty Robbins ("El Paso"), and Dylan ("It's All Over Now, Baby Blue"). Cover is by R. Crumb, as with the other Roots albums, and the collection was done by Henry Kaiser. It can be ordered from Grateful Dead Merchandising at 800-225-3323, but should also be available at local CD stores through Shanachie's distribution chain. I have no stake in this.... Bob ========================================================================= Date: Thu, 10 Aug 1995 13:13:32 EZT From: Jean-Pierre Urbain Subject: REVIEW: DIAMOND JIM GREENE (BLACK MAGIC) DIAMOND JIM GREENE "JUST A DREAM" BLACK MAGIC (Holland) 9032 Don't ask me too much concerning Diamond Jim Greene... when a friend of mine told me he was planing to bring a (black) acoustic/country blues player in Europe named Diamond Jim Greene I had really no idea what I could expect... There are maybe some US Bluezellers knowing more about him ??. Well, just before his European tour which will begin late this summer, the great Dutch label BLACK MAGIC published his first CD where Jim plays national, 6 and 12 string guitar and is accompanied by Keith Dunn on harp (on 6 cuts) and by the Ducth gtr player Willen van Dullemen on 4 cuts. The CD is, as usual with Black Magic, wonderfully packaged. Now the music. Jim is born on december 11th 1951 (for your eRic) in Chicago (?) and was first exposed to Blind Arvella Gravy by which -at least that's what the story tells- he was so impressed that he decided to become musician. He played some electric stuff and met Gaye Agdebalola (she writes the sleeve notes) in the early 80s. He followed several workshop in West Virginia where he met among others John Cephas and Phil Wiggins which became apparently something like his mentors.. and effectively when you listen to his music, that's the first reaction you get. The songs presented here are covers of Skip James , Big Bill, Tommy and Robert Johnson, Tampa red, Phil Wiggins, Fred Mc Dowell, ... well played, in a style which reminds me of John Cephas, especially in the way he approaches ryhtm or when he covers Skip James. He's got a nice sound on his national, plays well, does some nice bottleneck stuff, without too much technical flashy demonstration that we sometime find these days by acoustic revivalists and overall produces some enjoyable music. His voice is maybe the only thing which you have to get used to, not extremely Afro-American as such (IMHO - don't flame), a bit surprising but after all quite enjoyable. All in all we have here a nice album which will please those who dig the sound of Cephas and Wiggins and of some well properly done (mostly bottleneck/national) country acoustic blues. Don't expect the crudeness of an old Delta blues player or the high technique of some East Coast players, but well some 54 minutes of nice acoustic stuff. Jean-Pierre Urbain P.S. usual disclaimer applies.... I have no relation with Black Magic and/or Jim Greene. For bluezellers from Benelux, he will ne touring over here end of august and during september. ========================================================================= Date: Thu, 10 Aug 1995 08:20:45 CST From: William Shute Subject: John RT Davies on remastering 78's From: Bill Shute As someone who recently has been listening to mostly pre-WWII blues and jazz taken from 78s (along with 60s soul), the issue of remastering 78s is something I often think about as I listen (of course as a dedicated buyer of used records over the years, I can "hear through" surface noise, scratches, etc.). I've already made my views known on blues-l that IN THE MAJORITY OF CASES (there are always exceptions) I prefer the European attitude on this subject to that of CBS/Sony. I just wanted to quote from the notes written by perhaps the world's foremost expert (along with Jack Towers and a handful of others) in this ultra-specialized field, John R T Davies, for the Danish CD "The Original Memphis Five Collection, Vol. 1: 1922-1923" (Collector's Classics COCD-16--Denmark). Mr. Davies puts it far better than I ever could: "The recordings on this Compact Disc have been transferred as far as possible from the original 78 rpm records and processed in analogue form to present ALL of the recorded information at correct pitch and in character approximating natural tonality of the instruments; this is done with little consideration of original surface noise which has been largely smoothed to present least distraction rather than being filtered with consequent destruction of natural 'air.' " Today's transfer is likely to be tommorrow's source material and there is great promise of future technology which will make possible further reduction of unwanted noise at no expense to the music. Until that time, the listener is exhorted to perform his own filtering to taste" --John R. T. Davies (l994) That's how I feel. Looking forward to seeing you all at our blues-l South Texas Get-Together this Saturday night starring Texas Johnny Brown. SA and Austin folks might also want to note that Mighty Sam McClain will be in Austin on Sept. 9th at the White Rabbit. Perhaps that would be a good place for us to get together NEXT time? Bill Shute San Antonio, TX "You've got your world, and I've got mine and it's a shame Two grown-up worlds that will never be the same Why Can't we be...like storybook children? In A Wonderland Where Nothing's planned For Tomorrow" --Billy Vera (for D.N.) While he's totally unrelated to blues, the recent murder of film director Al Adamson is something VERY worthy of mourning. Mr. Adamson's lovely wife, Regina Carrol, who co-starred in many of his films, passed away from cancer four or five years ago and supposedly Al never fully recovered from this tragedy. Those into the spiritual side of things might want to remember Al Adamson and Regina Carrol in their thoughts... now they are finally re-united and Ms. Carrol's "star" is shining brighter than ever. I can imagine Mr. Adamson now in heaven, putting together another "project" with his old pals John CArradine and Lon Chaney Jr.--undoubtedly financing is less of a problem in the afterlife! ========================================================================= Date: Thu, 10 Aug 1995 09:26:44 -0400 From: Ed Mezynski Subject: Re: worst use of a 12 bar >Joseph Leichter was heard saying... >Just a heard a commercial whose soundtrack is a remake of James Brown's >"Feel So Good". It was a laxative commercial..can this be topped? How about........Put the lid down? ;^{> ed ========================================================================= Date: Thu, 10 Aug 1995 13:32:30 +0000 From: Pat Hertel Subject: Lightnin' Hopkins I would like to get into some of his stuff. CD Connection has no fewer than 63(!) titles. I note that Rhino has an "anthology". Does anyone know how broadly based it would be or what I would be "missing"? Or is there a basic set? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/8/95 9:29 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 10 Aug 1995 13:37:05 +0000 From: Pat Hertel Subject: Acoustic guitar Those so inclined might be interested in the latest issue of "Acoustic Guitar" which thay bill as a "Red Hot" blues issue. It has a cheesecake photo of Memphis Minnie on the cover (Hubba hubba :):):) ) and some interesting articles and tab inside. The content is not all blues though (maybe 50%). phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/8/95 9:33 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 10 Aug 1995 09:37:11 -0400 From: Ed Mezynski Subject: proposed blues bros solution Perhaps our resident House of Blues employee would ask Mr Akroyd to address this issue for the Blues-l audience. He would be able to put all of the questions that we have to rest. Elwood, are you out there? Tell us that you and Jake's hearts were in the right place, or not, if that is the case. ed ========================================================================= Date: Thu, 10 Aug 1995 08:34:12 CDT From: L W Subject: Lightnin' Hopkins ----------------------------Original message---------------------------- I would like to get into some of his stuff. CD Connection has no fewer than 63(!) titles. I note that Rhino has an "anthology". Does anyone know how broadly based it would be or what I would be "missing"? Or is there a basic set? ___________________ The reviews I've read of "Mojo Hand" the Rhino set have not been that promising I think they said of the 24 cuts 12 were pretty good. I have "It's A Sin To Tel l a Lie " that I don't recommend, I have a Charly "Coffee House Blues" that is pretty good. I have the complete Aladdin (is it Aladdin ?) and it's decent. The one I like best that I don't have and can't remeber the name has "Black Caddilac", "Leak In This Ole Building".....etc. I know some blues-ellers have this recording I just can't remember the title...It also has "Devil Jumped The Black Man".... LW (aka Lightin Lenny) btw: My J-50 and DeArmond PU are the same setup that Lightin' and many others used, however, talent wasn't included with the guitar "The Devil jumped the black man and he began to run, black man looked back at the devil and said ain't we having lots of fun" LH ========================================================================= Date: Thu, 10 Aug 1995 09:45:19 -0400 From: Clint Pulley Subject: King Biscuit Boy Performances Hi! 'zellers in Southern Ontario - King Biscuit Boy (aka Richard Newell) will be appearing live at Hamilton's Festival of Friends on Saturday and Sunday (Aug. 12/13). For more information or arranging a get-together send me private email. Clint -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Thu, 10 Aug 1995 09:55:48 EDT From: "Tom Testagrossa, (Blues Guitarist) 226-6063 LKG2-2/pole Z7" Subject: Strangest Slides For those in the Boston area who want to see/hear some wild SLIDE guitar done with truly STRANGE things...check out my band, THE CHARLEY DEE BLUES BAND, (Soon to release our 1st CD!!!) Charley plays slide guitar better than anyone in the area (he's been doing it for MANY years now!!!!) and, in one particular song that is really his signature tune, he enjoys a bit of slide showmanship! I've seen Charley use audience supplied objects to play slide including: beer bottle, knife, a *LIT* zippo lighter (with the harp player lighting a cigarette while he plays!!!), a LADIES' SHOE, eyeglasses, pool cue, a glass serving tray, a *MOTORCYLE HELMET*, a *CHAIR*... and on occasion, our drummers crash cymbal, * MY stratocaster GUITAR*...You've just got to see it to believe it! I swear the first time I saw him play slide with the chair, I about died! I was screaming louder than anybody...and I've known/played with the guy for years... but I'd never seen anything like it! If you're in the Boston/central Mass area and want to be on our mailing list, drop me e-mail and I'll put you on! We'll be finishing up the recording next month, meanwhile doing some local gigs, then another group of BIG headlining gigs in the Boston area, (IE House of Blues in Oct, Nov and Dec...) along with radio shows, and backing up some nationally know acts thru to the 1st of next year... All you slide lovers really should see Charley...he puts on quite a show! Tom T ========================================================================= Date: Thu, 10 Aug 1995 09:37:12 -0400 From: Willy Evans Subject: Re: Lightnin' Hopkins > > LW (aka Lightin Lenny) > > > btw: My J-50 and DeArmond PU are the same setup that Lightin' and many others > used, however, talent wasn't included with the guitar > I know what your problem is ..... You haven't got your hat set at the proper rakish angle! Once the proper hat angle is arrived at, the guitar playing falls right in line! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Thu, 10 Aug 1995 09:20:57 CDT From: L W Subject: Re: Lightnin' Hopkins ----------------------------Original message---------------------------- > > LW (aka Lightin Lenny) > > > btw: My J-50 and DeArmond PU are the same setup that Lightin' and many others > used, however, talent wasn't included with the guitar > >I know what your problem is ..... You haven't got your hat set at the >proper rakish angle! Once the proper hat angle is arrived at, the guitar >playing falls right in line! I don't have the right sunglasses either....When I was "coming up" and I had a hard time figuring something out, my brother would say "Whats the problem you have the same amount of fingers and frets that he does"..... LW ========================================================================= Date: Thu, 10 Aug 1995 09:24:53 -0500 From: Bruce Roberts Subject: Grateful Dead Drummer I saw a documentary several years ago about the drummer for the Grateful Dead (sorry don't know his name). He is really big into remastering old recordings. His was hired by the Smithsonian to do some of their old field recordings that were on aluminium cylinders. Maybe someone knows more details about this, its been awhile since I've seen the show. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 10 Aug 1995 09:24:11 CDT From: L W Subject: A musicians screw-up I'm 'spose to play at a club tonight for my friend (Marvin POB drummer) baby shower. I wrote a neat tune called "Conception Blues". I have to be there right after work. I called my harp player (POB Buddy) and he brought his harps. So everything's set....WRONG I FORGOT MY GUITAR....Looks like I have to borrow one of them ole 30's Dobro's from the local vintage dealer...I hate when that happens.....:-) LW btw: The term musician is applied loosely in this case ========================================================================= Date: Thu, 10 Aug 1995 10:53:07 -0400 From: Rick Miller Subject: Not Sloppy Drunk.... The first time I saw Sweet Sam with Anson, in New Orleans at Tippitinas 2 years ago, not only was the big guy drinkin' but he'd often shuffle slowly back to the rear of the stage where he would take long pulls off an enormous reefer.. huge billowing clouds of the pungent smoke engulfing him. No doubt it was for medicinal purposes. :) It was classic! :) (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. Riffin Rick F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Thu, 10 Aug 1995 11:06:28 -0400 From: Tom Grady Subject: Re: Grateful Dead Drummer In a message dated 95-08-10 10:26:08 EDT, BRUCE@TSBME.STATE.TX.US (Bruce Roberts) writes: > saw a documentary several years ago about the drummer for the Grateful >Dead (sorry don't know his name). He is really big into remastering old >recordings. His was hired by the Smithsonian to do some of their old >field recordings that were on aluminium cylinders. Maybe someone knows >more details about this, its been awhile since I've seen the show. > > > That would be Mickey Hart, one of the two drummers for the Dead. In addition to producing his own polyrythmic percussion recordings (one of which, PLANET DRUM, won a Grammy a few years ago), Hart has been working with the Smithsonian and with a variety of ethnomusicologists to bring some of their old field recordings into the digital world. I believe that the entire enterprise is called the Endangered Music Project, or something like that, and at least one CD has been released by Ryko, which does all of Hart's music. You can read abou Hart's interest in this stuff in the book he wrote with Jay Stevens called DRUMMING AT THE EDGE OF MAGIC. ========================================================================= Date: Thu, 10 Aug 1995 10:05:12 -0500 From: David Silberberg Subject: Re: Luck! At 02:21 AM 8/10/95 -0400, craig o'donnell wrote: (actually, someone else wrote): > ...> And I think hard work is a relative term. How hard have, say, Paula Abdul > ...> or LaToya Jackson worked? and THEN Cragi wrote: > ... > ...Do they still work? I haven't heard anything from either of them since > ...their initial "Flash in the Pan". > >You AND I could live happily on what the'vey made, I'm sure . The >people who worked hard in this case are their managers/handlers and the >songwriters and everyone else who had points on the gross from album sales. > And now I write: Let's not jump from not liking their style of music or performances with assuming they have no talent or that they didn't work hard for their success. My assumption is that (a) I do not like either performer, but (b) both Jackson and Abdul have considerable talent in their styles, and (c) both Jackson and Abdul worked very hard for whatever (considerable) success they have had (all jokes about former Laker girls aside). David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 10 Aug 1995 10:05:15 -0500 From: David Silberberg Subject: Re: Muddy's House At 03:48 AM 8/9/95 -0400, DeniseTapp wrote: >I had the good fortune to visit Muddy's house about an hour before sunset >last Saturday, during the Sunflower Fest. The remains of the house sit on >a carefully manicured pecan grove, to the west of which is a beautiful and >enormous cotton field. Near sunset, the steam rises above the cotton >plants creating a mist which gives the spot a special charm. > >My friends and I were delighted to be joined on our pilgrimage by Charlie >and Henrietta Musselwhite and a friend of theirs visiting from Brasil. We >had a great visit together, shared the beauty of the surroundings and took >lots of photos of the once-strong cedar shack and its backdrop. > >No true lover of the blues would ever want to deface this fragile, yet >enduring monument, as LW has admitted. And no true lover of the blues >should miss an opportunity to spend a few quiet moments at this beautiful >spot. > (Boy I fell contrary today) I get the same feeling when visiting many historical Southern sites, like Charleston / Savannah, plantations, etc: While we're admiring the beauty of the site, and waxing nostalgic about the life style, etc., let's not forget what Muddy's cabin was: if not originally a slave cabin on a plantation, then a tiny, inadequate sharecropper family home, signifying a slave-like lifestyle forced on Muddy and his family (and hundreds of thousands of others in the Delta) primarily because of their race, with no real hope of escape for most (without the outstanding musical talent of a Muddy Waters). I think we need to ponder the reality of the situation, as well as the spiritual glory of being in a legend's boyhood home. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 10 Aug 1995 10:08:57 CDT From: L W Subject: Ruth Davies (CB's bass player) My wife will be interviewing Charles Brown's bass player, Ruth Davies on MOnday night, for her Women In The Blues article....Any interesting questions..? I will be interviewing Charles Brown EARLY Saturday morning LW ========================================================================= Date: Thu, 10 Aug 1995 11:13:15 -0400 From: Tom Grady Subject: Re: Muddy's House I made a pilgrimage to Muddy's house last June myself and wondered if Alan Lomax did his early recordings of him right there. Does anyone know? ========================================================================= Date: Thu, 10 Aug 1995 08:09:56 PDT From: robbd@VYGER.ENET.DEC.COM Subject: Ottowa question I'm in sunny Ottowa on business right now, and hope to have some spare time tonight to do some CD shopping - anyone happen to know if they're are any decent stores in the downtown area? Also, are there any new U.S./Can. samplers worth picking up? Cheers, - Dougie (Scottish 'zeller) ========================================================================= Date: Thu, 10 Aug 1995 10:12:04 CDT From: L W Subject: Promotion/Marketing/Luck Hate to bring up Clarksdale/Sunflower again: My wife and I had a dicussion along the lines of this thread. I was kind of puzzled/pissed that the folks we were seeing were better than some of the major artists that get tons of press and sell plenty of recordings (relatively) In some cases the artists were WORLDS better than some of the artists that have been gettin much attention and winning Handys...etc. My wife and I agreed that it's promotion/marketing...They get a nice looking fellow (ie Keb Mo, Tab Benoit...etc) that is marketable, but to be honest. I have seen Keb, Tab and others numerous times and the are along way from being at the "feeling" level of some the old guys we saw.....Some of the popular artists may be technically better, but it's not a science fair..It's the music. I guess if they played a million notes a minute and looked "cuter" they'd have a chance, but one thing is for sure...The record folks aren't real concerned with the actual music,(in some cases)....Obviously there are very talented "major" blues artists out there also... LW 'no offense toward Tab or Keb'' ========================================================================= Date: Thu, 10 Aug 1995 15:31:57 +0000 From: Pat Hertel Subject: Re: Lightnin' Hopkins On Thu, 10 Aug 1995, L W wrote: > ----------------------------Original message---------------------------- > > > > LW (aka Lightin Lenny) > > > > > > I don't have the right sunglasses either....When I was "coming up" and I > had a hard time figuring something out, my brother would say "Whats the problem > you have the same amount of fingers and frets that he does"..... > LW > You should have shown him a picture of Hound Dog Taylor (Was him that had six fingers wasn't it?) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/8/95 11:29 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 10 Aug 1995 10:42:56 -0500 From: Jeff Seale Subject: Re: Lightnin' Hopkins On Thu, 10 Aug 1995, Pat Hertel wrote: > I would like to get into some of his stuff. > CD Connection has no fewer than 63(!) titles. > I note that Rhino has an "anthology". Does anyone > know how broadly based it would be or what I would > be "missing"? Or is there a basic set? I have both the Rhino and Aladdin anthologies. I can recommend both of them. I think the Aladdin has more acoustic stuff on it than the Rhino does. eRIC says that the Arhoolie stuff is recommended. I've also heard that the Swarthmore concert on Prestige(?) is very good as well. The real question is: how can you go wrong with ANY Lightnin'? -Texas Li'L Jeffrey "Lightnin" Seale (in honor of my favorite Texas Bluesmen) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Thu, 10 Aug 1995 11:38:03 -0400 From: Ted Dames Subject: Smokey in PA OK,.. Smokey Wilson was unbelievable. Pushing 60 years old and still more energy than alot of younger players I've seen. Great band backing him up, although he seemed to berate than a little more than I think was nessesary. Not blatently but, if you have been in or around bands for a while you get able to read the energies. His voice was went from sweet crooning to soul shouting to howling wolfing with ease. Loved his style of finger pickin' using a thumb pick for slashing staccato strokes and low note plunkin'. His hand is held almost motionless, completely shielding your view of his fingers as he plays. And he does really smoke. Speaking of smoke, his first wife almost set fire to his wooden leg once. Seems she took it while he was sleeping and was going to light it up on the front lawn. It was amazing to see this guy cavorting on stage and thinking that he does this with a wooden leg(complete with painted on sock!) His wife and road manager, Linda, was ever present, making sure Smokey had his set list on the floor in front of him and staightening out his cord when he waded into the crowd. When we made our way out the door it was late and there were only a handful of people left, but Smokie was still grindin' it out. It seemed to me the keyboard man was wore out halfway through the last set and ready for the end of the show. It was a real hoot to watch, listen, and talk to this rare breed of of bluesman. Like Smokie said about the crowd while tippin' his hat,"I think I'll put you in a bag, and ZIP YOU UP.......then squeeze you out just a little at a time!" Bandana's Blues BBQ is this Sunday.....I'm gettin' jazzed...or should I say bloozed? bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Thu, 10 Aug 1995 10:38:06 CST From: JBards Subject: Re: Not Sloppy Drunk.... Geez, are you sure that wasn't a cigarette? Sam always keeps a smoke going and exhales as he sings, as you said, through plumes of smoke, but it's a little hard to believe he'd be so rash- they still arrest you for that in New Orleans, and you DON'T want to get crossed up with the New Orleans police. Jim _______________________________________________________________________________ Subject: Not Sloppy Drunk.... From: MILLER@SCI.WFEB.EDU at INTERNET-SH Date: 8/10/95 10:22 AM The first time I saw Sweet Sam with Anson, in New Orleans at Tippitinas 2 years ago, not only was the big guy drinkin' but he'd often shuffle slowly back to the rear of the stage where he would take long pulls off an enormous reefer.. huge billowing clouds of the pungent smoke engulfing him. No doubt it was for medicinal purposes. :) It was classic! :) (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. Riffin Rick F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Thu, 10 Aug 1995 10:43:47 CST From: JBards Subject: Tele's for Blues? I saw David Grissom playing with John Mayall last weekend on Austin City Limits and he played an absolutely kick-butt solo using an old Broadcaster. It reminded me that I'd been meaning to pose a question to the bluezeller group: I'm having a Tele put together with a repro slab-board neck, rosewood fretboard, and an early 80s Custom (bound sunburst ) body. Don- the guitar tech- and I are going to try out some different combinations of pickups from the early 50s, late 50s and early 60s, then I'll get the reproduction- Seymour Duncan or Van Zandt or whatever- that most closely suits that tone. Obviously, we're talking blues here, not country. Any suggestions as to model/marque for me? thanks- Jim ========================================================================= Date: Thu, 10 Aug 1995 15:54:44 GMT From: Art Schuna Subject: Re: Lonnie Johnson & Buddy Holly In article <950810050845_702420.204300_BHD49-21@CompuServe.COM>, Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM says: > <<2. What type of stuff did Lonnie Johnson play? recommendations?>> > > > Lonnie was a dixieland-influenced guitar player who ranged all over the > material... a recent gem has surfaced, a reissue called "Stompin' At The > Penny," where Lonnie plays in Toronto in 1965 with a local band and goes > through a number of blues, dixieland and gospel tunes. I'm not sure that I get the dixieland influence in most of what Lonnie recorded. My understanding of "Stompin' at the Penny" is that Lonnie backs up a Dixieland band and is really atypical for Lonnie's usual style. But then I haven't heard this recording so maybe someone could enlighten me. Lonnie's early career recordings are available in Complete recorded works style from Document - 8 or 9 volumes if I remember correctly. If I remember correctly, there's a good single disc compilation of this period on the Columbia label. His later (1960s) recordings are available on Original Blues Classics label (Prestige/Bluesville), the same label as the "Stompin'..." CD. If Buddy Holly was listening to Lonnie during his formative years, he would probably have been listening to the King recordings (early 50s). These are not readily available at this time, to my knowledge. It's interesting that one of the King releases, "Tomorrow Night" is listed in the book, What Was The First Rock 'N Roll Record as a candidate for this title. "Tomorrow Night" was covered by Elvis. Art Schuna ========================================================================= Date: Thu, 10 Aug 1995 11:57:27 -0500 From: Erica Wissolik Subject: Grateful Dead Drummer -Long Reply >>>>I saw a documentary several years ago about the drummer for the Grateful Dead (sorry don't know his name). He is really big into remastering old recordings. His was hired by the Smithsonian to do some of their old field recordings that were on aluminium cylinders. Maybe someone knows more details about this, its been awhile since I've seen the show.<<<<< ITS NOT THE SMITHSONIAN. They had nothing to do with the project. Mickey Hart was working here at the Library of Congress in the Folklife Center. Here's a copy of an article that ran in the LC Infor Bulletin. THE ENDANGERED MUSIC PROJECT: COOPERATION BRINGS 'CULTURALLY THREATENED' MUSIC TO A WIDER AUDIENCE by James McKee "The isolation which had preserved their ancient customs was in the process of breaking down. It was the beginning of a development which contained the germ of a complete change in their mode of life." --Per Host What the World Showed Me: My Adventures from Arctic to Jungle In 1949 the Norwegian filmmaker Per Host journeyed into the rain forests of Panama's Darien Province with conflicting feelings of hope and imminent loss. Host had heard tales of the Embera Choco Indians of the upper Sambu River Valley, mountain dwellers who had hidden themselves from the outside world since a smallpox epidemic in the 1920s wiped out a large part of their population. His hopes of filming a sequestered forest society were mixed with fears that the completion of the Pan-American Highway would hasten an invasion of industrial and trade interests into the region, setting in motion the machinery of irrevocable change. After making his way to the secluded mountain valleys of the Choco, Host shot more than 10,000 feet of film and recorded a number of songs on magnetic tape, including a spellbinding fever- curing chant sung by a renowned shaman named Gajego. One year later, when Host returned to Darien to shoot additional footage, his fears were confirmed: The Panamanian government had granted a large concession to a timber company to extract mahogany from the region, and soldiers had been dispatched to put down any possible resistance. Many of his Choco friends had succumbed to tuberculosis brought to their village by Christian missionaries. Gajego's traditional medicine, so effective against spirit-caused afflictions, was no match for the diseases brought by foreigners. Death usually came within a few weeks. Per Host probably never thought that his field recordings, safely stored in the Library of Congress's Archive of Folk Culture, would be heard by a worldwide audience. But for the past three years, his work, and that of four other collectors and several dozen performers, has been the focus of the Endangered Music Project, a public-private cooperative venture between the American Folklife Center (AFC) and 360-degree Productions, the California-based production company of Mickey Hart, percussionist for the rock group the Grateful Dead. The purpose of the project is to select Archive field recordings of cultural traditions that are threatened, digitally remaster them using state-of-the-art sound processing equipment and release them on compact disc. Proceeds from the project will help support the performers and their communities and will help produce future releases. The first title in the Endangered Music Series, "The Spirit Cries: Music from the Rainforests of South America and the Caribbean" (Rykodisc CD 10250), was released March 15 in conjunction with a Folklife Center symposium at the Library called "Music and Cultural Conservation." Symposium participants included Mickey Hart; AFC Director Alan Jabbour; Aluku Maroon musicians Aleina Apalobi and Sephiro Mais; filmmaker Diane Kitchen, who premiered "Roots and Thorns," her new film on the Ashaninka of Peru; ethnomusicologists Kenneth Bilby, Steven Feld, James McKee and Thomas Vennum; and Jason Clay of Cultural Survival. Discussion focused on such topics as the relationship between destruction of ecosystems and the loss of cultural diversity, and the strategies for preserving the oral traditions of culturally threatened peoples. An evening reception celebrating the release of "The Spirit Cries" was hosted by Librarian of Congress James H. Billington in the Library's Great Hall. Guests included Grateful Dead members Jerry Garcia, Mickey Hart and Bob Weir; Don Rose, president of Rykodisc; Sen. Patrick J. Leahy (D-Vt.); and Reps. Neil Abercrombie (D-Hawaii), Anthony C. Beilenson (D-Calif.), Sherrod Brown (D-Ohio), Vic Fazio (D-Calif.), Joe Knollenberg (R-Mich.), Tom Lantos, (D-Calif.), Jerry Lewis (R-Calif.), Norman Y. Mineta (D-Calif.), James P. Moran (D-Va.), Lewis F. Payne (D-Va.) and Del. Robert A. Underwood (D-Guam). Coproduced by Mr. Hart and Dr. Jabbour, "The Spirit Cries" contains music from six collections recorded from 1949 to 1987. Some of the disc's highlights: -- From the Per Host Panama/Choco Indian Collection (1949), an Embera healing ritual performed by the shaman Gajego, who shakes a palm frond over a man to drive feverish spirits from his body; -- From the David Findlay Suriname Wayana Collection (1952), a pair of Wayana songs recorded in a Dutch Consulate office during an impromptu session in Paramaribo; -- From the Enrique Pinilla Folk and Indian Music of Peru Collection (1963-64), the striking imitative polyphony of the Ashaninka Indians; -- From the Kenneth Bilby Jamaican Maroon Collection (1977-78), two possession-trance dances from the Kromanti Play, one of the most purely African of the Caribbean musical-ritual complexes; -- From the Carol and Travis Jenkins Garifuna Collection (Belize, 1981), a variety of religious and dance music, including the bawdy social commentary of the punta dance and the strikingly beautiful abaimahani and arumahani songs, created while the composer is dreaming or in a trance; and -- From the Kenneth Bilby Aluku Maroon Collection (French Guiana and Suriname, 1981-84), ritual and social-dance drumming, popular music and solo game-songs accompanied by the agwado, a three- stringed bow unique in the New World. What is endangered music? To most people, "endangered" brings to mind images of tamarins, tree sloths or undiscovered miracle plants in danger of perishing as 32 million acres of rain forest are destroyed worldwide each year. In Central and South America, however, uncontrolled deforestation has also had devastating effects upon cultural groups whose lives are traditionally tied to the rain forest. In the past several decades, tropical forest cultures of the Americas have seen game resources depleted, lost vast tracts of land to expanding agriculture and witnessed the demise of hundreds of plant species used in healing and ritual. For many of these peoples, losing the forest is synonomous with losing a primary source of spiritual power. To view tropical forest cultures as threatened only in an environmental sense is to ignore the array of 20th century social, economic and political forces that have conspired against them as well. Government colonization programs, tourism, drug trafficking, guerrilla warfare, Western political structures and educational systems, missionary initiatives and mass media have hastened the decline of indigenous languages, the loss of social and political autonomy and the dwindling of skilled practitioners of cultural traditions such as music and dance. Each of the groups featured on "The Spirit Cries" has been threatened in recent decades. The Embera and Wounan Choco -- who have fared better than most Indian groups because of Panama's efforts to establish semiautonomous geopolitical units (comarcas) -- are threatened by rapid deforestation to clear land for cattle ranches. The Ashaninka have been forced from their homelands as a result of Peru's campaign to resettle Andean peoples in the eastern forests, initiatives for industrialized agriculture and conflicts with the Maoist Shining Path guerrillas and the Tupac Amaru Revolutionary Movement. The Jamaican Maroons of Moore Town have seen the decline of the Kromanti Play dances because of missionary proselytization, and rapid development of Jamaica's North Coast threatens the remaining forest in the Blue Mountain region. Because of the stagnation in local economies, the Garifuna of Belize have increasingly abandoned their traditional beachside settlements to seek employment in the cities of their native country as well as Honduras and the United States. Those who remain are isolated from their kin abroad. The imposition of French-style local governments has marginalized the Aluku Maroons and Wayana communities of French Guiana. Anthropologist and ethnomusicologist Kenneth Bilby, who recorded two collections featured on the disc, contends that cultural assimilation is often a prelude to ecological disaster: "When people are rapidly deprived of the cultural understandings and modes of expression that give meaning to their lives, their capacity to resist domination and guide the direction of future change is gravely impaired. The social and cultural fragmentation that results opens the way for opportunistic commercial exploitation from outside, thus hastening ecological destruction." While the Grateful Dead has promoted environmental causes through benefit concerts and activist spokesmanship over the past 2 1/2 decades, drummer Mickey Hart has quietly developed his own brand of musical conservation. His CD series The World -- which comprises more than 17 releases ranging from collaborations with Airto Moreira and Phillip Glass to the sound track for "Apocalypse Now" -- provides a popular forum for musical traditions that may be considered endangered. For example, the songs of the Sudanese Hamza El-Din, a master of the oud (a musical instrument of the lute family) who is heard on the album Eclipse, and the Nubian music featured on Music of Upper and Lower Egypt document the cultural disruption that followed the completion of the Aswan High Dam. The Gyuto monks of Nepal, heard on the album Freedom Chants from the Roof of the World, were forced to flee Tibet after many of their brothers were killed or jailed by the communist Chinese. Mr. Hart's twin commitments to musical and human rights and his pursuit of audio perfection find their best expression in Voices of the Rainforest, an astounding "soundscape" of music and daily life among the Kaluli people of the Bosavi Rain Forest in Papua New Guinea. The Kaluli, who in the past 20 years have experienced profound social changes as a result of oil exploration, intensive logging and an ever-expanding network of roads, have also experienced the disastrous effects of these "developments" on musical and ritual life. Mr. Hart arranged a six-week trip to Bosavi for Steven Feld, the Western Hemisphere's foremost authority on Kaluli music, who recorded music, bird calls and insect noises, exploring different height zones of the forest canopy. Mr. Hart then spent more than four months in the studio mixing the component tracks to re- create the "spatial" sound central to Kaluli music. Mr. Hart's collaboration with the Library of Congress began in 1989, when he made a visit to the American Folklife Center looking for photographs to illustrate Planet Drum. Over the course of several meetings, he and Dr. Jabbour began planning a disc featuring collections from the Archive. "I knew that you were holding these tapes, and it's always been my dream to open up these vaults, these archives, and bring them into the private sector, said Mr. Hart. "We had a couple of meetings and we formed this alliance, and now it's coming to fruition." Bringing "The Spirit Cries" to market required painstaking effort. During the summer of 1990, prompted by Mickey Hart's initial inquiry, the American Folklife Center hired Kenneth Bilby as a consultant to identify collections in the Archive containing rain forest-related recordings from the tropical Americas. He identified eight Archive collections with such recordings, comprising more than 90 hours of music. Next, this writer joined the project to make reference copies of the "study collection" and to develop a narrowed-down selection to facilitate intensive listening. I selected eight hours of music strong enough to warrant further consideration. While keeping in mind the need to provide a representative picture of each collection, and the need to balance accessibility with musical representativeness, my goal was to assess each collection's strong points and choose the selections that best represented those strengths. My selection criteria were different for each collection. There was so much good material that much of it had to be left out. Copies of the eight hours of audition tapes were given to Mickey Hart, who made the second cut: "My selection process was mostly earplay." He said. "I didn't want it to be an ethnography specifically of the area, I wanted it to be a popular work. I would listen to them over and over ... in different environments, on the beach, in the house, in the car . ... I would listen in the morning, the afternoon and the evening, and the selection revealed itself to me." Mr. Hart made his final selection in January 1991 while on the Hawaiian islands, in the Kona region. Known by the project team as the "Kona Edit," these 37 pieces from six collections were the foundation of "The Spirit Cries." Although most of the original recordings were made on what was then state-of-the-art equipment, their sound quality does not match today's audio standards. Mr. Hart's next step was to digitize, remix and remaster the Kona Edit. Engineer Mike Donaldson from the Library's Recording Laboratory transferred the recordings from Library preservation tapes to digital audio tape (DAT), supervised by Dr. Jabbour and Mr. Hart during his March 1991 visit to the Library. The DAT master was then sent to Mr. Hart's studion in Northern California, where he and his longtime engineers, Tom Flye and Jeff Sterling, began the restoration process. Mr. Flye's goal was to create "a new environment for each piece to live in," and each piece presented unique problems requiring a unique restoration strategy, he said. All the recordings were "bathed" with Sonic Solutions, a computerized noise-reduction system that removes tape hiss, microphone bumps and other disturbances. Some of the tracks were treated with electronic reverberation; on others, an ambient effect was created by rerecording the music as it played through a pair of large loudspeakers positioned in a meadow behind Mr. Hart's studio. He compares the restoration work to that done on Old Masters and stresses that his aim was to allow the luster of the original to shine through: "It's sort of like the Sistine Chapel -- you can only go so far before you hit the paint. We [drew] back before we took away the original intent of the music." Meanwhile Kenneth Bilby and I were busy writing the liner notes. The fax machines were rarely silent as drafts bounced back and forth between the East and West coasts, with Dr. Jabbour, Mr. Hart, editor Caryl Ohrbach and production manager Howard Cohen making suggestions and revisions. It was also my job to look for photographs. At the Smithsonian's Human Studies Film Archives, I discovered documentation of the Ashaninka of Peru, collected by filmmaker Diane Kitchen for her documentary of Ashaninka life, "Before We Knew Nothing." Thumbing through the file, I found more than 20 4-by-5-inch black-and-white Ashaninka portraits, daily scenes and a shot of canoeists set in stark relief against the shimmering surface of the Tambo River and dwarfed by the intricate chiaroscuro of the rain forest rising behind them. I immediately knew that this was our cover photograph. Ms. Kitchen, a professor of film at the University of Wisconsin-Milwaukee, readily agreed to let us use the photograph and a portrait of two men playing panpipes. For many listeners the eclecticism of "The Spirit Cries" will shatter monolithic notions of what rain forest music should sound like. African-influenced drumming, call-and-response singing and chordophone traditions are interspersed with Amerindian- influenced monophonic chants, two-part polyphony and Western- influenced popular music. The powerful syncretism of Garifuna music, the product of a now-coastal group of African slave descendants who absorbed Amerindian and Hispanic elements as they made the transition from an island/rain forest culture to a mainland beach culture, perhaps best illustrates the adaptability, tenacity and dynamism that characterize these rain forest cultures as a whole. As Dr. Jabbour observes: "What we see here are rain forest communities that have encountered African-American imports, runaway slaves and freedmen who found their own life in the rain forest. Therefore, you find in the rain forest not solitude and sequester but creative interchange, and this CD captures the energy and magic of that interchange." Despite the wide range of musical styles and the broad geographic, cultural and historical differences among the groups, "The Spirit Cries" displays a thematic coherence. One common thread is the "transformational" function of the music, which is heard during activities such as birth, initiation, healing, divination and death, often accompanied by the use of rain forest plants and the conjuring of elemental spirits. For Mr. Hart, the ephemeral nature of these liminal experiences imbue the music with an elusive quality that takes priority over the mechanics of performance: "There are two ways of looking at music," he said. "There's a technical way, which has nothing to do with the spiritual, and then there's a spiritual way, which has nothing to do with technique. The spiritual way you tune yourself into this music when you are making it has nothing to do with technique, it has to do with the transformational moment. It has to do with creation, not re-creation. These are individual moments that were made specifically for that moment, never to be repeated. Of course, technique doesn't hurt, but it's not necessarily the prime ingredient for this kind of music." We are now distributing copies of "The Spirit Cries" among the communities in which they were recorded. Cassettes and CDs were given to Aluku musicians Sephiro Mais and Aleina Apalobi on their return to French Guiana, where they will give them to friends and fellow musicians. Radio airplay among the Aluku is also assured: one CD copy of "The Spirit Cries" has found its way to TRM, a low-wattage radio/TV station on the Lawa River in the heart of Aluku territory. In Jamaica, Kenneth Bilby has delivered copies to the Maroon musicians of Moore Town and to Jamaican radio stations. We are now making plans to send copies of "The Spirit Cries" to Belize, Panama, Peru and Suriname; and Mickey Hart and Folklife Center staff are already discussing the next release in the series. The Endangered Music Project deals in amplification (by using the same technologies that sometimes threaten these musics to make them accessible to all), reflexivity (by providing cultural groups with the means to examine their distant and recent pasts) and legitimization (by giving oral traditions the status in their communities that flows from recognition by national institutions and contemporary media). By restoring and repatriating these musics, and by rewarding the performers for their efforts, the Endangered Music Project seeks to provide traditional peoples of the world, threatened by ecological and cultural compromise, with a newly restored glimpse of their collective past to carry into the next century. -- James McKee is an ethnomusicologist who assisted in the production of "The Spirit Cries" for the American Folklife Center's Endangered Music Project. REFERENCES: Hart, Mickey, and Alan Jabbour. Interview with Anne McLean of LC's Music Division; Nov. 23, 1991. Host, Per. What the World Showed Me: My Adventures from Arctic to Jungle. Translated by Katherine John. New York: Rand McNally, 1955. ***From _Library of Congress Information Bulletin_, Vol. 52, No. 11, May 31, 1993, pp. 217-222.*** ========================================================================= Date: Thu, 10 Aug 1995 09:57:38 -0700 From: Ron Wack Subject: Marc Cooper - Coop De' Ville (?) Item Subject: Message text A while back I bought a Jam-Along Blues book/CD written by Marc Cooper. The book is not a blues licks course, but more of a study on using alternate scales etc. The emphasis is on originality instead of copycat playing. It seems he put a band together called Coop De' Ville probably about 3-4 years ago and released some disc's. Is anyone familiar with any of these? I have his manager's phone # but would like some opinions before I lay out any cash. BTW, for everyone foreign to Canada, we have a department store chain called *ZELLER'S*. I picked up a couple of blues samplers there last week for cheap. Us Canucks, we know where it's at! RW ========================================================================= Date: Thu, 10 Aug 1995 18:09:28 +0200 From: mironneau serge Subject: Miss. John Hurt Lyrics Anyone has lyrics transcriptions of Mississippi John Hurt songs ? He's a favorite of mine but whereas some blues reissues include lyrics (Robert Johnson, Charlie Patton, etc) there is nothing about Hurt. If you've got anything please let me know! Thanks!! ========================================================================= Date: Thu, 10 Aug 1995 11:34:22 -0600 From: Ranko Vujosevic Subject: Jessie M.H. Fundraiser report The A/C has been sent out to Jessie Mae Hemphill today. Marcia Grodsky, another great person from Blues-L I had chance to talk to did all work. Here is her report I got this morning: > Ranko, the shipping place picked up the air conditioner yesterday and it's being sent out today. They charged: $10.00 pick up charge $39.38 shipping $15.95 packing $ 1.50 insurance (insured it for $300) ------ $66.83 total > I just sent check on $66.83 to Marcia to cover shipping cost. She donated A/C to Jessie. Now, the rest of money. We collected the total of $405 (WOW!) final list of donators is included at the end of this message. I received checks from everybody except one person. So, we have $338.17 left to send her. I SUGGEST, I mail her a money order on 188.17 NOW, and the rest $150 on September 1, so we spread it out for two months. I am going to do it, unless I hear objections from people who donated money. It is easier for me to send one check now and not think about it anymore, but I thought it may help her manage monthly expenses better if she gets it in two installments. Please, send me privately your disagreements. If only one person disagrees, I will send full amount right away. Your disagreement will be confidential. A/C and money order will be delivered to Jessie by Patty Johnson from Clarksdale. I will report on Blues-L whet that is done. Ranko LLIST OF DONATORS: * 1. P. W. Fenton $10 2. Oded Maron $10 * 3. Ranko Vujosevic $10 * 4. Bonnie Kalmbach $20 * 5. Mark and Ellen Naftalin $50 * 6. David Silberberg $20 * 7. Don O $10 * 8. Dana White $10 * 9. jmf@das.harvard.edu $10 (please, send your name) * 10. Bluzman Ed $10 * 11. East Michigan Blues Society $10 * 12. Paul and Beth Garon $20 * 13. Gary Joneson (Island) $20 * 14. Karen Johnson $20 * 15. Bob vanArsdall $10 * 16. Gary Constantine $20 * 17. Garry Segal $10 * 18. Pat Seger $10 * 19. James Carmin $10 * 20. Gary Hudak $10 * 21. Lee C Spector $30 * 22. Craig Edmundson $10 * 23. Kevin Shook $10 * 24. Linda Eskin $20 * 25. Henry Zabokrzycki $35 Total: $405 ========================================================================= Date: Thu, 10 Aug 1995 12:39:50 -0400 From: Garry Segal Subject: Re: Promotion/Marketing/Luck LW recently posted thoughts on why the talented bands he heard at Sunflower were not "famous" like Keb Mo' Tab Benoit etc. Did you ever think that they might not want that "success". They may be quite happy living and playing music part time in their community. Bands that seem successful and are on the road alot have a tough time of it also. None of these bands are getting filthy rich and put up with alot of crap on the road . They made themselves available to the situation they are in by choice and hard work, not by being cute. There is nobody that comes down from above and selects who will be the next blues "success" story. Success is what you want it to be. Some just want to make good music at home for local folks others aspire to recording and touring. Both of these roads have have there own set of potholes. Garry email BlueSngr@aol.com http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Thu, 10 Aug 1995 11:45:51 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Muddy's House Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Muddy's House Message-ID: <1995Aug10.114549.56426@msuvx2.memphis.edu> From: Denise Tapp Date: 10 Aug 95 11:45:49 -0500 References: <199508101505.KAA08972@psycfrnd.interaccess.com> Nntp-Posting-Host: wok-52.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 49 David S. fires a shot across my bow with the following: "While we're admiring the beauty of the site, and waxing nostalgic about the life style, etc., let's not forget what Muddy's cabin was: if not originally a slave cabin on a plantation, then a tiny, inadequate sharecropper family home, signifying a slave-like lifestyle forced on Muddy and his family (and hundreds of thousands of others in the Delta) primarily because of their race, with no real hope of escape for most (without the outstanding musical talent of a Muddy Waters)." I just love it when a New Yorker tries to set me straight about the South! For starters, David, here's a quote from the historical info provided at Muddy's cabin: "On this site stand the ruins of the former residence of Muddy Waters, the legendary Blues musician. The one-room structure standing on this site comprised the front right corner of the original home. The remaining portion of the structure is architecturally significant in that it is a fine example of pre-Civil War cabin construction. The wide cypress logs used in this construction indicate that the original tenant and builder of this cabin was probably a successful trader, likely trading with boats plying the river that used to flow in the old bottom area immediately to the east of this location...." You, obviously, haven't been to the site, or you would understand that it's an unusual dwelling which happens to be located in a very beautiful spot. We Delta folks, black and white, have always drawn strength and sustenance from the rich soil of this region. That's what has enabled us to feed you people for generations while enduring economic enslavement across the board, again Black and White. Personally, I've never owned any slaves. Nor did my ancestors, who were a curious blend of Chickasaw, Choctaw, French, German and English and who scratched their living from the soil and resided in places not as grand as Muddy's once was. And, as you can no doubt determine by now, I'm very sick of having fingers pointed at me from afar for an ancient grievance I didn't commit just 'cuz I happen to glow in the dark! Jeez! We gave you people the best music the world has ever known! What more do you want? DeniseTapp@aol.com People who haven't lived in the Delta just don't get it. ========================================================================= Date: Thu, 10 Aug 1995 11:37:52 EDT From: Toby Levy Subject: Pick of the Summer: Sonny Boy John Lee Williamson I couldn't call this just a "pick of the week." I've been listening to the complete works of the first Sonny Boy, John Lee Williamson, all summer. He sounds better each time I play him. He is one incredible bluesman. It started when I found an ad in the back of Blues Revue for Strategy Records of Bethlehem CT which said they sold all the Document CDs for $14 POST PAID. This was the best price I had seen for these imports and I ordered over the course of several months the complete recorded works of Sonny Boy Williamson in five volumes. (Their ad was not in the issue of Blues Revue I got a couple of days ago. I hope they are not out of business! I just sent them a letter. If they are still around, I'll post their address as soon as they respond to my letter.) Sonny Boy's recording career began at the age of 23 in 1937, the same year Robert Johnson recorded and died. His talent bursts fully developed from the very f6rst record: the classic "Good Morning Little Schoolgirl." According to Mike Rowe of "Chicago Breakdown" Sonny Boy had been performing professionally since his early teens. He certainly sounds like an older man when he sings that paean to pederasty. Sonny's barking, moaning harmonica is startling in its originality and beauty. He sang with incredible emotion and conviction. Document records do not give authorship information but I assume he wrote many of the wonderfully durable classics he recorded. Sonny Boy was married to a woman named Lacey Belle, and her name pops up in many songs, including a late one entitled "Lacey Belle." Mike Rowe reports that it was Lacey who opened the door of her Chicago home one cold morning in 1948 to discover a mugged Sonny Boy breathing his last, his final words being "Lord have mercy." Sonny had an all-star cast of accompanists over the years. His first recording session was supported by the great Big Joe Williams, at the beginning of his distinguished career playing delta blues guitar. After this session Sonny Boy alternated between guitar and piano backups, occasionally using both at the same session. His most frequent accompanists were Big Bill broonzy and the record company's "house" piano player Blind John Davis. Other famous accompanists over the years were Eddie Boyd, Yank Rachel, Big Maceo and Willie Dixon. But the best accompanist in my opinion was Joshua Altheimer, a piano player who played on the seven numbers of a 1940 session and then died the next year. He was only 30 years old! During that 1940 session Sonny Boy also employed a drummer, giving the music a much more urban sound. For much ofthe rest of his recording career he used bass and drums on his records. To my ears, these records are the genesis for the entire "Chess" sound of the 50s and 60s. Muddy Waters, Sonny Boy II (Rice Miller), Howling Wolf and Junior Wells all clearly listened to and learned from the original Sonny Boy Williamson. I know of only one album in print on which Sonny Boy plays as an accompanist: RCA's "Sonny Boy and Big Joe Pitch A Boogie Woogie" (or something like that). Does anyone know of others? Toby ========================================================================= Date: Thu, 10 Aug 1995 12:56:02 -0400 From: "B. Hammer" Subject: Re: Smokey in PA HI! THIS IS(OOPS CAPS LOCK) sorry.. this is my firsst timepossitng to ths list and i wpologize wfor my horrrid typoeing... [i am severely typOgraphicaly challenged] but jsut had to add soemthing about Smokey! Bandana..don't kwno itf you were ereferrng to th e Poconos BluesFFEst performance but though t i wold add a big DITTO! to your praise of hsi talent as i saw it at BigBoulder for the BluesFEST there... AND! AFTER palying a harrd set.. he came to the AMERICA OnLINE LIve BluesChat intercview with BevHOwell Our "bluesDivaDivine!" and he stayed and stayed and stayed!! Answering online questions from BluesFolks all over the country! And , as yousay LInda was wonderful helping to facilate everyting...They are a JOY! Smokey is schuelded to be BACK to BluesChat ssoon! i dnt wanna miss that one! TOEZ!* [ofishiul typOist for AOL BluesChat --lol- nOT! ] :-) ========================================================================= Date: Thu, 10 Aug 1995 09:56:34 PDT From: Eric LeBlanc-CISTI Subject: BRAD LEE SEXTON, OF LITTLE CHARLIE & THE NIGHTCATS, DIES AT 47 Brad Lee Sexton, former bass player for LITTLE CHARLIE & THE NIGHTCATS (1990-1993), died Monday Jul 3, 1995, New Paltz, NY. Before replacing Jay Peterson in THE NIGHTCATS, he toured with Joe Louis Walker, Eddie Kirkland, and his longtime friend, Rick Estrin (before Estrin formed the band). He was born in South Carolina on November 11, 1947. DISCOGRAPHY (featuring BRAD LEE SEXTON) =========== ALLIGATOR CD 4794 : LITTLE CHARLIE & THE NIGHTCATS - CAPTURED LIVE ALLIGATOR CD 4812 : LITTLE CHARLIE & THE NIGHTCATS - NIGHT VISION ========================================================================= Date: Thu, 10 Aug 1995 16:56:30 +0000 From: Pat Hertel Subject: Re: Not Sloppy Drunk.... On Thu, 10 Aug 1995, Rick Miller wrote: > The first time I saw Sweet Sam with Anson, in New Orleans at Tippitinas 2 years > ago, not only was the big guy drinkin' but he'd often shuffle slowly back to > the rear of the stage where he would take long pulls off an enormous reefer.. > huge billowing clouds of the pungent smoke engulfing him. No doubt it was > for medicinal purposes. :) > > It was classic! :) > Well, I believe it is used for glaucoma and there is no argument that Sam has trouble seeing (or walking for that matter). It doesn't seem to effect his singing and harp playing though. How old is he anyway? I believe Funderburgh(sp?) without Sam would be like The Mellow Fellows without Big Twist. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [10/8/95 12:50 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 10 Aug 1995 12:00:27 CDT From: L W Subject: Re: Promotion/Marketing/Luck ----------------------------Original message---------------------------- >LW recently posted thoughts on why the talented bands he heard at Sunflower >were not "famous" like Keb Mo' Tab Benoit etc. Did you ever think that they >might not want that "success". They may be quite happy living and playing >music part time in their community. Bands that seem successful and are on the >road alot have a tough time of it also. None of these bands are getting >filthy rich and put up with alot of crap on the road . They made themselves >available to the situation they are in by choice and hard work, not by being >cute. There is nobody that comes down from above and selects who will be the >next blues "success" story. Success is what you want it to be. Some just I agree that they may not want that kind of life, but I still think the cuteness plays a part in marketing some of these guys....Just look who shows up at their shows...It's not the same crowd that Henry Qualls or Honey Boy Edwards would bring....No screaming girls would show up for HQ or Honey Boy...That's just MHO and wasn't meant to be a fact.... LW ========================================================================= Date: Thu, 10 Aug 1995 13:08:18 EDT From: "Eric C. Shoaf" Subject: Re: Tele's for Blues? I saw David Grissom playing with John Mayall last weekend on Austin City Limits and he played an absolutely kick-butt solo using an old Broadcaster. It reminde >>>Actually it was a single pickup Esquire he was playing. Subtle difference. to try out some different combinations of pickups from the early 50s, late 50s whatever- that most closely suits that tone. Obviously, we're talking blues >>>Your own ears will probably be the best judge for you. Many people are partial to Seymour Duncans and he makes a range of pickups that cover most tonal responses. Seymour can be reached by email at seymourwd@aol.com. E. Shoaf ========================================================================= Date: Thu, 10 Aug 1995 12:21:23 CDT From: Dave Kneifl Subject: Superstition Is there a studio version of SRV's cover of "Superstition" out there, other than in the video? The only version I can find on CD is the live version on Live Alive. Did they record the studio version ONLY for the video? DK Dave Kneifl Program Assistant Private phone: (608) 265-6657 UW Extension Office phone: (608) 262-2011 Independent Learning E-mail: kneifl@admin.uwex.edu 432 N Lake St, Rm 104 Madison WI 53706 Why doesn't DOS ever say "EXCELLENT Command or File Name"? ========================================================================= Date: Thu, 10 Aug 1995 10:33:06 -0700 From: Jeffrey Taylor Subject: Re: Blues in Russia The URL listed is not quite correct, there is no "e" at the end of lifestyle. "music.html" is the weekly club listings, "blues.html" is the writeup on the Blues Brothers club. Note: "112" is the volume/issue number. The current isssue is "118", so http://www.spb.su/lifestyl/118/music.html is the current club listings. This site is an english language site for the city of St. Petersburg, complete with museum listings, maps, and articles from the english language newspaper. There are/were 3 blues nights this week at various clubs. ============================================ Without my guitar, I am a poet without arms. - Michael Bloomfield ============================================ On Thu, 3 Aug 1995, Eric C. Shoaf wrote: > Information from the WWW shows an interesting Blues music club has just > opened in St. Petersburg and that Blues is becoming more popular in > Russia. The club is called "Blues Brothers" but has nothing to do with > HoB or Ackroyd. This is a strictly homegrown venture. Further information > is available at the URL http://www.spb.su/lifestyle/112/music.html > > > E. Shoaf > ========================================================================= Date: Thu, 10 Aug 1995 13:53:02 -0400 From: Garry Segal Subject: Re: Cuteness/Blues Wow am I missing something ? I didnt know there were sceaming girls going to many blues shows. Honestly, which blues bands is this happening to ? Shannon, Patti can you help us out here ? Garry ========================================================================= Date: Thu, 10 Aug 1995 17:57:26 GMT From: Marion Brown Subject: Re: Muddy's House Amen. -- [%- ========================================================================= Date: Thu, 10 Aug 1995 11:20:28 PDT From: Eric LeBlanc-CISTI Subject: LEGACY/COLUMBIA 63605 : SANTANA - DANCE OF THE RAINBOW SERPENT LEGACY/COLUMBIA 63605 : SANTANA - DANCE OF THE RAINBOW SERPENT ============================================================================== CARLOS SANTANA b. 1947/JUL/20, AUTLAN DE NAVARRO, MEXICO Of all the 60s San Francisco-based artists, Carlos Santana has been true to his vision of music for nearly 30 years. The band was originally called THE SANTANA BLUES BAND (1966) & has always used blues as a foundation to their music. His very first recordings (1969) can be heard on the Columbia album "The Live Adventures Of Mike Bloomfield and Al Kooper" (Columbia CS9701). His heroes are Otis Rush, Albert & B.B. King, and you can tell by listening to the sections in this new 3CD boxset (34 tracks/3+ hours/64 page color booklet/complete discography etc.), the most comprehensive set issued so far of his music. Legacy/Columbia has also included Carlos' insights for every track. The booklet is a wonder, full of very rare photographs, including one of Bill Graham (1931-1991) that you can purchase. This review is dedicated to Jerome John "Jerry" Garcia (01/Aug/1942, San Francisco, CA. - 09/Aug/1995, Novato, Marin County, CA.). CONTENTS : (* = unissued) CD1 (Heart) 1. Evil Ways 2. Soul Sacrifice - from Woodstock 1 3. Black Magic Woman/Gypsy Queen 4. Oye Como Va 5. Samba Pa Ti 6. Everybody's Everything 7. Song Of The Wind 8. Toussaint L'Overture 9. In A Silent Way (live) 10. Waves Within 11. Flame Sky 12. Naima - with John McLaughlin CD2 (Soul) 1. I Love You Much Too Much 2. Blues For Salvador 3. Aqua Marine 4. Bella 5. The River 6. I'll Be Waiting 7. Love Is You 8. Europa 9. Move On 10. Somewhere In Heaven 11. Open Invitation CD3 (Spirit) 1. All I Ever Wanted 2. Hannibal 3. Brightest Star 4. Wings Of Grace (live) 5. Se Eni A Fe L'Amo-Kere Kere - with Olatunji 6. Mudbone - with Fabulous T-Birds 7. The Healer - with John Lee Hooker 8. Chill Out (Things Gonna Change) - with John Lee Hooker *9. Sweet Black Cherry Pie - with Larry Graham *10. Every Now And Then - with Vernon Reid 11. This Is This - with Weather Report ========================================================================= Date: Thu, 10 Aug 1995 14:22:09 -0400 From: Rick Miller Subject: Fabulous T-birds in Amsterdam Hi there. I accidently deleted the address of the chap who was inquiring about the T-birds and whether or not they're still worth seeing. Well, Jimmie Vaughan is not currently touring with them, though he is still considered a T-bird, and YES, Kim Wilson is still the front man. He is worth seeing in his own right, IMHO, so I would say yes, fer sure, go see the Thunderbirds if you like 'em! :) I would. Riffin Rick (((( oo-) /- She used to be my part time woman, but she's my full time lover now. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Thu, 10 Aug 1995 13:21:38 EWT From: "CATHI N." Subject: Grissom On Thurs. Aug. 10, JBards said: >I saw David Grissom playing with John Mayall last weekend on Austin City >Limits and he played an absolutely kick-butt solo using an old Broadcaster. Grissom could play a K-B solo on a clothesline.... Cathi N. ========================================================================= Date: Thu, 10 Aug 1995 13:36:31 EDT From: Jessica Sowin Subject: Re: Lonnie Johnson & Buddy Holly In article <950810050845_702420.204300_BHD49-21@CompuServe.COM>, Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM says: > <<2. What type of stuff did Lonnie Johnson play? recommendations?>> Art Schuna mentioned: >> If I remember correctly, there's a good single disc compilation of this period on the Columbia label. Here's what's in the Legacy Catalog: (Note: Stompin' At The Penny is no longer active. Whatever copies are in the stores now are it.) Lonnie Johnson/Steppin' On The Blues CK 46221 Copyright Notice: (P) 1990 CBS Records Inc. Band song title time recording loc. publisher 01 MR. JOHNSON'S BLUES 02:40 Pending - J.J. JOHNSON - 02 SWEET POTATO BLUES 02:56 Joe Davis Music (ASCAP) - J. DAVIS - 03 STEPPIN' ON THE BLUES 02:52 Pending - L. JOHNSON - 04 I DONE TOLD YOU 02:58 Pending - L. JOHNSON - 05 MEAN OLD BEDBUG BLUES 02:53 Joe Davis Music (ASCAP) - J. DAVIS - 06 TOOTHACHE BLUES - PART I 02:47 MCA Music Pub. - O. JEFFERSON - C. WILLIAMS - a div. of MCA, Inc. (ASCAP) 07 TOOTHACHE BLUES - PART II 03:20 MCA Music Pub. - O. JEFFERSON - C. WILLIAMS - a div. of MCA, Inc. (ASCAP) 08 HAVE TO CHANGE KEYS (TO PLAY THESE 03:01 Pending BLUES) - L. JOHNSON - E. LANG - 09 GUITAR BLUES 03:14 Pending - L. JOHNSON - E. LANG - 10 SHE'S MAKING WHOOPEE IN HELL TONIGHT 03:09 Pending - L. JOHNSON - 11 PLAYING WITH THE STRINGS 02:59 Pending - L. JOHNSON - 12 NO MORE WOMEN BLUES 03:00 Pending - T. ALEXANDER - 13 DEEP BLUE SEA BLUES 03:02 Pending - T. ALEXANDER - 14 NO MORE TROUBLES NOW 03:14 Pending - L. JOHNSON - 15 GOT THE BLUES FOR MURDER ONLY 03:22 Pending - L. JOHNSON - 16 UNTITLED 02:46 17 6/88 GLIDE 02:58 Pending 18 RACKETEER'S BLUES 03:12 Public Domain - L. JOHNSON - 19 I'M NUTS ABOUT THAT GAL 03:09 Pending - L. JOHNSON - Thanks, Jessica Legacy jls@sonymusic.com ========================================================================= Date: Thu, 10 Aug 1995 13:44:00 CDT From: Bonnie Kalmbach Subject: Promotion..Sunflower I agree with LW regarding these Delta bands. The whole point of the Sunflower Festival is to give them a little more exposure. I've been attending the King Biscuit Festival since '88 and this Sunflower Festival was my third, and I feel pretty confident in saying (having interviewed a number of the bands) that most of them would kill for greater exposure. Some of them have recorded for the very small labels such as Earwig and Rooster. I talked to some members of Arthniece Jones' Stone Gas Band who were hoping to do a nation-wide tour. It would seem as though there aren't enough resources available for more promotion. PS: LW and everyone- the Stone Gas Band and Big Jack Johnson (with Frank Frost and Sam Carr are featured in the video "Juke Joint Saturday Night" on sale at the Delta Blues Museum. It was made at Margaret's Blue Diamond Lounge in Clarksdale. There is also a photo of Muddy Waters' house in the Delta Blues Museum as it looked before a storm reduced it to it's present state. It *was* a very nice little house; Denise is quite right. I wouldn't have minded living in it myself. I pointed out the picture to (previously admonished by the list) LW so he would recognize it when he went to get get his little slice of it and he may have said something like "oh, would you please cut that out!! PPS. Denise: I would have loved to have stopped in Memphis on my way home - but I wasn't sure how my new Clarksdale kitten was going to take the long car trip home (he did fine) - next time I'll expect a Grand Tour. (I had my "Low-life Guide to Memphis" with me). I DID make my pilgrimage to 936 East McLemore (STAX) on the way down and read the plaque by the vacant lot - in the pouring rain (you know that Otis' plane went down a few blocks from where I am right now). Just before that I bought a "I (heart) Memphis button. -Bonnie ========================================================================= Date: Thu, 10 Aug 1995 13:45:11 -0400 From: Willy Evans Subject: Re: Promotion/Marketing/Luck I've been following the thread about marketing blues musicians with interest. Marketing a blues musician is tricky because blues is more or less a cult audience. Once you get past the hard-core blues fans, people will say that they like blues and will listen to some, but they don't really buy records, etc. So if you are going to try to market a blues player to have sales beyond that of a regular blues act, you've got to push them as an entertainer. Somebody like Henry Qualls is going to appeal to a blues crowd, somebody like Tab or Keb, who is young and good looking, could appeal to a younger crowd. We've got to face it, the general public thinks that blues is kinda' cool but they don't embrace it! Those of you that play can see the difference when you play a "blues" club or you just play a regular drinking joint. For musicians, there is a living to be made, but for most, it makes a good 2nd job when you're playing blues. The benefit of playing to a blues audience, is that they do not tend to forget you like popular music audiences do. So once you are accepted , you remain accepted and you don't have to worry about where you are on the charts. The sales figures may not be as impressive, but they are steady! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** I'm a poor boy and a long way from home **** ========================================================================= Date: Thu, 10 Aug 1995 14:08:26 -0600 From: Ranko Vujosevic Subject: Re: Grissom > >I saw David Grissom playing with John Mayall last weekend on Austin City > >Limits and he played an absolutely kick-butt solo using an old Broadcaster. > > Grissom could play a K-B solo on a clothesline.... > > Cathi N. > Is this the same David Grissom who reorded an album with Jerry Garcia (maybe more than one, but I had a chance to listen to that one only). There is a nice version of "The thrill is gone" on that one, and an absolutely beautiful song with a russian flavor. Don't remember the tittle of CD though. Help? I have somewhere around house a CD by David Grissom tittled something like "Mondo (something)." I haven't listened to it for ages. As I write this, I am listening to another great mandolin player, Yank Rachell, and his "Chicago Style" (Delmark), here in my office. I'mm gona keep it "mandolinized" today and will put on Johnny Young's "Chicago Blues" Arhoolie after that. Ranko ========================================================================= Date: Thu, 10 Aug 1995 14:04:08 CDT From: L W Subject: Promotion..Sunflower ----------------------------Original message---------------------------- >There is also a photo of Muddy Waters' house in the Delta Blues Museum >as it looked before a storm reduced it to it's present state. It *was* >a very nice little house; Denise is quite right. I wouldn't have minded >living in it myself. I pointed out the picture to (previously admonished >by the list) LW so he would recognize it when he went to get get his >little slice of it and he may have said something like "oh, would you >please cut that out!! To be honest and some of you know this, I live in a house that's not too much different than Muddy's. I think the logs on Muddy's are actually better. We have a total of four rooms INCLUDING THE BATHROOM, no a/c, no dishwasher. So I certainly would fit right in living in a house like that, as long I still had the acreage/privacy that we have. The circumstances are different of course John "Boogie Daddy" Wells offered me some splinters off of a Clarksdale telephone pole as a consolation for not getting any "Muddy Wood"....Nice gesture....My wife did get a picture of Bonnie, with a biker behind her. It appears the biker thought his picture was being taken... LW ========================================================================= Date: Thu, 10 Aug 1995 12:14:55 -0800 From: Don Cicchetti Subject: Re: Luck! craig said, >Anyway, no need to beat this to death. I worked professionally as a >musician and later as a recording engineer and I'm very cynical about "the >process". I've worked in the "industry" for a long time too. (I don't get paid to play my guitar yet, but I do trade guitar session work with other musicians and engineers at times) I record, mix, and edit for a living, and while I certainly see plenty of reasons for cynicism, I see plenty of reasons for optimism as well: I see good acts signed all the time, and while many are taken advantage of, many also protect themselves by taking charge of their own careers, and not hoping some mysterious "they" will come in and do it for them. I would say that for 10 career failures in this industry, 9 of them are solely the fault of the artists themselves. The reasons include: Lack of strong songwriting skills. Listen closely to your own material. The A&R guy sure will! Do you have anything original to offer? Lack of motivation/contacts. Motivation will result in contacts, and contacts will get your tape heard. Lazy people rarely get anywhere in this biz... Get out, make friends, make contacts. they will not come to you. Depending on music to pay your bills before you are successful. You need a real job in the meantime... Sorry, I know this one hurts, but you can't write if you're moving from one couch to another. Lousy arranging skills. You have a great idea, but you can't develop it into a complete song... Time for some music theory. You DO have a lawyer don't you?? Signing a contract without one is like Karate class wihtout a "cup", You're gonna suffer bud..... Lousy vocals. NOBODY wants to hear a band that can't sing. Drugs... are people still stupid enough to do drugs and try to be musicians? and there's MORE, but I gotta go do live sound for a friend's CD-release party... you know he's gotta be stoked! Cynicism = death IMHO Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 10 Aug 1995 14:30:38 -0500 From: T-Bone Subject: Yank Rachell (WAS Grissom) On Thu, 10 Aug 1995, Ranko Vujosevic wrote: > As I write this, I am listening to another great mandolin player, > Yank Rachell, and his "Chicago Style" (Delmark), here in my office. Greetings, all. I'd just like to let people know that I am working on some web pages for Yank Rachell and other bluesmen who tend to get lost in talk about the blues. If anyone has some good anecdotes about Yank, or some info that isn't commonly available, I'd appreciate it. (For example, I know that he played with Sleepy John Estes; that's fairly common knowledge about Yank.) FYI, I've already done pages on T-Bone Walker and Scrapper Blackwell. I also plan on doing one for Leroy Carr, as soon as a friend returns my Carr cds. The URL is http://www.io.com/~tbone1/blues/ for those who are interested. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I took the duck out to the burn barrel, first scanning the woods for feminists. You never know." - Patrick McManus ========================================================================= Date: Thu, 10 Aug 1995 12:42:33 PDT From: Gordon Fehlman Subject: Re: Grissom I must of watched a different ACL, cuz if Dave G. wanted to match solos with Coco Montoya IMHO he would have been blown off the stage. I have seen them both live and Coco is by far a better musician. But, I enjoyed the show, I taped it to watch again. Mainly to watch Coco play. What y'all think? Gordon ========================================================================= Date: Thu, 10 Aug 1995 15:38:13 -0700 From: Steve Roberts Subject: Re: Chris Anderson - Old Friend Sorry about the delayed reaction, but I can't resist a belated response to someone named Bob who asked about Chris Anderson's recent release, "Old Friend." The day I joined blues-l (lo those many months ago...), a heated discussion (sound familiar?) about "blues-influenced" music was underway. Among the many side-threads that arose was an evaluation of the union between blues and rock. As usual, no one convinced anyone of anything (one of the List's most endearing qualities, as far as I'm concerned...), but some good points were made. The "Duane A. School of Blues," a few of us agreed, has made many positive contributions to the artform. I have heard - and reviewed - Chris' CD. A former guitarist for the Outlaws (of "Green Grass and High Tides" fame...), Chris has turned out an excellent cd, very much in the Allman tradition, yet with a style of his own. Which means that if you don't enjoy blues with a rock edge, you shouldn't rush out and buy "Old Friends." It doesn't, however, mean that the cd isn't blues. The cd includes a very nice cover of Albert King's "You're Gonna Need Me." Of Chris' originals, I especially enjoy "When Will You Be Satisfied," a song that I've started to use as an example of what's good about the Rock/Blues intersection. Warren Haynes, a member of the Allman Brothers current lineup, plays slide. Chris' - a guitarist first and a vocalist second - strikes a great balance between his playing and his singing. The vast majority of the cd reflects Chris' belief that it's better to play ten notes with feeling than three dozen without. All this <<>> Hammond B3. What's not to like? Give the cd a listen, if you get the chance. Bob - whoever you are - if you're interested in more info on "Old Friends," e-mail me at the address in my header. I'll see if I can dig up a copy of the review. S <<>> ========================================================================= Date: Thu, 10 Aug 1995 14:53:14 -0500 From: David Silberberg Subject: Re: Lightnin' Hopkins At 10:42 AM 8/10/95 -0500, Jeff Seale wrote: > >I have both the Rhino and Aladdin anthologies. I can recommend both >of them. I think the Aladdin has more acoustic stuff on it than the >Rhino does. eRIC says that the Arhoolie stuff is recommended. I've >also heard that the Swarthmore concert on Prestige(?) is very good >as well. > I also can recommend all three sources. The Aladdin has more accoustical probably because they were his first recordings (as I recall). I would go with this one first, as it shows LH at his best, IMO. The Rhino is a good survey of his work from beginning to end, and includes some of the Alladin, some of the Arhoolie, and some of the Prestige / Bluesville. Parts of the Prestige / Bluesville are good, but there are parts with a back up band to doesn't work for me. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 10 Aug 1995 14:53:18 -0500 From: David Silberberg Subject: Re: Lonnie Johnson & Buddy Holly At 03:54 PM 8/10/95 GMT, Art Schuna wrote: > It's >interesting that one of the King releases, "Tomorrow Night" is listed in >the book, What Was The First Rock 'N Roll Record as a candidate for this >title. "Tomorrow Night" was covered by Elvis. > It was first (?) covered by LaVerne Baker on Atlantic in a much vetter version than Elvis' "spectral" (as I've heard it described) verson. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 10 Aug 1995 14:57:00 CDT From: Paul Garon Subject: Re: Lightnin' Hopkins > I would like to get into some of his stuff. >CD Connection has no fewer than 63(!) titles. >I note that Rhino has an "anthology". Does anyone >know how broadly based it would be or what I would >be "missing"? Or is there a basic set? > >phertel There are many sides to Lightnin', and it depends on whether you want rural/acoustic, juke/drums, etc. Personally, I like the early Aladdin and Gold Star material, reissued in various guises. It's electrified acoustic, as it were, and very appealing. The material he did live for Arhoolie, in an attempt to recreate his everyday juke joint gigs, playing electric guitar with drums behind, is really great juke music, too. But is that what you want? Other prefer Prestige material, and while I like the LP he did with Sonny Terry for them, I think he tended to be much more laid back, pick far less, and be a bit lazy, as he was on many of his last LPs. If you can get the Candid sides, with the original Mr. Charlie (far better than the remake) and his cante fable version of MIGHT CRAZY, you'll have another winner. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Thu, 10 Aug 1995 20:00:59 GMT From: Tony Burke Subject: B&R 102 Out In The UK B&R 102 OUT TODAY!! Yep, thats right! Blues & Rhythm issue 102 is in the post. UK readers should get it Saturday. Europe, mid week and US airmail later next week. Main features are: The Lanor Story - Peter Thompson on the the legendary blues and cajun label; The Johnny Talbot Story - Mick rainsford interviews this unsung hero of West Coast Blues; Keb Mo - Neil Slaven finds out if the guy is a good as his record company say he is. Plus Charles Drain by Bill Greensmith; Wolfman Jack; Van Zula Carter; TBone Walker; Chicago Blues festival and tons of other stuff on Blues and R&B some it on guys you ain't never heard of yet!! B&R 103 will feature: The Story Behind The Legends of Specialty Gospel Series by Opal Louis Nations; On The Radio With Lovie Lee by Blues-L9s own Bluzman Ed; The Danceland Label including new info on this rare label; Henry Townsend and loads more of rarities for all you blues anoraks out there!!! ========================================================================= Date: Thu, 10 Aug 1995 14:57:29 CDT From: L W Subject: Re: Grissom ----------------------------Original message---------------------------- I must of watched a different ACL, cuz if Dave G. wanted to match solos with Coco Montoya IMHO he would have been blown off the stage. I have seen them both live and Coco is by far a better musician. But, I enjoyed the show, I taped it to watch again. Mainly to watch Coco play. What y'all think? ____________ I have never seen Grissom live and I've seen Coco and one particular time was terrific, gave me chills. Ya'll correct me if I'm wrong (again) but Grissom is more of an "all around" kind of player. He can be heard on anything from bluegrass to blues to rock...etc recordings. So i would say Grissom may be a better "musician" because of his versatility (sp). it really doesn't matter LW 'correct at will' ========================================================================= Date: Thu, 10 Aug 1995 20:05:35 GMT From: Tony Burke Subject: Re: BRAD LEE SEXTON, OF LITTLE CHARLIE & THE NIGHTCATS, DIES AT 47 Shame about the news of Brad's death. When he toured here with Estrin and Baty he was always friendly and we always enjoyed his company, particulalry at the great Colne show a few years back when the Nightcats blew away everyone in sight including a stunning James Harman. Any news on cause of death? Just fer the record ya unnerstand! TB ========================================================================= Date: Thu, 10 Aug 1995 20:09:50 GMT From: Tony Burke Subject: Garcia - whats he on Blues-L for? Sorry and all that - I enjoyed the Dead as much as anyone back in the late 60's but all this guff about him on Blues-L. What did the Dead have to do with Blues and R&B? Now I know somebody will try and tell me about the blues links and all that, but come on! Tony Burke ========================================================================= Date: Thu, 10 Aug 1995 14:56:05 CST From: Edward Komara Subject: The Cuteness/Ruggedness factor I read with interest LW's post about how many lesser- and un-known blues acts were heard to their best advantages at the Sunflower Fest, usually sounding much better than higher touted performers such as Keb' Mo' and Tab Benoit. Looks has partly to do with it, sure; to take other peoples' word for it, Tab Benoit just may be "cuter" than Super Chikan. But we have to avoid the other extreme also, that is, supporting a performer for looking more rugged or tortured than another one. I think most of us have followed blues long enough to have seen at one time or another someone promoted on the basis of: "sure, the guy can't play a lick, but look at the mug on him!" And that person will receive a great deal of exposure for his rugged mug, while someone like Super Chikan gets passed over for looking comparatively "average." Things will remain that way as long as blues magazines are only visual but not listenable. So the point is: Cute faces sell, and rugged craggy faces also sell, and good music sometimes fall by the wayside since the performer merely looks average. That was one thing about pre-war blues: records sold on the basis of what could be heard, not on any cover art. I have to give the various bluesfinders some credit for being patient with long-forgotten musicians when they realized those musicians didn't look what they sounded like. Edward Komara, Ole Miss ========================================================================= Date: Thu, 10 Aug 1995 16:25:29 -0400 From: "John R. Vanderpool" Subject: Eric Clapton digest (subscription info) if you want to talk about EC, where he's viewed in a more positive manner (constructive criticism [not blatant unfounded flaming] always welcome), come on over to the Eric Clapton slowhand digest, here's the instructions: **** SLOWHAND **** last update: 5-jan-1995 Welcome to slowhand, the Eric Clapton mailing list! This is a digestified list, which means you will at most receive one message a day containing all of the messages sent to it. send maintenance messsages to: slowhand-request@daacdev1.stx.com [examples: requests to subscribe or unsubscribe] send messages to (these go to everybody): slowhand@daacdev1.stx.com [do NOT send your request to [un]subscribe to this address!] send messages direct to listowner: slowhand-owner@daacdev1.stx.com [examples: you asked to be unsubscribed and you haven't been] send urgent messages to everybody ASAP: slowhand-urgent@daacdev1.stx.com [use this only for really urgent stuff like "EC tix on sale today!", etc) Replies from slowhand-request are NOT yet automated so subscribes may take a few days - unsubscribes are handled immediately (as soon as I see them). If you are a new subscriber can you please fill out the "subscriber survey" found on the slowhand FTP server (see below) as SURVEY and mail it to slowhand, not the list owner. the Eric Clapton FAQ (Frequently Asked Questions) is available via anonymous FTP (see next section on that) as /pub/slowhand/info/faq. there is a slowhand FTP server, for access: **** NOTE: ftp server temporarily on eosdev2.gsfc.nasa.gov **** ftp eosdev2.gsfc.nasa.gov login: anonymous password: use your full email address cd pub/slowhand and poke around. use 198.116.20.90 as the address if you don't have a working name server. Back issues of the digest are in /pub/slowhand/archive. The incoming ftp box is now open to drop files off in: ftp eosdev2.gsfc.nasa.gov cd /pub/slowhand/incoming # not /incoming mput please read the /pub/slowhand/lyrics/COPYRIGHT for copyright notice. see /pub/slowhand/lyrics/README.delimiting.lyrics if you want to contribute. there is a slowhand WWW server, for access use the following URL: http://http.bsd.uchicago.edu/~d-hillman/welcome.html ------------------------------------- END INTRO -------------------------------- -- Life is what you make it, at least that's what the people say. And if we can't make it through tomorrow, we'd better make it through today. -ec John R. Vanderpool NASA/GSFC/HSTX ========================================================================= Date: Thu, 10 Aug 1995 15:26:01 CDT From: Scott Schiller x2554 Subject: Re: Muddy's House > David S. fires a shot across my bow with the following: > > > "While we're admiring the beauty of the site, and waxing nostalgic about > > > > [blah blah blah, white people suck] > > > > outstanding musical talent of a Muddy Waters)." > > I just love it when a New Yorker tries to set me straight about the > South! For starters, David, here's a quote from the historical info > > [blah blah, all white people don't suck, just those not from the South] > > sick of having fingers pointed at me from afar for an ancient grievance I > didn't commit just 'cuz I happen to glow in the dark! > > Jeez! We gave you people the best music the world has ever known! What > more do you want? > > DeniseTapp@aol.com > > People who haven't lived in the Delta just don't get it. > For all its ups and downs, ins and outs, blacks and whites, you can always count on one constant from Blues-L: Pretense. --scott schiller ========================================================================= Date: Thu, 10 Aug 1995 13:40:57 -0700 From: Jeffrey Taylor Subject: Re: Grissom On Thu, 10 Aug 1995, CATHI N. wrote: > On Thurs. Aug. 10, JBards said: > > >I saw David Grissom playing with John Mayall last weekend on Austin City > >Limits and he played an absolutely kick-butt solo using an old Broadcaster. > > Grissom could play a K-B solo on a clothesline.... > Is a clothesline the whitefolk's diddly bow? :) > Cathi N. > ========================================================================= Date: Thu, 10 Aug 1995 15:59:15 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Hopkins My advice, if it is still available, is to get the Mosaic box which includes Candid sides by both Hopkins and Spann. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Thu, 10 Aug 1995 17:41:50 +0000 From: "P.W. Fenton" Subject: Re: Garcia - whats he on Blues-L for? On10 Aug 95, Tony Burke had this to say... > Sorry and all that - I enjoyed the Dead as much as anyone back in the > late 60's but all this guff about him on Blues-L. What did the Dead have > to do with Blues and R&B? > > Now I know somebody will try and tell me about the blues links and all > that, but come on! > Tony, you've got to be real carefull with remarks like these. One of my very first posts to Blues-L a long time ago was also one of my first (of many) faux pas. After reading several messages in a row discussing Fleetwood Mac, I displayed my ignorance by saying. "Isn't this a BLUES list? Why are you even talking about Fleetwood Mac." You see, unlike most white boys my age, the young white English fellows were not my introduction to the Blues. I saw Albert King as an opening act and thought I had discovered a new kind of music. Well anyway, after I revealed my ignorance, a kind zeller asked me for my mailing address, and sent me a cassette full of samples of the Peter Green era, and I was blown away. So don't be so quick to count old Garcia out of the Blues. As a matter of fact, I think I have an album tucked away in the garage with Garcia and Papa John Creach playing blues. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 10 Aug 1995 17:43:40 -0400 From: POXY MAN Subject: BLUES at THE BEACH The Natchel'Blues Network.Inc. is planning a 2 day blues fest Oct.14-15, 1995 at the 24th St. Stage on the boardwalk in Va Beach, vA. This is a free fest and runs from 11am til 7:00pm on Sat. and 12 noon til 6:00 on Sun. It is avery nice time of the year her if anyone is interested from outof town(reasonable hotel rates also). We are almost ready to announce our line-up . We still would like to book a guitar oriented act for Sat. If anyone has any suggestions or recommendations please respond to: PoxyMan@aol.com Thanks, Pat Seay ========================================================================= Date: Thu, 10 Aug 1995 22:52:26 +0100 From: John Christian Subject: Garcia - whats he on Blues-L for? >Sorry and all that - I enjoyed the Dead as much as anyone back in the >late 60's but all this guff about him on Blues-L. What did the Dead have >to do with Blues and R&B? >Tony Burke Sorry Tony but here's one UK subscriber who's grateful for the post - Otherwise I wouldn't have heard that Jerry Garcia was dead (and I've just been listening to a Grateful Dead rendition of Wang Dang Doodle thats blues enough for me.) Not that I'm grateful that he's dead... ========================================================================= Date: Thu, 10 Aug 1995 14:51:52 -0700 From: Jennifer Meserve Subject: Re: Garcia - whats he on Blues-L for? I won't try to convince you of any blues links to Jerry. I just think that sometimes this list is a little more than just a blues discussion group. In many ways we are a family and occaisionally share information that MIGHT be of interest. Obviously we all love the blues, and many of us love other music as well (yes there are other forms of music out there ;-). I hardly think it should be criminal to spend a SMALL amount of time discussing the death of a well-known musician who clearly affected many peoples lives. Jennifer 'I could care less if Jerry is condsidered a blues musician' Meserve On Thu, 10 Aug 1995, Tony Burke wrote: > Sorry and all that - I enjoyed the Dead as much as anyone back in the > late 60's but all this guff about him on Blues-L. What did the Dead have > to do with Blues and R&B? > > Now I know somebody will try and tell me about the blues links and all > that, but come on! > > > Tony Burke > ========================================================================= Date: Thu, 10 Aug 1995 17:33:24 -0500 From: Pat Seger Subject: Free tix for Bayfront Blues fest No one took me up on my offer to sell the pair of tix for this weekend's Bayfront Blues Festival in Duluth, so I'll give them away *FREE*. We can't use them and someone should enjoy the weekend;) Call me tonite or send me a email and you can pick up the tix Fri a.m. Red (612) 483 4286 seger001@gold.tc.umn.edu ========================================================================= Date: Thu, 10 Aug 1995 17:41:09 PDT From: rjbauman@IQUEST.NET Subject: Yank aid ============= As I write this, I am listening to another great mandolin player, Yank Rachell, and his "Chicago Style" (Delmark), here in my office. I'mm gona keep it "mandolinized" today and will put on Johnny Young's "Chicago Blues" Arhoolie after that. Ranko================== Saffire - The Uppity Blues Women have agreed to do a benefit for BSI so long as 50% of the profits go to Yank. Coincidentally, the Blues Society of Indiana is installing two A/C's in Yank's house this weekend. My A/C found a blues home afterall. Best of all, I don't have to charge anything because I can write off the donation to a 501 3(c) RJ Bauman ------------------------------------- ========================================================================= Date: Thu, 10 Aug 1995 17:21:01 PDT From: "R. J. Bauman" Subject: mail reader blues Well we do have this non blues issue in common. Whenever I save posts, 60% of what get's saved is header information. I just dumped a 37 Megabyte text file to my printer. That was just the GOOD stuff. Does anybody know of a program that automatically saves only the message portion of posts? RJ Bauman ========================================================================= Date: Thu, 10 Aug 1995 17:01:16 PDT From: "R. J. Bauman" Subject: Re: Promotion..Sunflower ===================We have a total of four rooms INCLUDING THE BATHROOM, no a/c, no dishwasher.============ Yeah, but what a COOL PORCH! :-) RJ Bauman ========================================================================= Date: Thu, 10 Aug 1995 17:39:10 CST From: JBards Subject: Re[2]: Grissom I guess I'd say it was not a competition. Both are really great players. Grissom is more of an all-round journeyman, playing a lot of rock ( with Mellencamp) and new-country-rock ( with Joe Ely), so I was especially knocked out by his soloing in a blues context. Montoya just amazes me: he keeps getting better and better and better, and he's no spring chicken, either (46). I think his new CD supplies some of the best and most innovative plaing of the year. -Jim _______________________________________________________________________________ Subject: Re: Grissom From: Gordon Fehlman at INTERNET-SH Date: 8/10/95 3:43 PM ----------------------------Original message---------------------------- I must of watched a different ACL, cuz if Dave G. wanted to match solos with Coco Montoya IMHO he would have been blown off the stage. I have seen them both live and Coco is by far a better musician. But, I enjoyed the show, I taped it to watch again. Mainly to watch Coco play. What y'all think? ____________ I have never seen Grissom live and I've seen Coco and one particular time was terrific, gave me chills. Ya'll correct me if I'm wrong (again) but Grissom is more of an "all around" kind of player. He can be heard on anything from bluegrass to blues to rock...etc recordings. So i would say Grissom may be a better "musician" because of his versatility (sp). it really doesn't matter LW 'correct at will' ========================================================================= Date: Thu, 10 Aug 1995 16:58:22 PDT From: "R. J. Bauman" Subject: Re: Luck! (low blues content) ==================Lousy vocals. NOBODY wants to hear a band that can't sing. Drugs... are people still stupid enough to do drugs and try to be musicians? =================== So how do we explain the Seattle/Grunge scene? RJ Bauman ========================================================================= Date: Thu, 10 Aug 1995 17:56:35 -0500 From: Pam McMillan Subject: Re: Clarksdale Provides Answers You're absolutely right about blues being supported in Black neighborhoods. Next time you're in Chicago, check out the Unleaded Blues (Club) at 7400 South Chicago. There is always a good turnout, especially on weekends. They feature "down home blues" as well as contemporary blues music. You'll be in nice & friendly company too. On Mon, 7 Aug 1995, L W wrote: > This is not a review, it's a revelation for ME. > > One issue that comes up alot is the "future of the blues"...There has been lots > of people saying this and that.....etc. IMHO , now that I have actually been > THERE, The future of the blues is where SOME of it began CLARKSDALE MISS. The > blues are alive and well and the young-uns are still being brought up playing > the blues...THE BLUES ARE SAFE > > Second Issue: Blacks don't like/support the blues...I will never say that again > If you have doubts GO TO CLARKSDALE....Now if you put a yuppie based club in an > all white neighborhood, with blues that were learned and not experienced...well > sure blacks aren't going to go...Why should they...You put the blues where they > are and wow do they ever show up and appreciate it... > > Cheap guitars in abundance, cheap equipiment, but REAL blues... > > I thought I had been there and done that, but BOY was I wrong... > > Sorry if this comes off as self-righteous or what have you, but until you > experience the Sunflower Festival in Clarksdale, you'll never reall know what > a blues festival is....That is MHO > > LW 'I've been slapped in the face, with the REAL THING' > Pam McMillan Graphic Designer "Have guitar, will travel" Fax me: (312) 995-2816 ========================================================================= Date: Thu, 10 Aug 1995 17:57:13 CST From: JBards Subject: Re[2]: Grissom _______________________________________________________________________________ Subject: Re: Grissom From: Ranko Vujosevic at INTERNET-SH Date: 8/10/95 2:52 PM > >I saw David Grissom playing with John Mayall last weekend on Austin City > >Limits and he played an absolutely kick-butt solo using an old Broadcaster. > > Grissom could play a K-B solo on a clothesline.... > > Cathi N. > Is this the same David Grissom who reorded an album with Jerry Garcia (maybe more than one, but I had a chance to listen to that one only). There is a nice version of "The thrill is gone" on that one, and an absolutely beautiful song with a russian flavor. Don't remember the tittle of CD though. Help? That would David Grisman, a great mandolin player , albeit frequently hobbled by arthritis. Hope this helps- Jim I have somewhere around house a CD by David Grissom tittled something like "Mondo (something)." I haven't listened to it for ages. As I write this, I am listening to another great mandolin player, Yank Rachell, and his "Chicago Style" (Delmark), here in my office. I'mm gona keep it "mandolinized" today and will put on Johnny Young's "Chicago Blues" Arhoolie after that. Ranko ========================================================================= Date: Fri, 11 Aug 1995 08:59:00 +22303754 From: David Blanken Subject: Info on Steve "Wildman" Waldman Greetings, Last year pianist Johnny Johnson toured Australia with a guitar player named Steve "Wildman" Waldman. Waldman was advertised as being a member of the Kentucky Headhunters. After the gig I went on a search for KH records and his name doesn't appear on any that I found. Does anybody have info on him? ----------------------------------------------------------------- David Blanken D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Thu, 10 Aug 1995 18:01:28 +0500 From: Bill Morgan Subject: Re: Muddy's House <>> David S. fires a shot across my bow with the following: <>> <>> > "While we're admiring the beauty of the site, and waxing nostalgic about <>> > <>> > [blah blah blah, white people suck] <>> > <>> > outstanding musical talent of a Muddy Waters)." <>> <>> I just love it when a New Yorker tries to set me straight about the <>> South! For starters, David, here's a quote from the historical info <>> <>> [blah blah, all white people don't suck, just those not from the South] <>> <>> sick of having fingers pointed at me from afar for an ancient grievance I <>> didn't commit just 'cuz I happen to glow in the dark! <>> <>> Jeez! We gave you people the best music the world has ever known! What <>> more do you want? <>> <>> DeniseTapp@aol.com <>> <>> People who haven't lived in the Delta just don't get it. <>> <>For all its ups and downs, ins and outs, blacks and whites, you can always <>count on one constant from Blues-L: Pretense. <>--scott schiller Hmm. If the Scott Schiller post were typical of Blues-L, I would count on ambiguity as the constant. Bill Morgan ========================================================================= Date: Thu, 10 Aug 1995 23:33:58 GMT From: Art Schuna Subject: Re: Paul (Wine) Jones & Gary Moore In article Jeff Frankle writes: >Date: Tue, 8 Aug 1995 08:03:25 -0400 >From: Jeff Frankle >Subject: Paul (Wine) Jones & Gary Moore >I'm desparately trying to locate a recording of Paul Jones called Mule The Paul "Wine" Jones recording called Mule is a recent release on the Fat Possum/Capricorn label (42090-2). Should be available in finer music stores everywhere. If not, they should be able to special order it without too much problem or try telnet to cdnow.com or cdconnection.com. This is another fine release on the Fat Possum label with Sam Carr on drums and Kenny Brown and Big Jack Johnson on guitar. It was recorded at Jimmy's Auto Care in Oxford, MS. Does anyone know if Jimmy's Auto is a strange name for a recording studio or do they normally specialize in Auto Care and just do recording on the side? Art Schuna ========================================================================= Date: Thu, 10 Aug 1995 23:37:41 GMT From: Art Schuna Subject: Re: Blues Access in WI In article Patti Bowman writes: >Date: Tue, 8 Aug 1995 19:49:32 -0500 >From: Patti Bowman >Subject: Blues Access in WI >>>Now a plea - >>>Blues Access is a great magazine, but it seems hard to come by in >>>Madison (Wisconsin). If any Madison area Blues-ellers can suggest >a >>>place to get the magazine around here Borders Bookstore on University Ave had copies of this on their shelf this afternoon. Art Schuna ========================================================================= Date: Wed, 9 Aug 1995 16:09:35 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Musicians, Computers, & the Internet Just wondering....since many BLUES-L'ers are musicians as well as computer literate (or else we wouldn't be here)... In your experience, among musicians you know and/or play with, is knowledge of computers common or rare? I'm wondering because of all the talk about Blues WEB pages and other Internet sites and so on...who is the audience that will benefit from this information? My experience with the musicians I know in the Cincinnati area is that it's the rare one or two that even own a computer, and I don't know any of them that have Internet access. (My Internet access is limited to e-Mail here at work.) I'm not knocking anyone or anything...just musing. Several of my musician friends are in awe of my computer literacy (*snort*), and are both mystified and excited by the BLUES-L chatter I share with them on an almost daily basis. Shannon ========================================================================= Date: Thu, 10 Aug 1995 15:34:15 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Re[2]: Cuteness/Blues/Persistent Women Garry -- I missed the original post about screaming girls going to blues shows. Why are you asking me and Patti in particular? Because we bantered with the "bass player mystique"? Hmmmm? ;) It seems to me there are plenty of *other* women on the BLUES-L. Anyway, screaming girls at blues shows...I can only speak for Cincinnati, and for myself, but I've been known to scream. Often to tease musician-friends. And I'm not very good at that deep, masculine "YEAH!" that I usually hear men call out in appreciation. :D But seriously...sort of...if you're referring to that "OhmyGod, he's so cuuuuuuttte, eeeeeeeeeeeeeeeeeeeeeekkkkk!" kind of scream, I more or less outgrew that reaction back during my very pre-adolescent adoration of the Monkees. I do often hear women AND men screaming. hollering, hooting, and whistling in appreciation at blues shows, but I don't interpret it as visceral appreciation of the musician; instead, visceral appreciation of the music. But let's face it, there are *blues* musicians out there who are doing what they do in the hopes of scoring dates, just like in any other form of music. I will certainly appreciate a good-looking (in my terms) man/blues musician, but scream at him? Naw. Not unless I'm being facetious. But you know, this all brings up an interesting question for the performers on the BLUES-L. How do you-all handle those audience members who DO take your performance on a personal level and DO make a pass (or two, or three) at you? Since I hang around with a band that is 2/3 happily married (and 1/3 single), I often see women crawling on the two married guys, trying their darnedest. Some are extremely persistent, some are downright agressive, some consider me a threat, some think me one of the wives, some consider me a confidant and spill out their unrequited love and ask for suggestions. ("Forget it. He's happily married." is always my suggestion.) I can understand the interest in musicians (or I wouldn't be hanging around with them), but I can't understand that need to beat your head against a wall once you realize there's no chance. Musicians/performers seem to attract these obssessive personalities on a daily basis. Theories? Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Cuteness/Blues Author: BlueSngr@aol.com at INTERNET_KDC Date: 8/10/95 2:52 PM Wow am I missing something ? I didnt know there were sceaming girls going to many blues shows. Honestly, which blues bands is this happening to ? Shannon, Patti can you help us out here ? Garry ========================================================================= Date: Thu, 10 Aug 1995 19:04:18 -0500 From: Pam McMillan Subject: Re: Q:] R&B vs. Soul? It appears to me soul music is complex, in that, it maintains simplicity. You can listen to it over and over again because it is loving and heartfelt. It does not distract or overwhelm you with gimmicks, samples, or electronic effects that have you changing the station after hearing the song for the 20th time. The key is always in the lyrics that convey human emotion without concern of not appearing cool or sexy. R&B is a sexual, "I want you baby, I want to do you" type of thing instead of "I love you, I need you, don't leave", etc.. R&B is often superficial with no TRUE human emotion projected, but it is sexy. > : R&B is sitting in a chair > : Soul is choreography > > Certainly conveys the message clearly Dick - thanks again. But > are there any musical differences - beat, tempo etc. that sets > these apart. NO I won't work over the definitions to death, I > just write a lot and was looking for directions when I listen. > > -- > Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 > bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" > Raising monies for the religious and non-profit sectors > As of 01/01/95 - over $12,000,000 in fund raising projects installed > Pam McMillan Graphic Designer "Have guitar, will travel" Fax me: (312) 995-2816 ========================================================================= Date: Thu, 10 Aug 1995 20:15:30 -0400 From: Tom Freeland Subject: Re: Paul (Wine) Jones & Gary Moore In a message dated 95-08-10 19:36:18 EDT, aschuna@VMS2.MACC.WISC.EDU (Art Schuna) writes: >Does anyone know if Jimmy's Auto is a strange name for >a recording studio or do they normally specialize in Auto Care and just do >recording on the side? > > It's a recording studio here in Oxford, where other FP product has been recorded. In a previous incarnation it was the Zombie Birdhouse (perhaps a name more reserved for Alternative Bands?). Tom Freeland ========================================================================= Date: Thu, 10 Aug 1995 19:48:00 CDT From: Paul Garon Subject: Re: Musicians, Computers, & the Internet > Just wondering....since many BLUES-L'ers are musicians as well as > computer literate (or else we wouldn't be here)... In your > experience, among musicians you know and/or play with, is knowledge of > computers common or rare? Back when I used to subscribe to DATA-BASED ADVISOR (or something similar), there was a period when a main topic of discussion in the mag and in the editorials was the fact that so many programmers were muscians. Now they were talking about programmers, not just users, and from the content, it sounded like most of these were classical music-oriented types anyway. But I found the whole thing to be odd, damn odd, even though they thought it was "natural". They spoke a alot about what the two activites had in common, thinking styles, etc. Since one of the main proponents was a disgusting smug bastard that I couldn't stand, I could only follow the thread so long and ultimately let my subscription lapse (!) Blues is something else again... or is it? Used to be, where the blues came from and all, it would be pretty unlikely for a blues artists to be a computer user since she/he came from a working-class or below-working-class group, there was not internet communication network to be on, etc. Still, such a class included electronics, and bluesman TV-Slim was a TV repairman, etc. But in those days there just wasn't a computer in a house. These days, blues are being played by a wider and wider spectrum of people, just as computers are being used more and more by a more diverse group... and because of this the answer to your question seems to change daily. More blues-folk discover computers, more computer folk discover blues. God knows what'll happen eventually! Kind of scary! But I think it's a given that the average blues artist isn't "on the Net", yet it's the averages that keep changing. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Thu, 10 Aug 1995 19:49:00 CDT From: Paul Garon Subject: Muddy's House (longish) Denise, now I know nobody likes to be preached to, but you don't seem to be practicing what you're preaching . I never think it remiss to point out that the source and origin of the blues was in slavery and the segregationist practices to which black Americans were subjected. [That hardly means that each white southerner must then stand up and declare "Not Guilty" each time this is pointed out. After all, the origins of the blues are a fact, just as it is a fact that no one who was "responsible" for slavery is till alive today.] Pointing out the history of the blues may seem overwrought to you, since you probably already know it. But the GUITAR PLAYER mag debate about whites and blues (several years ago) made it abysmally clear that many, many blues fans had no real idea at all about the black "contribution" (!) to blues. They only knew that it was now hip to cry "racist" if somebody degraded their own contribution on the basis of race. Further, I would hardly say that it was the "South" that gave us "the best music the world has ever known", if you are talking about the blues. Rather it was Blacks, mostly from the South, that gave us this music. In recent times it has become the practice to look around the playing field at all the white players and proclaim blues to be the music of blacks and whites together, as if the music was not, at its inception, an Afro-American art form, composed of many strands (some white), only NOW practiced by people of all races. Should our statements about what the blues is and where it came from ignore the unpleasant aspects of history? If the very contemporary, multi-racial notion of the blues is most appealing to you, that's fine, but I'm afraid you'll have to give up some of your own prejudices, too. For example, if you judge blues by its current practioners, and not by its origins, you'll have to stop claiming it is a gift from the South. There are too many Northern practitioners, not to mention the musicians from other countries. If you are referring to the ORIGINS of the blues, which tended to be Southern, you can hardly pretend to not notice that these origins also tended to be Black, by about 99.9%. You can't have it both ways. It's either Southern and Black, as it was conceived and as it historically is, or multi-national, as it is now being played... or both. But you'll have to expect strong reactions if you try to pick the best of both worlds (like, "blacks AND whites but strictly Southerners.") Paul Garon PS: How are the architectural aspects of the cabin, vis-a-vis the historical marker that you quote, relevant to the original posts about Muddy's house, and the origins of blues in slavery? The fact that the house may have been built by a "successful trader" doesn't change the fact that Muddy wasn't one, that he grew up picking cotton under the share-cropping system. Historical markers often give the point of view of the Chamber of Commerce, anyway. How many of them point out the nearest lynching tree, or even that "ten white tenant farmers died trying to make a profit on this acre." PPS: I kept hesitating to post this--I know, I know, I should have hesitated more--but I finally decided to post it when I saw how many folks were defending Jerry Garcia, but no one was defending the broad, historical view of the blues that the ornery Northern poster espoused. >I just love it when a New Yorker tries to set me straight about the >South! For starters, David, here's a quote from the historical info >provided at Muddy's cabin: >remaining portion of the structure is architecturally significant in that >it is a fine example of pre-Civil War cabin construction. The wide >cypress logs used in this construction indicate that the original tenant >and builder of this cabin was probably a successful trader, >You, obviously, haven't been to the site, or you would understand that >it's an unusual dwelling which happens to be located in a very beautiful >spot. We Delta folks, black and white, have always drawn strength and >sustenance from the rich soil of this region. That's what has enabled us >to feed you people for generations while enduring economic enslavement >across the board, again Black and White. > >Personally, I've never owned any slaves. I'm very >sick of having fingers pointed at me from afar for an ancient grievance I >didn't commit just 'cuz I happen to glow in the dark! > >Jeez! We gave you people the best music the world has ever known! What >more do you want? > >DeniseTapp@aol.com > >People who haven't lived in the Delta just don't get it. > ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Thu, 10 Aug 1995 21:40:55 -0400 From: Dick Waterman Subject: Beat the deadline . . . David Nelson, editor of "Living Blues," just came by my house and picked up the photograph of the check presentation at the Delta Blues Museum. LW is looking might fine in his Blues-L shirt and John Ruskey is holding the check aloft. We just beat the magazine's deadline on the final day so we will definitely be in the coming issue. Nice work all around by shirt designer, money collector and check donor . . . On a separate note, I probably should ignore the Tony Burke post regarding Jerry Garcia. However, I am over a month here now and apparently no longer moist with newbie newbie dew. If you love Robert Johnson, I would hope that you'd appreciate Doc Watson. If you listen to Professor Longhair or Jelly Roll Morton, then I would hope that there is a place in your life for Mose Allison. It is counterproductive to limit creativity or attempt to catagorize everything into specific pigeonholes. The Jennifer Meserve post said 'in many ways we are a family' and this is an eloquent concept to stand behind. Jerry Garcia loved the music that he played but, more importantly, he honored the traditions from which it came by acknowledging that he was only a stepping stone along life's path. And who among us can say that it was not a well spent life? dick waterman ========================================================================= Date: Thu, 10 Aug 1995 22:08:56 EDT From: Joseph Leichter Subject: Re: Garcia - whats he on Blues-L for? If we just limited discussion to people who only played 12 bar, they'd be damn few people to talk about . ========================================================================= Date: Thu, 10 Aug 1995 20:22:38 -0600 From: "Paul R. Leach" Subject: Re: Garcia - whats he on Blues-L for? >>Sorry and all that - I enjoyed the Dead as much as anyone back in the >>late 60's but all this guff about him on Blues-L. What did the Dead have >>to do with Blues and R&B? If all one knows about the Dead is what they did in the late 60's...well lets just say that would explain the need to ask the question. Of course the Dead was not a Blues band. Nor a Country Band. Or a Rock, R&B, Soul, Funk or Jazz band. But they brought something very special to each of these realms in their finest moments. I feel lucky to have been there to witness a few of them. -- Paul { * }====# ========================================================================= Date: Thu, 10 Aug 1995 22:19:18 -0600 From: David Silberberg Subject: Re: Muddy's House At 2:26 PM 8/10/95, Scott Schiller x2554 wrote: >> David S. fires a shot across my bow with the following: >> >> > "While we're admiring the beauty of the site, and waxing nostalgic about >> > >> > [blah blah blah, white people suck] >> > >> > outstanding musical talent of a Muddy Waters)." >> >> I just love it when a New Yorker tries to set me straight about the >> South! For starters, David, here's a quote from the historical info >> >> [blah blah, all white people don't suck, just those not from the South] >> >> sick of having fingers pointed at me from afar for an ancient grievance I >> didn't commit just 'cuz I happen to glow in the dark! Since I am the "David" who Denise was answering (and who Scott is quoting): I don't have Denise's reply here, I'll check it tomorrow at work, but I don't think she wrote the [blah blah blah, white people suck] or the [blah blah, all white people don't suck, just those not from the South]. I know I didn't write them. Assuming I am correct, please be careful about what and how you quote other people. And how you interpret their comments - nowhere in MY comments did I say, imply, or infer, or otherwise say "white people suck". Discuss the issues - as Denise and I have privately - but don't misquote my actual words, or my implications. Still contrary.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Thu, 10 Aug 1995 22:43:10 -0500 From: Craig Edmundson Subject: Re: Musicians, Computers, & the Internet Elmore James was repairing radios in Jackson, MS when he recorded "Dust My Broom." ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Thu, 10 Aug 1995, Paul Garon wrote: > from and all, it would be pretty unlikely for a blues artists to be a > computer user since she/he came from a working-class or below-working-class > group, there was not internet communication network to be on, etc. Still, > such a class included electronics, and bluesman TV-Slim was a TV repairman, ========================================================================= Date: Thu, 10 Aug 1995 23:56:18 -0400 From: DeniseTapp Subject: Re: Muddy's House (longish) and stupid! Dear Paul: Practicing what one preaches? 20 years ago, before you knew what the Blues was, I helped videotape the last performance of Gus Cannon, drove Furry Lewis around town and, just, in general, celebrated life and music with my friends of all backgrounds and colors. I still live this way. Have you ever heard of Sam Phillips, for example? Or any of the other white people who helped bring black music to the forefront of society? It's not a "one or the other" proposition. It was accomplished by mutual respect and a meeting of the creative minds who approached the subject without preconceived notions, such as those you carry. You quote "blacks AND whites but strictly Southerners" as if these were my words. I have printouts of all of my posts and none contains this string. Perhaps you are injecting your own prejudice into my remarks. I did mention that blacks and whites in the South have suffered from economic enslavement, and I will stand by those words. We're still the worst paid people in the U.S., while we give you cheap food and clothing, but we also enjoy a lifestyle and climate which most of you long for. Once again, I have encountered another "authority" who has not spent time in the Delta region and is, essentially, clueless as to the real life way in which the people of this area have interacted and relied upon one another for generations. Denise P.S. I have a most delightful interview on videotape given by B.B. King almost 20 years ago in which he says, "Chicago Blues??? They don't have any music that we didn't bring them from the Delta." ========================================================================= Date: Fri, 11 Aug 1995 00:09:47 -0400 From: Msbeale Subject: NEW CHRIS CAIN RELEASE Well, it's finally out!!!!! Run, don't walk to your nearest record store and get your very own copy of Chris Cain's 4th CD- SOMEWHERE ALONG THE WAY, on Blind Pig Records And if for some strange reason they don't have it- ask them to order it!!!! ENJOY PS. The first 5 blues-l subscribers to email me will get a free copy. The only condition is that you must post an honest review (In your humble opinon, of course!) of the Cd on this list. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Fri, 11 Aug 1995 01:20:10 -0500 From: Craig Edmundson Subject: Re: Muddy's House (longish) and stupid ??? Whoops, Ms. Tapp. In 1971 Mr. Garon published THE DEVIL'S SON-IN-LAW: THE STORY OF PEETIE WHEATSTRAW AND HIS SONGS (London: Studio Vista/November Books). In 1975 he copyrighted BLUES AND THE POETIC SPIRIT (London: Eddison Press, Ltd.) Mr. Garon is a disciplined researcher and is not in the habit of making unsubstantiated claims. I hope this list does not fall prey to a "blues-ier than thou" mindset, where one has to live in the South or be a musician, or WHATEVER, before one's insights are worthy of merit. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Thu, 10 Aug 1995, DeniseTapp wrote: > Dear Paul, > 20 years ago, before you knew what the Blues was > creative minds who approached the subject without preconceived > notions, such as those you carry. ========================================================================= Date: Fri, 11 Aug 1995 02:44:32 -0400 From: Garry Segal Subject: Dylan on Garcia " There's no way to measure his greatness or magnitude as a person or as a player. I dont think any eulogizing will do him justice. He was that great, much more than a superb musician with an uncanny ear and dexterity. He is the very spirit personified of whatever is muddy river country at its core, and screams up into the spheres. He really had no equal. To me he wasnt only a musician and friend, he was more like a like a big brother who taught and showed me more than he'll ever know. Theres alot of spaces and advances between the Carter family, Buddy Holly and say, Ornette Coleman, alot of universes, but he filled them all without being a member of any school. His playing was moody, awesome,sophisticated, hypnotic and subtle. There is no way to convey the loss. It just digs down really deep. " Bob Dylan Amen Bob, RIP Jerry Thanks for some great music and inspiration. Garry and his grateful Moodswingers ========================================================================= Date: Fri, 11 Aug 1995 02:56:12 -0400 From: Fred Sokolow Subject: Re: Lonnie Johnson & Buddy Holly The posts I've read about Lonnie Johnson don't do the guy justice...this is one of the most influential guitarists ever, a big influence on Robert Johnson, B.B. King and many more, amazing fingerpicker as far back as the 20s, had a very noticeable vibrato, could play solo gutbucket blues or work with Bessie Smith or Duke Ellington. Did famous, memorable jazz duets with Eddie Lang. He was "rediscovered" during the late 50s folk boom but didn't make it with white audiences because he wouldn't put on overalls & act like a plantation "folk blues" guy. Too polished and urbane, stylistically, for that movement. A major voice in American guitar. ========================================================================= Date: Fri, 11 Aug 1995 00:09:27 -0700 From: Mark Naftalin Subject: Attention DJ's & Writers This message goes to blues disc jockeys and writers: We have done an extensive promotional mailing of our recent release, "Strawberry Jam" by the Paul Butterfield Blues Band (live nightclub recordings, '66-'68), but we may have missed you. If you are interested in programming or reviewing this CD, or our other releases ("Percy Mayfield Live" and Ron Thompson's "Just Like A Devil"), please be in touch by private e-mail, or call the Winner Info-Line 1-800-411-WINNER. Mark Naftalin Winner Records ========================================================================= Date: Fri, 11 Aug 1995 07:08:05 GMT From: Tony Burke Subject: Re: Garcia - Whats He Here For? Great!! I touched the nerve! Despite arguments to the contrary I do not subscribe to the view that because musicians knock out a few ole' blues toons in their shows thay they are bluesmen or blues musicians and should be treated as such. Whilst I accept that any Blues-L subscriber can write what they like, I see this as an extension of the current re-inventing of 60's and 70's rock artists as blues artists and part of the promotion of white rock bands as "blues" because "blues" is currently hip in some quarters. In the UK and possibly in the US we have any ammount of these bands being presented as "blues" artists while the real thing, such as guys like Larry Garner, Joe Louis Walker, Cal Valentine and others, all with more blues cred in their little fingers get ignored. Just look through the pages of some blues magazines and examine the ammount of second rate talent being promoted and hyped as so called blues bands and artists. I'm not saying the Dead were second rate - what I am saying is that there are still a few of us around, probably in the UK and in Europe who are blues fans, who wish to support and promote BLUES and R&B artists, who want to ensure the singularly most important music of the 20th Century is kept alive, re-issued, supported, wrote about, enjoyed and passed on to another generation as the genuine article. Thats why B&R will continue to support up and coming blues talent, rediscovered blues artists, well produced re-issues and not re-cycled rock bands and thats why, despite accepting that people have genuine affection for Garcia and the Dead and their music, I for one don't think he and his boys had much to do with the blues. Sorry, but thats the way it is with us blues anoraks! I prefer to keep it that way. Tony ========================================================================= Date: Fri, 11 Aug 1995 06:00:42 EST From: "Steven G. Toney" Subject: Re[2]: Muddy's House (longish) and stupid! Did Jim Hartac move to the Delta and reincarnate? Jeez! Steve Toney Practicing what one preaches? 20 years ago, before you knew what the Blues was, I helped videotape the last performance of Gus Cannon, drove Furry Lewis around town and, just, in general, celebrated life and music with my friends of all backgrounds and colors. I still live this way. Once again, I have encountered another "authority" who has not spent time in the Delta region and is, essentially, clueless as to the real life way in which the people of this area have interacted and relied upon one another for generations. P.S. I have a most delightful interview on videotape given by B.B. King almost 20 years ago in which he says, "Chicago Blues??? They don't have any music that we didn't bring them from the Delta." ========================================================================= Date: Fri, 11 Aug 1995 07:27:14 +0000 From: "P.W. Fenton" Subject: Re: Beat the deadline . . . On10 Aug 95, Dick Waterman had this to say: > However, I am over a month here now and apparently no longer > moist with newbie newbie dew. ^^^^^^^^^^^^^^^^^ O.K. Waterman, now you've gone TOO far. Sinatra has NOTHING to do with the Blues ;^) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 07:26:42 EST From: "Steven G. Toney" Subject: Musical Pigeonholing...(AKA) Beat The Deadline ==== Dick wrote It is counterproductive to limit creativity or attempt to catagorize everything into specific pigeonholes. The Jennifer Meserve post said 'in many ways we are a family' and this is an eloquent concept to stand behind. Jerry Garcia loved the music that he played but, more importantly, he honored the traditions from which it came by acknowledging that he was only a stepping stone along life's path. And who among us can say that it was not a well spent life? dick waterman ======= Dick, I'm mainly a "lurker" on Blues-L...love it nevertheless. Have been on the list six months or so. This subject is usually the one that brings me out from the depths, because I feel strongly about it. I'm not really a musician, (played for about 4 years in my living room) but I sense that musicians understand this point more than non-musicians, cause their music comes from their heart and souls. To me personally, music is an expression and extension of what goes on inside my brain and my heart. The music called Blues happens to move me more than any other form, BUT, I don't care what category someone decides to place the music, if it moves me...I love it. This is the reason I personally will never bash the music of anyone, because to someone, somewhere the music has an inner meaning that only that person can feel and understand. If someone asks, I can only give my own opinion of what it does for me, which actually doesn't/shouldn't mean a thing to someone else. Yanni doesn't get much press on Blues-L, obviously, but when he does, it's part of a joke. However, when I first listened to the "Acropolis" thing he did, I was truly moved...mesmerized by the music. It sent chills through me for a solid hour. I was honestly surprised by my own reaction. I don't expect this same thing to happen to everyone, but how can someone else try to tell me what is good or bad??? Anyway, I just wish that people would realize that beauty is in the eye of the beholder...and musical beauty is something which I can define for myself and nobody else. Anyway, I enjoy your posts...as well as all the great writeups in CD sleeve's etc. Take it easy. Steve Toney ========================================================================= Date: Fri, 11 Aug 1995 07:35:21 -0400 From: Barry Silverberg Subject: CD's to trade. I have the following CD's to trade ........ James Carr - The Essential JC (Razor & Tie) Ivory Joe Hunter - Since I Met You Baby (Razor & Tie) The Yardbirds - 1963 (Optimism) The Moonglows - Sincerely (Roots) Robert Gordon - Red Hot (Razor & Tie) -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 11 Aug 1995 07:37:26 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Why Garcia on Blues-l Item Subject: Message text This was posted on the Bruce Cockburn mailing list... ....................................................................... FROM: ar271/smtp////////HPMEXT1/ar271#a#Freenet#f#HSC#f#Colorado#f#EDU@mail1-id TO: humans@flying.fish.com ....................................................................... Item Subject: A Jerry Story Received: from mail-gw.atc.alcoa.com by mail1-id.atc.alcoa.com with SMTP (1.38.193.5/16.2) id AA08514; Thu, 10 Aug 1995 14:55:35 -0400 Received: from flying.fish.com (flying.fish.com [140.174.97.13]) by mail-gw.atc.alcoa.com (8.6.12/8.6.11) with ESMTP id OAA22731 for ; Thu, 10 Aug 1995 14:54:47 -0400 Received: (from majordomo@localhost) by flying.fish.com (8.7.1.3 (Alpha)/8.7.1.3) id HAA02144 for humans-outgoing; Thu, 10 Aug 1995 07:10:32 -0700 Received: from Freenet.HSC.Colorado.EDU (freenet.HSC.Colorado.EDU [140.226.1.8]) by flying.fish.com (8.7.1.3 (Alpha)/8.7.1.3) with SMTP id HAA02139 for ; Thu, 10 Aug 1995 07:10:30 -0700 Received: (from ar271@localhost) by Freenet.HSC.Colorado.EDU (8.6.8/8.6.6) id IAA02744; Thu, 10 Aug 1995 08:10:35 -0600 Date: Thu, 10 Aug 1995 08:10:35 -0600 Message-Id: <199508101410.IAA02744@Freenet.HSC.Colorado.EDU> From: ar271@Freenet.HSC.Colorado.EDU (Paul R. Leach) To: humans@flying.fish.com Subject: A Jerry Story Reply-To: ar271@Freenet.HSC.Colorado.EDU Sender: the_bruce_man@fish.com Precedence: bulk Errors-To: error-monger@fish.com ....................................................................... Item Subject: A Jerry Story Thought y'all would like this story from Dick Waterman... I said when I came online last month that I was not going to do a whole lot of story-telling. However, to mark Jerry Garcia's death, it seems appropriate to tell just this one . . . Some years ago I asked Elizxabeth Cotton if she was getting royalties for her song "Sugaree" that had been done by The Grateful Dead as "Shake, Sugaree." She said that she had not so I wrote a letter asking for an accounting. I got back a hailstorm of mail from their publisher, Ice Nine Music (Vonnegut fans will appreciate this irony), with chapter and verse scolding about all of the Public Domain versions of the song prior to Ms. Cotton's copyright. The matter was doomed at that point but I had a chance conversation with John Scher, their East Coast promoter and quasi-manager. I told him the story and he asked, "Does Jerry know about this?" I told him that I was quite sure that it had never come to his personal attention. He told Jerry and wheels immediately went into motion. The decision was that she would not collect on "Sugaree" but they would do "Oh, Babe, It Ain't No Lie" on their next album and she would be given an advance on the writer's royalties. They sent her about $700.00 - very big money back then - and she went out and bought herself the biggest refrigerator/freezer on the market. It was the talk of the town. I saw her some time later and asked if people were curious to know where she got the money to buy such a magnificent appliance. "Oh, yes indeed," she said. "I just tell everybpdy it come to me as a gift from some dead people in California!" R.I.P. good man Jerry Garcia . . . . . -- Paul { * }====# ========================================================================= Date: Fri, 11 Aug 1995 07:41:47 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: New Freddie King CD Item Subject: Message text I saw an ad for TopCat's new Freddie King release. Is it out yet and has anyone heard it? Sounds like a good one. Jim Smith ========================================================================= Date: Fri, 11 Aug 1995 07:11:46 -0400 From: Willy Evans Subject: Re: Re[2]: Cuteness/Blues/Persistent Women On Thu, 10 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > > But you know, this all brings up an interesting question for the > performers on the BLUES-L. How do you-all handle those audience > members who DO take your performance on a personal level and DO make a > pass (or two, or three) at you? Since I hang around with a band that > is 2/3 happily married (and 1/3 single), I often see women crawling on > the two married guys, trying their darnedest. Some are extremely > persistent, some are downright agressive, some consider me a threat, > some think me one of the wives, some consider me a confidant and spill > out their unrequited love and ask for suggestions. ("Forget it. He's > happily married." is always my suggestion.) I can understand the > interest in musicians (or I wouldn't be hanging around with them), but > I can't understand that need to beat your head against a wall once > you realize there's no chance. Musicians/performers seem to attract > these obssessive personalities on a daily basis. Theories? > I'm trying to realate to this question. It's been a long time since any woman has been "persistant" that I take 'em home. I do get women that REALLY like my music, but somehow they haven't hit on the fact that the perfect man is overweight, over 40 and married. How they can resist such a specimen and go home with the undernourished, immature rascals they do go home with is beyond me! Now, if I could still drink shots of tequilla and dance for 4 -5 hours at the time .... naaaah! I'm sure it's much more spiritual than that!!! Ain't it , girls!??!? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Some folks rip and run .. **** ========================================================================= Date: Fri, 11 Aug 1995 08:01:44 -0500 From: Jim Sims Subject: Re: Internet Blues sites You can also add our (under construction) site - http://www.blues.net/blues.html jim ========================================================================= Date: Fri, 11 Aug 1995 08:34:51 EDT From: george morales Subject: blues in Phila PA I don't have any affiliation with the following venues or the performers (I haven't even heard any music by them) but I thought it would be of interest to those in the area that Luther "Guitar Junior" Johnson will be performing at Warmdaddy's tonight(215-627-2500).The newspaper deems him a legendary blues journeyman. Big Jack Johnson will give a free show at Cooper RIver Park on Wed Aug 10. Has anyone seen any of these artists in concert? ========================================================================= Date: Fri, 11 Aug 1995 08:35:48 EDT From: Henry Gould Subject: Re: why Garcia? / cuteness It's obvious why we're talking about the amazing Jerry Garcia. He was just so darn cute! That's why his band was so popular, more popular than yours or mine, even! Grateful Dead started as a jug band. Now that throws everything out of whack here! Tell it straight: no doubt about it, those guys played SOUL MUSIC. --Henry Gould ========================================================================= Date: Fri, 11 Aug 1995 08:03:23 CDT From: L W Subject: R. Johnson/Doc Watson. ----------------------------Original message---------------------------- >oist with newbie newbie dew. If you love Robert Johnson, I would hope that >ou'd appreciate Doc Watson. If you listen to Professor Longhair or Jelly >Roll Morton, then I would hope that there is a place in your life for Mose >Allison. The "relationships" above remind me of what Doug MacLeod told me "If you can't see the connection between Wes (Montgomery) and Lightin' something wrong with you"... LW ========================================================================= Date: Fri, 11 Aug 1995 13:11:35 GMT From: Marion Brown Subject: Re: NEW CHRIS CAIN RELEASE Hey Rita - gee, I went tubing yesterday and didn't read my mail! Bummer - So what kind of legwork can I do around TX to get a CD? Gee - I bet you got a lot of this stuff. I've been having a nice chat with Denise - should I know her? From what she writes it seems like we would have run into each other a million times, but I'm clueless! She told me that she's 38 (and excuse the age gap!) - I told her I live with a 26yr old - and that "age ain't nothing but a number". I think this relationship I'm in is going from a romance to a friendship - I feel bittersweet I guess, but I've always known it had its parameters. My guy is getting a lot of pressure from his family (mainly his Mother) to get married, settle down, have babies, etc. Yada, yada, yada. Been there, done that and I'm not really ready to have babies again at 48. You know how damn hard it is to find someone that you can share with - he and I have something really unusual. So, we'll see. You can't fight City Hall and the last thing I want to do is take on his Mom - think I'll just sit back and take each day as it comes. Thank you for the shoulder - I know you're busy with the CD. Write when you can. I hope the CD goes well! -- [%- ========================================================================= Date: Fri, 11 Aug 1995 09:12:46 -0400 From: JK13 Subject: Re: Garcia - whats he on Blues-L for? On Thu, 10 Aug 1995, Tony Burke wrote: > Sorry and all that - I enjoyed the Dead as much as anyone back in the > late 60's but all this guff about him on Blues-L. What did the Dead have > to do with Blues and R&B? > > Now I know somebody will try and tell me about the blues links and all > that, but come on! > > > Tony Burke The passing of a giant sends ripples in all directions. Nobody's claiming he was a bluesman, they're just lamenting his loss. So lighten up. jk ----------------------------------------------------------- jk13@aol.com (John Kearney) "If we do not change direction, we may end up where we are headed." Lao Tsu ----------------------------------------------------------- ========================================================================= Date: Fri, 11 Aug 1995 08:12:19 CST From: William Shute Subject: Bullmoose Jackson From: Bill Shute BULLMOOSE JACKSON "Badman Jackson, That's Me!" Charly R&B--CD Charly 274 recorded l945-1955 Bullmoose Jackson--tenor sax and vocals In a discussion of Johnny Otis last week, I discussed the almost seamless transition from swing through late 40s jump-blues styled music into R&B--another artist whose work joyfully documents that evolution is tenor-sax man and singer Bullmoose Jackson. Jackson was with the Lucky Millender jumpin' swing band when one night vocalist Wynonie "Mr. Blues" Harris didn't "feel like" singing, and Jackson was given the task of filling in. Soon after he was recording with the Millender guys (Millender himself, a non- musician, was under contract to Decca) under HIS name on King (Queen) and pumping out both hot swinging numbers (included here) along with sensuous blues ballads (which were the hits back then, but are not included here--there's a pic inside of Bullmoose standing in front of a sing that advertises him and lists his hits, all slow tunes, and none of those are on here...oh well, someday Bear FAmily will do a box set and you can get them then!). I knew his hot tenor blowing from Millender's band, but as a solo artist I became familiar with him from a l980s bootleg-lp called "Sloppy Seconds" which featured all sex-oriented R&B such as My Man Stands Out, Keep on Churnin' Till The Butter Comes, Sixty Minute Man, and Bullmoose Jackson's classic "Big Ten Inch...Record" and "I Want A Bow-legged Woman." With his warm, ingratiating voice, a jumping rhythm section, wyld Gene Krupa/Sid Catlett-styled drumming, a Louis Jordan (father of this whole smaller-band, post-swing, jump style)-type sense of fun, I wanted to hear more. Now you can score 22 big tunes on this fine CD, with excellent liner notes by Dave Penny, acceptable sound (Charly's reissuing of the King catalog will win no awards for sound quality, but at least there's none of the fake echo that affects so many 50s King sides), and a personnel listing so you can cheer for each soloist as he takes his turn at bat. The personnel is a virtual who's who of late 40s jazz/R&B: Sam The Man Taylor, Panama Francis, Sir Charles Thompson, Bill Doggett, Red Prysock, Charlie Rouse, Big John Greer, Harold "money" Johnson, et al. This is not music to analyze, though it's most worthy of that from the serious jazz/R&B person, but music to enjoy. Forget Jerry Garcia, here's a man who REALLY left a legacy of joy...BULLMOOSE JACKSON AND HIS BUFFALO BEARCATS. Bill "Big FAt Mamas Are Back in Style Again" Shute San Antonio, TX ps, amen to Denise's comments pps, amen to Tony Burke's comments on Jerry Garcia ppps, no Dick, it WAS NOT a life well spent. $700 to E. Cotton, when the man probably spent more than that on dope on a "good weekend," is nothing to be particularly proud of; performing meandering extended versions of blues compositions does them no more justice than muzak versions of Otis Redding songs do justice to the Big O; leading a cult (however unintentionally) that had little to do with music does not make one a major musical figure. Now bluegrass was another area that Jerry Garcia fooled around in and, as many know, was an area that he had some authentic roots in. However, as nice a guy as Mr. GArcia was--and I've never heard anyone who has met him say that he wasn't a gracious and kind man--he was always no more than a "parking lot picker" to the bluegrass community, as much as they may have appreciated his imprimatur being given to their music and the resultant interest in it from the "dead" community. Mr. GArcia was the blues equiv. of a parking lot picker. And Jerry himself, who did seem to have a pretty accurate vision of what he was about, would probably not have claimed to be anything else. I think you'd have to been zonked out on drugs to listen to the Grateful Dead live...that way, when you come back into consciousness every eight or ten minutes or so and tune back into the band, they are still doing variations on the same riff and you haven't missed anything. The blues is about focus, tension, and power-- all qualities the Dead's music of ANY period NEVER had. Speaking of Frank Sinatra (as someone did yesterday), ,there's more blues value in Ol' Blue Eyes' garish whitebread cover of"The Hucklebuck" than there is in any blues cover the dead ever performed. And hey, they did the same slaughtering to the songs of Merle Haggard and Buddy Holly too...at least they were equal opportunity in their "king midas in reverse" touch of mediocrity and flatulence.The popularity of the Grateful Dead is one of the most sorry commentaries on the lack of taste among the American public--at least misogynistic metal junk has an audience of glue-sniffing mindless teens...what's the excuse of a 35 or 45 year old Dead fan? A shame the bandwidth dedicated to Mr. Garcia was not used to review the latest batch of Evidence reissues, some of the Testament releases that haven't yet been commented on on blues-l, concert reviews of local or lesser-known blues performers, UK Ace label reissues of obscure soul/R&B, festival listings, etc. I think I'm going to re-read LW's superb interview with Hubert Sumlin to get the taste of the Garcia tributes out of my mouth. ========================================================================= Date: Fri, 11 Aug 1995 08:09:42 CDT From: L W Subject: Re[2]: Muddy's House (longish) and stupid! ----------------------------Original message---------------------------- > Did Jim Hartac move to the Delta and reincarnate? Jeez! HOLD ON. I've met Denise and had conversations with Denise. I'll admit she "stepped in it" when she was referring to Mr. Garon, however if you read what she posted...her resume ain't too shabby..... Comparing her to Hartac is out of the question. Comparing her to ME would be better since I've "stepped in it" so many times I quit wearing shoes... I'd be willing to bet most of you THAT POSTED hasn't even read any of Mr. Garon's books....So it would be a true statement that you have read as many of Denise's books as you have Mr. Garons.....Kind of ironic With all due respect (which is a ton) to Paul Garon and Denise and all others LW btw: the slavery/south/north thing is absurd and I can't believe I HAD NOTHING TO DO WITH IT....That's a first :-) ========================================================================= Date: Fri, 11 Aug 1995 13:23:38 GMT From: Marion Brown Subject: Re: NEW CHRIS CAIN RELEASE Sorry blues folks - needless to say, this was not for posting. Ah...such is life! -- [%- ========================================================================= Date: Fri, 11 Aug 1995 08:37:29 -0500 From: Jeff Seale Subject: Re: Garcia - whats he on Blues-L for? Well, I ain't no Dead fan, but I am a *music* fan. After all, this is a blues music list. I think that since Jerry was recognized throughout the music business, his death is pretty big news. It seems reasonable that the people that reported his death were just passing on some big music news. I'd say it was as relevant as people on here hawking their books, magazines, etc... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Fri, 11 Aug 1995 08:56:54 +0000 From: Mike James Subject: Re: Hangnail (?) for musicians or manicurists ;-) In article <9508041522.AA10611@rmf41.usace.army.mil>, Craig Smoot wrote: > Hel-oooo Blooze-elle baybze 'n doodze, ;-) > > Wah-zup, good blues people? :-) I've got a quick musician-related question > for you string playin' folks out there: What remedies/precautions can one > take for keeping their nail cuticles on their picking hand from getting tore > up? I remember hearing or reading awhile back about SRV's use of Super Glue > on his damaged fingers, but I can't remember exactly why and where he used > the glue. > ----------- Most use it on their fingernails. I've heard a couple of country guitarists who use pick and fingers say that they've used it to repair split fingernails. Personally, I use my wife's nail hardener. It's expensive; however I trust it more than SuperGlue. I've never had much of a cuticle problem. I have torn skin underneath my fingernail more times than I care to mention--more on my left hand than my right. Right now I'm nursing a sore left hand middle finger because I cut my fingernail too short. Ouch. Mike ----------- -- Mike James mjames@vm.cc.latech.edu LA Tech University Residential Life Ruston, LA ========================================================================= Date: Fri, 11 Aug 1995 09:06:36 -0500 From: T-Bone Subject: Re: Garcia - whats he on Blues-L for? On Fri, 11 Aug 1995, Jeff Seale wrote: > Well, I ain't no Dead fan, but I am a *music* fan. That still doesn't explain why you would like the Dead. In all seriousness, the only time I ever asked for my money back because of a bad performance was at a Dead show. They only played for 90 minutes, 30 of which was some BS called "Space". For a real skewering of the Dead, check out episode 603 of Mystery Science Theater 3000. The whole "Cheesy Jam" is indescribable. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I took the duck out to the burn barrel, first scanning the woods for feminists. You never know." - Patrick McManus ========================================================================= Date: Fri, 11 Aug 1995 10:23:44 +0000 From: "P.W. Fenton" Subject: The LW interviews On11 Aug 95, William Shute had this to say... > I think I'm going to re-read LW's superb interview with Hubert Sumlin > to get the taste of the Garcia tributes out of my mouth. > LW, please repost this interview, I must have missed it. ;^) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 09:26:12 CDT From: L W Subject: The LW interviews ----------------------------Original message---------------------------- On11 Aug 95, William Shute had this to say... > I think I'm going to re-read LW's superb interview with Hubert Sumlin > to get the taste of the Garcia tributes out of my mouth. > >LW, please repost this interview, I must have missed it. ;^) I've been called alot of things, but never has anyone hit this low and confused ME WITH VT. You sure know how to hurt a fellow. LW 'just kidding of course' OBC: The club wants 18 bucks to see Charles Brown and Clifford Solomon won't even be with him !...Dan Caron said there was not enough room in the van and not enough money to bring Clifford with them....I said heck leave drummer don't leave Clifford. IMHO a wonderful sax player and has been for a long time ========================================================================= Date: Fri, 11 Aug 1995 09:46:46 CST From: William Shute Subject: Cissy Houston From: Bill Shute CISSY HOUSTON "Midnight Train to Georgia: The Janus Years" Ichiban Soul Classics SCL-2102-2 material originally issued on Commonwealth United and Janus Records circa l970-75 Ms. Houston'sfine work with the Sweet Inspirations (also available on an Ichiban reissue and reviewed here on blues-l) did not prepare me for this amazing collection of work. First, a few "disclaimers" are in order. 1) the deep-soul fan is going to find the arrangements here quite "uptown" 2) the tune selection includes Bacharach/David songs, Jimmy Webb songs, McCartney's "Long and Winding Road" etc. That said, let me go on to say that as a solo artist, Cissy Houston is an AMAZING singer. While she is less of a "free spirit" than Al Green vocally and while her persona lacks the "tragic" edge of a James Carr, she is TO ME equal to either. She can take a song that may well be a piece of hackwork and make it seem like a life-or-death pleading statement---that is a gift given to few... Otis Redding, SAm Cooke, Al Green (remember "I Want to Hold Your Hand?"). Each phrase she sings is lovingly caressed, shaded, and punctuated with slight pauses, changes in timbre, etc. After hearing Cissy Houston sing solo, suddenly many other "divas" seem unsubtle and one-dimensional. If you love good heartfelt VOCALIZING--whether it be Anita O' Day, Billie Holiday, the late VAlerie WEllington-- and you listen closely to a voice as if it were a Lester Young saxophone solo, you will want to pick up on this CD immediately. If you play this while washing the dishes or making dinner, it might sound like good quality but somewhat commercial early 70s almost-soul music. But if you settle back and HEAR it, and you treat the voice as an instrument, I think you'll find that Cissy Houston is in a class of her own. What more can I say? Thanks again to Ichiban for allowing me to hear recordings I'd probably never stumble across otherwise (when's the last time YOU found a record on the Commonwealth United label?). By the way, this is Ichiban's first NON-ATLANTIC reissue in the Soul Classics series. If that means that they are going to start mining other labels' catalogs for gold, then you can look forward to an exciting mining expedition. When my feet are back on the ground again, I'll be hitting the Mary Wells and Jackie Moore sets on Ichiban. And also the Barbara Lynn set. Bill Shute San Antonio, TX ========================================================================= Date: Fri, 11 Aug 1995 10:40:00 EDT From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of August. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Fri, 11 Aug 1995 10:59:39 -0400 From: Garry Segal Subject: Re: Charles Brown no Clifford S. > $18. to see Charles Brown and Clifford Soloman wont even be with him ! < Hey I'll take Charles Brown solo at the piano with his Voice anytime. Garry email BlueSngr@aol.com Bandpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Fri, 11 Aug 1995 09:53:47 CDT From: L W Subject: Acoustic Strings & 3rd hand capo I'm going to change the strings on my Gibson acoustic. I have been using Daddario (sp) Semi-flats, but gosh they are expensive...I always get strings 2 for 1, which makes the semi-flats the same price as one pack of regular strings. I will probally go ahead and get the Semi-flats (they are the ONLY strings I'll use on the Dobro), but anyone want to recommend a good acoustic string. They need to have a nice warm & bold blues tone, not a bright country tone....The Semi-flats are about 14 bucks, so that's 7 bucks a pack, whereas most strings are about 7 bucks which comes out to 3.50 a pack....hey I did that without a calculator. The 3rd hand capo will allow me to quickly "capo" to Open A...Correct ? Any recomendations LW ========================================================================= Date: Fri, 11 Aug 1995 10:48:01 EST From: "Steven G. Toney" Subject: Re: Muddy's house (longish) and stupid! I'm sorry... Didn't mean to offend anyone by my Hartac slam-o-la. Not usually the type to get negative, but I woke up this morning at 3:00 (my natural clock is way outta whack). I guess I should have used my foam "computer brick" on my screen instead! I guess I just sorta naturally get a little on-edge when someone, whom-ever they are, start with the "I know this and you don't know nothin'". It's the approach, not the content. Maybe that's now how Denise intended it to come across, but to me, the comments had a sharp edge that maybe didn't need to be so sharp. That's all I was focusing in on, not the information or facts, if you will. Anyway, sooorry...Denise, LW and any others I may have torqued. Steve Toney ========================================================================= Date: Fri, 11 Aug 1995 10:02:14 CDT From: L W Subject: Re: Charles Brown no Clifford S. ----------------------------Original message---------------------------- > $18. to see Charles Brown and Clifford Soloman wont even be with him ! < >Hey I'll take Charles Brown solo at the piano with his Voice anytime. You're so right, even acapella would be fine. I still don't want to pay $18.00 although my wife has no problem with the price...Then again she's paying 28.00 to see Sheryl Crow and there's no way I'd pay 28 bucks to see Sheryl Crow..... LW 'I'm going down to the delta, where the blues are always free' Delta Blues.....LW ========================================================================= Date: Fri, 11 Aug 1995 11:15:50 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Garcia - whats he on Blues-L for? <> If we wanna be STRICT about that, that would force us to leave Blind Lemon Jefferson and John Lee Hooker off Blues-L half the time! I mean, think of all the 11-bar, 13-bar and 14 and 1/2-bar phrases JLH has laid down over the years... Turtle Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle/blues.html ========================================================================= Date: Fri, 11 Aug 1995 11:21:06 -0400 From: Charles d'Orban Subject: Lightnin Hopkins/What'd I Say I recently heard on the radio a version of "What'd I Say" (the Ray Charles song) by Lightnin Hopkins. Does anyone know what CD it is on? (A search by song title on CD Now didn't help even though it turned up all sorts of versions) Charles. ========================================================================= Date: Fri, 11 Aug 1995 10:22:22 -0600 From: Ranko Vujosevic Subject: Check for Jessie etc. Regarding my suggestion that we send money to Jessie Mae Hemphill in two installments: Since a couple of donators expressed legitimate concern that by sending two checks we will be kinda sending message that we know better what's good for her (I agree with them), I am sending all money (358.17, $20 was sent by Pat Hertel after my last report) today. Copy of the money order and other expenses will be available if anybody is interested. Ranko ps. Picked up last night in the local Best Buy CDs with American Folk Blues Festivals on them. These are live performances recorded in sixties (and one in 1980) of great bluesmen that were touring Europe. CDs are on Optimism Inc (????) and cost $5.00. What a treat was for me last night to listen to great live songs of Bukka White, Robert P Williams, Yank Rachell, Otis Rush, Junior Wells, Terry and McGhee and many other great bluesmen. I found CD for Fests 1962-1967, 1970, and 1980. Time on them is from 45 up to 65-70 minutes. Great, great stuff!!!!!! WHAT A GREAT VERSION OF "I DON'T KNOW" BY SBW II !!!! ========================================================================= Date: Fri, 11 Aug 1995 08:24:58 -0800 From: James Carmin Subject: WC Clark Picked up--finally--WC Clark's '94 Black Top release HEART OF GOLD and have got to say this is one fine album. WC is the Dean of Austin music, and having seen him last month at the Waterfront Blues Festival here in Portland OR, he heartily deserves the title. His guitar tone and temperment, along with his exceptional voice, makes him one hellava fine performer. He's not flashy, there's nothing pretentious about him, he just seems like a wonderful person who play the blues like it was meant to be played. For those who don't know, and for those of us unlucky to not live in the Austin area, WC has been a part of that city's rich blues scene for decades, including playing bass for Stevie Ray's band, Stevie Ray and The Triple Threat Revue. He's also one of the co-author's of a track made famous by Stevie: COLD SHOT. And he performs it on this disc with style and sophistication making it worth listening to over and over. But I think the best track on the disc, is B. Latimore's LET'S STRAIGHTEN IT OUT which is a slow blues sung so soulfully you can't helped but be moved by it. If WC comes to your town, and I know he was in Indianapolis on Monday so he's currently touring, check him out! James C. jcarmin@teleport.com ========================================================================= Date: Fri, 11 Aug 1995 10:40:59 -0500 From: Roger Struve Subject: Re: Garcia - whats he on Blues-L for? -Reply I have been reading these posts and here's what i think: We on this list are obviously all into the blues in its many forms...some of us more into one type of blues and others into other types of blues... Why are we into the blues? Because the one thing i think we all share in common is that our hearts are full of meaning and feelings...we all feel life strongly and this drives us to the blues for solace, for peace, for comfort, for the joy of the feelings that are in the blues music, put there by blues musicians communicating their feelings to us in their music. Ah, but people with hearts full of feelings don't just have feelings for the blues...any music with feeling in it will probably appeal to many if not all of us to some degree or another. And our feelings are not limited to music...i daresay we have strong feelings about many things in life, and for many people. I didn't follow the Greatful Dead, i have only their first album, an LP, and a Monaural LP at that! But i cannot deny that the Dead had feeling in their music. And Jerry Garcia was a personage of great presence, and talent, and feelings, which he expressed in the many songs he wrote. I mourn his passing...i'm 46 years old, and frankly, i never have come to grips with the whole concept of death, dying, passing away....my heart feels sad for the passing of most anybody...(politicians, IRS agents, and HMO management greatfully excepted). So, in conclusion, i see nothing abnormal or unacceptable that the people on this list with hearts that feel and mourn the passing of another of like kind wish to discuss it on this forum. Tolerance, people, will make this a much finer forum, and a far finer world to live in. As much as none of us wants to think about this, eventually, people who belong to this list will start passing away...i, for one, hope that someone on this list (i know of at least 5 people) will mourn my passing, and how honored i would feel that they might even discuss it on this list. A list that i am proud and excited to be a member of. Best regards to yawl, delta doc roger ========================================================================= Date: Fri, 11 Aug 1995 11:37:39 -0400 From: Brent Staeben Subject: Re: Hollywood Slim and Guitar Junior In article <950807135808_702420.204300_BHD49-29@CompuServe.COM> Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM writes: >Path: >nbt.nbnet.nb.ca!news.unb.ca!torn!howland.reston.ans.net!newsfeed.internetmci.com >!hookup!paladin.american.edu!auvm!NOTES.COMPUSERVE.COM!Scott_Wenzel.SSA >Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU >Newsgroups: bit.listserv.blues-l >Comments: ******************************************************** >Comments: * The following "Approved" statement verifies header * >Comments: * information for gateway passage. No approval of the * >Comments: * content is implied. * >Approved: NETNEWS@AUVM.AMERICAN.EDU * >Comments: ******************************************************** >Message-ID: <950807135808_702420.204300_BHD49-29@CompuServe.COM> >Date: Mon, 7 Aug 1995 09:58:08 EDT >Reply-To: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM >Sender: Blues Music List >From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM >Subject: Re: Hollywood Slim and Guitar Junior >Lines: 13 > I have a chance to see Hollywood Slim and Guitar Junior next > weekend here in Edinburgh. Does anyone have any information on > these guys? Would it be worth going along? > Guitar Jr.? I had thought he was going exclusively by the name Lonnie > Brooks now, having given up "Guitar Junior" when he moved to Chicago in > the early 70s... are we talking about the same guy, born Lee Baker, the > one who recorded "The Crawl" around 1957 or 1958? > Turtle > Visit That Blues Music Page at the Weightless Dog! > http://www.charm.net/~turtle/blues.html Isn't "Guitar Junior", Luther "Guitar Junior" Johnson now playing out of Boston? If it is, take them in!!!! brent brentms@gov.nb.ca ========================================================================= Date: Fri, 11 Aug 1995 12:17:31 -0400 From: Garry Segal Subject: Re: Garcia/Blues Ler Bitterness To those of you so pissed that Jerry Garcias passing has been posted to the list: If a friend comes to you upset and says "My cat died I really miss him " Do you say " F#**K YOU, I LIKE DOGS " ?? ========================================================================= Date: Fri, 11 Aug 1995 12:16:17 EDT From: Joseph Leichter Subject: Re: Garcia - Whats He Here For? Having subscribed to this this since its inception,all I can say is Jerry Garcia, RIP.....(for chrissakes, if we gleefully allow the ole' (split-the-the-list debate to occupy I don't know (how many pages on this list every few months,why (begrudge a eulogy or two or even three to a great (musician who touched alot of us...and who was, (no doubt, a blues fan...how about reinventing (some courtesey.........) ========================================================================= Date: Fri, 11 Aug 1995 10:32:23 -0700 From: Ron Wack Subject: Re[2]: Garcia/Blues Ler Bitterness Item Subject: Message text > To those of you so pissed that Jerry Garcias passing has been posted to the > list: > > If a friend comes to you upset and says "My cat died I really miss him " > > Do you say " F#**K YOU, I LIKE DOGS " ?? > WELL SAID!! RW ========================================================================= Date: Fri, 11 Aug 1995 12:06:27 CST From: JBards Subject: Re: Acoustic Strings & 3rd hand capo My personal preference is the D'Aquisto's in a medium guage (12-52)... Jim _______________________________________________________________________________ Subject: Acoustic Strings & 3rd hand capo From: ISTS024%UABDPO.BITNET@brownvm.brown.edu at INTERNET-SH Date: 8/11/95 10:45 AM I'm going to change the strings on my Gibson acoustic. I have been using Daddario (sp) Semi-flats, but gosh they are expensive...I always get strings 2 for 1, which makes the semi-flats the same price as one pack of regular strings. I will probally go ahead and get the Semi-flats (they are the ONLY strings I'll use on the Dobro), but anyone want to recommend a good acoustic string. They need to have a nice warm & bold blues tone, not a bright country tone....The Semi-flats are about 14 bucks, so that's 7 bucks a pack, whereas most strings are about 7 bucks which comes out to 3.50 a pack....hey I did that without a calculator. The 3rd hand capo will allow me to quickly "capo" to Open A...Correct ? Any recomendations LW ========================================================================= Date: Fri, 11 Aug 1995 16:21:20 GMT From: Paul L Pearson Subject: Duarte in Omaha/Lincoln Chris Duarte will be playing at the Ranch Bowl in Omaha on Saturday night and the Zoo Bar in Lincoln NE on Sunday night. Can't wait. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Fri, 11 Aug 1995 12:20:54 CST From: JBards Subject: Re[3]: Garcia/Blues Ler Bitterness Prezactly. I was just going to write back and say "Well Said" , but you beat me to it. -Jim _______________________________________________________________________________ Subject: Re[2]: Garcia/Blues Ler Bitterness From: Wack_Ron/rfh@SASK.AECL.CA at INTERNET-SH Date: 8/11/95 12:11 PM Item Subject: Message text > To those of you so pissed that Jerry Garcias passing has been posted to the > list: > > If a friend comes to you upset and says "My cat died I really miss him " > > Do you say " F#**K YOU, I LIKE DOGS " ?? > WELL SAID!! RW ========================================================================= Date: Fri, 11 Aug 1995 12:26:20 CDT From: L W Subject: Dixie Hummingbirds My wife just bought the Mobile Fidelity CD Dixie Hummingbirds Live..Good choice I let her hear it while I was sampling it and she would not give the headphones back to me. She had to have it, I tried to tell her we don't need anymore CD's right now. I finally gave in :-) LW 'an undeserving husband' ========================================================================= Date: Fri, 11 Aug 1995 10:32:06 -0800 From: Don Cicchetti Subject: Re: Garcia - whats he on Blues-L for? Tony, >Sorry and all that - I enjoyed the Dead as much as anyone back in the >late 60's but all this guff about him on Blues-L. What did the Dead have >to do with Blues and R&B? > >Now I know somebody will try and tell me about the blues links and all >that, but come on! > Tony, don't take this wrong, but please shutup and let people mourn their fallen hero OK?? jeez, have a heart. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 11 Aug 1995 19:35:04 +0200 From: Rudi Vandermeiren Subject: Re: fab t-birds review ? I saw The Fabulous T-birds play in Lokeren,Belgium last tuesday.Great show. Lots of harpplaying by Kim Wilson and great guitarplaying by Kid Ramos. They played songs from "Roll of the dice", a lot of there older songs, also a wonderfull version of BB King's "Sweet little angel", for a total of more than 2 hrs. The line-up: Kim Wilson (Vocals/Harp) Kid Ramos (Guitar) Gene Taylor (Piano) Fran Christina (Drums) Willie J.Campbell (Bass) Kim Wilson stated after the concert :"We're going back to the essence.It has always been my ambition to play blues." PS : Before the T-birds we enjoyed a great performance by Bob Margolin and Billy Boy Arnold. ( Margolin played the first Mannish Boy of the evening, later the T-birds playd it again). >The Fabulous Thunderbirds are coming to play here in Amsterdam Holland in >sept. I only really know them from the Jimmie Vaughan era. Has anyone seen >them play recently and is it worth going? Is Kim Wilson in the current >line-up again? Who is the current guitar player? Pls let me know. > >Thanks >Robert Paul > > Rudi Vdm e-mail : rudi.vandermeiren@ping.be URL : http://www.ping.be/~ping0935 ========================================================================= Date: Fri, 11 Aug 1995 12:43:43 -0500 From: T-Bone Subject: Re: Garcia/Blues Ler Bitterness On Fri, 11 Aug 1995, Garry Segal wrote: > To those of you so pissed that Jerry Garcias passing has been posted to the > list: > > If a friend comes to you upset and says "My cat died I really miss him " > > Do you say " F#**K YOU, I LIKE DOGS " ?? No, but there IS a time and place. I think some of us, myself included, are just sick of the whole media wankathon that goes on around these things. Did the media do this when Howlin' Wolf or Muddy died? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I took the duck out to the burn barrel, first scanning the woods for feminists. You never know." - Patrick McManus ========================================================================= Date: Fri, 11 Aug 1995 13:37:33 -0400 From: Willy Evans Subject: guitar question/ no blues content Do any of you guitar guys have an opinion or experience with Carvin pickups? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Fri, 11 Aug 1995 14:38:18 -0400 From: Dick Waterman Subject: Why don't we . . . Since the question of whether or not remarks about Jerry Garcia's death are appropriate on Blues-L, we don't we do this: Let's meet in a Private Room Chat and talk about it 'live.' I don't think anyone's mind is going to be changed but the immediacy of chat might be beneficial. I have a flexible lifestyle so I'll gather whenever other parties choose. Bear in mind that Tony Burke, a hopeful participant, is five or six hours ahead of EST. The rules of engagement are simple: (1) Everyone must come with their Blues-L name. No lurking behind an alias. (2) No profanity or confrontational dialog. (3) We gather as individuals who may have diverse opinions but are bonded by a common love for blues music. If this is successful, we might consider "Muddy's Cabin" in the future. dick waterman ========================================================================= Date: Fri, 11 Aug 1995 11:39:05 -0800 From: Don Cicchetti Subject: Re: Luck! (low blues content) I said, >==================Lousy vocals. NOBODY wants to hear a band that can't sing. > >Drugs... are people still stupid enough to do drugs and try to be musicians? >=================== > RJ said >So how do we explain the Seattle/Grunge scene? RJ, if you want to go play grunge, I've got an old pendleton I'll sell ya cheap.... You know, I assumed in my post that musicians on this list want to be successful with a music of great rootedness and authenticity as opposed to a fad.... If people want to cynically package and market themselves, fine, just realize there are 10,000 whores in line in front of ya, and most of 'em are better looking! Having said that, The Posies (Seattle band) kick major butt... Great singing, great writing, great arrangements, great lyrics, go see them, they will knock your socks off! and Pearl Jam has moments of real inspiration as well. I don't care about "scenes" I care about a career... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Fri, 11 Aug 1995 21:51:36 +0300 From: T P Uschanov Subject: Re: Why don't we . . . > Since the question of whether or not remarks about Jerry Garcia's death are > appropriate on Blues-L, we don't we do this: > Let's meet in a Private Room Chat and talk about it 'live.' I don't think > anyone's mind is going to be changed but the immediacy of chat might be > beneficial. I have a flexible lifestyle so I'll gather whenever other parties > choose. Bear in mind that Tony Burke, a hopeful participant, is five or six > hours ahead of EST. > The rules of engagement are simple: (1) Everyone must come with their > Blues-L name. No lurking behind an alias. (2) No profanity or confrontational > dialog. (3) We gather as individuals who may have diverse opinions but are > bonded by a common love for blues music. Sorry, but I don't think this will work from outside of AOL. (And Internet Relay Chat is in turn unavailable to AOLers.) /tp/ ========================================================================= Date: Fri, 11 Aug 1995 14:54:26 -0400 From: Garry Segal Subject: Re: Why don't we . . . Count me in Dick ! You are so right , anybody else want to take Dick Watermans suggestion and do a live chat on blues, Garcia and whatever ? Leave your animosity at the door. Garry ========================================================================= Date: Fri, 11 Aug 1995 12:49:03 -0500 From: T-Bone Subject: Looking for this cd I realize that this may be going off-topic for this list, but I'd like to ask a blues-related question. I'm looking for a cd of The Original American Folk Blues Festival [on Polydor], which was the first in a series of American Folk Blues Festival releases recorded in Europe. I have seen it once, bought it, and love it. I'm looking for a copy (on cd) for a friend but can't find it. No record store around here can seem to get it, and I was wondering if anyone else has seen it. I'm afraid it might be out of print. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I took the duck out to the burn barrel, first scanning the woods for feminists. You never know." - Patrick McManus ========================================================================= Date: Fri, 11 Aug 1995 14:05:00 CDT From: Bonnie Kalmbach Subject: Delta Blues Museum check I would like to add to LW's account of the check presentation, that his remarks were very concise and to-the-point in describing Blues-L and how and where we decided to direct our donation..and...he received a *very* hearty round of applause from the audience thereafter. {Yes - it was quite exciting to hear John Rusky say "Will Leonard Watkins please come forward....} -Bonnie ========================================================================= Date: Fri, 11 Aug 1995 15:10:13 -0400 From: Hugh Hardy Subject: Garcia-Scmarcia My computer is smoking and I can't make it work properly due to Garcia congestion on the Blues-L. What are we going to do if an actual blues icon dies? ;-)> Hugh H. ========================================================================= Date: Fri, 11 Aug 1995 14:05:47 CST From: JBards Subject: Re[2]: Garcia/Blues Ler Bitterness t-Bone, have to disagree on a point or two, here: first of all, of course Wolf and Muddy deserved it, but so does Garcia, and frankly the Dead and Garcia in particular have attachment to a particular period in American history to a greater degree than did Muddy and Wolf. This is seen literally as the passing of an era by many, myself included. There is a time and a place to mourn, and in my opinon, this is it. _______________________________________________________________________________ > Do you say " F#**K YOU, I LIKE DOGS " ?? No, but there IS a time and place. I think some of us, myself included, are just sick of the whole media wankathon that goes on around these things. Did the media do this when Howlin' Wolf or Muddy died? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "I took the duck out to the burn barrel, first scanning the woods for feminists. You never know." - Patrick McManus ========================================================================= Date: Fri, 11 Aug 1995 14:11:58 -0600 From: Ranko Vujosevic Subject: Re: Why don't we . . . > > > Since the question of whether or not remarks about Jerry Garcia's death are > > appropriate on Blues-L, we don't we do this: > > Let's meet in a Private Room Chat and talk about it 'live.' I don't think > > anyone's mind is going to be changed but the immediacy of chat might be > > beneficial. I have a flexible lifestyle so I'll gather whenever other parties > > choose. Bear in mind that Tony Burke, a hopeful participant, is five or six > > hours ahead of EST. > > The rules of engagement are simple: (1) Everyone must come with their > > Blues-L name. No lurking behind an alias. (2) No profanity or confrontational > > dialog. (3) We gather as individuals who may have diverse opinions but are > > bonded by a common love for blues music. > > Sorry, but I don't think this will work from outside of AOL. (And Internet > Relay Chat is in turn unavailable to AOLers.) > > /tp/ > Well, I have another idea... Why don't we gather REALLY "in live" and organize something like Blues-L Symposium where blues-scholars will make presentations about particular blues-artists or blues music types, or any other blues- related topic, have panels on any topic of interest, ask labels to bring and sell blues CDs, ask magazines to present and sell their publications, have lots of blues jams, and FUN. How about that, a? Ranko ========================================================================= Date: Fri, 11 Aug 1995 14:07:48 CDT From: L W Subject: DBM Check Presentation I made it clear to John Ruskey that Marcia Grodsky was THE ONE responsible I was just the messenger LW 'when it absolutely has to be there tommorrow' ========================================================================= Date: Fri, 11 Aug 1995 15:18:56 -0400 From: James Leftwich Subject: Re: Lightnin Hopkins/What'd I Say Hootin' the Blues on Prestige... Jim On Fri, 11 Aug 1995, Charles d'Orban wrote: > I recently heard on the radio a version of "What'd I Say" (the Ray Charles > song) by Lightnin Hopkins. Does anyone know what CD it is on? (A search > by song title on CD Now didn't help even though it turned up all sorts of > versions) > > Charles. > ========================================================================= Date: Fri, 11 Aug 1995 15:16:56 +0000 From: "P.W. Fenton" Subject: Re: Garcia/Blues Ler Bitterness > On Fri, 11 Aug 1995, Garry Segal wrote: > > > To those of you so pissed that Jerry Garcias passing has been posted to the > > list: > > > > If a friend comes to you upset and says "My cat died I really miss him " > > > > Do you say " F#**K YOU, I LIKE DOGS " ?? On11 Aug 95, T-Bone had this to say... > > No, but there IS a time and place. I think some of us, myself included, > are just sick of the whole media wankathon that goes on around these > things. Did the media do this when Howlin' Wolf or Muddy died? > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "I took the duck out to the burn barrel, first scanning the woods for > feminists. You never know." - Patrick McManus > I know I'll regret this, but hey... Look T-Bone, I love Muddy and the Wolf more than anybody I've ever heard playing music. I don't own a single Greatful Dead album and was never a fan, but I have enough friggin' sense to know that more people loved Jerry Garcia than ever even heard of my idols. One person's wanking, is another person's sorrow and grieving. Grow up, and have some respect. Instead of continuing to expose your ignorance, narrowness, and lack of compassion. Try being quiet, and maybe people will forget you foolish remarks. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 15:31:29 -0400 From: James Leftwich Subject: Re: Why don't we . . . There's also WebChat. I have no idea how to set it up. But I've used it on the ESPN Web site. Jim On Fri, 11 Aug 1995, T P Uschanov wrote: > > Since the question of whether or not remarks about Jerry Garcia's death are > > appropriate on Blues-L, we don't we do this: > > Let's meet in a Private Room Chat and talk about it 'live.' I don't think > > anyone's mind is going to be changed but the immediacy of chat might be > > beneficial. I have a flexible lifestyle so I'll gather whenever other parties > > choose. Bear in mind that Tony Burke, a hopeful participant, is five or six > > hours ahead of EST. > > The rules of engagement are simple: (1) Everyone must come with their > > Blues-L name. No lurking behind an alias. (2) No profanity or confrontational > > dialog. (3) We gather as individuals who may have diverse opinions but are > > bonded by a common love for blues music. > > Sorry, but I don't think this will work from outside of AOL. (And Internet > Relay Chat is in turn unavailable to AOLers.) > > /tp/ > ========================================================================= Date: Fri, 11 Aug 1995 15:33:38 -0400 From: "Alan C. Rollins" Subject: delete Blues-L schiller@nicmad.astroatc.uucp add blue-l schiller@nicolet.com scott schiller ACR ========================================================================= Date: Fri, 11 Aug 1995 15:32:18 +0000 From: "P.W. Fenton" Subject: Re: Why don't we . . . On11 Aug 95, Dick Waterman had this to say... > Since the question of whether or not remarks about Jerry Garcia's death are > appropriate on Blues-L, we don't we do this: > Let's meet in a Private Room Chat and talk about it 'live.' I don't think > anyone's mind is going to be changed but the immediacy of chat might be > beneficial. I have a flexible lifestyle so I'll gather whenever other parties > choose. Bear in mind that Tony Burke, a hopeful participant, is five or six > hours ahead of EST. > The rules of engagement are simple: (1) Everyone must come with their > Blues-L name. No lurking behind an alias. (2) No profanity or confrontational > dialog. (3) We gather as individuals who may have diverse opinions but are > bonded by a common love for blues music. > If this is successful, we might consider "Muddy's Cabin" in the future. > > dick waterman > > Great idea. Let's do it tomorrow, and let's let Dick, pick what time, and on what IRC channel. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 15:41:03 -0400 From: Lynn Moncrief Subject: Re: Garcia/Blues Ler Bitterness >> To those of you so pissed that Jerry Garcias passing has been posted to the >> list: >> >> If a friend comes to you upset and says "My cat died I really miss >>him " >> >> Do you say " F#**K YOU, I LIKE DOGS " ?? >No, but there IS a time and place. I think some of us, myself >included, >are just sick of the whole media wankathon that goes on around >these >things. Did the media do this when Howlin' Wolf or Muddy died? >T-Bone, tbone1@io.com (on the web at >http://www.io.com/~tbone1/) Both of you are right, IMHO. BTW, as much as I love Howlin' Wolf and Muddy Waters, neither of them had huge crowds following them from city to city, despite their greatness. Unfortunately, that's the kind of thing that the media latches onto. Lynn ========================================================================= Date: Fri, 11 Aug 1995 15:47:13 -0400 From: "Alan C. Rollins" Subject: delete blues-l u01fac@abdn.ac.uk ACR ========================================================================= Date: Fri, 11 Aug 1995 16:00:43 EDT From: george morales Subject: luther "guitar junior" johnson i have a chance to go see mr johnson this evening in concert? what can I expect.a newspaper article mentioned he played with muddy waters in the 70's ========================================================================= Date: Fri, 11 Aug 1995 15:37:28 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Re[2]: Beat the deadline . . . Sure he does....isn't he "Ol' Blue Eyes"??????? Shannon ______________________________ Reply Separator _________________________________ Subject: Re: Beat the deadline . . . Author: "P.W. Fenton" at INTERNET_KDC Date: 8/11/95 8:03 AM On10 Aug 95, Dick Waterman had this to say: > However, I am over a month here now and apparently no longer > moist with newbie newbie dew. ^^^^^^^^^^^^^^^^^ O.K. Waterman, now you've gone TOO far. Sinatra has NOTHING to do with the Blues ;^) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 15:05:34 CDT From: L W Subject: Ole Blue Eyes/Old Black Eyes Is it true that Sinatra had an album called "Old Blues Eyes Is Back" and Ray Charles had an album after that, sort of an answer called "Old Black Eyes Is Back"........? I'm being serious, I thought I had heard that before...Is it true LW ========================================================================= Date: Fri, 11 Aug 1995 16:02:42 -0400 From: Dick Waterman Subject: Johnny Copeland Onstage The guy who owns Terrablues in NYC called me a few minutes ago and remarked that Johnny Copeland came into his club last night to visit friend Smokey Wilson and got onstage to join for for a few songs. He's still on a heart transplant waiting list but is obviously going ahead with his life and not sitting around waiting for the phone to ring. dick waterman ========================================================================= Date: Fri, 11 Aug 1995 16:14:53 +0000 From: "P.W. Fenton" Subject: Blues-l Shopping Center Open The Blues-l Shopping Center is now officially "open". Notice the new address. It is not where the sneak preview was located. My own pages will be moving to "gate.net" this weekend as well. Blues-l Shopping Center: http://gate.net/~pwfenton/blues-l.html ^ don't miss that tilde The link to my page won't work till I get everything moved, late tonight or tomorrow. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 16:23:39 +0000 From: "P.W. Fenton" Subject: On11 Aug 95, Alan C. Rollins had this to say... > delete Blues-L schiller@nicmad.astroatc.uucp > add blue-l schiller@nicolet.com scott schiller > ACR > Hee hee hee. See... even the listowner sends commands to the wrong address now and then ;^) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 16:25:51 +0000 From: "P.W. Fenton" Subject: Re: luther "guitar junior" johnson On11 Aug 95, george morales had this to say... > i have a chance to go see mr johnson this evening in concert? > what can I expect.a newspaper article mentioned he played with muddy > waters in the 70's > You can expect to hear some authentic Blues and have a damn good time. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 11 Aug 1995 14:33:37 -0700 From: Ron Wack Subject: Re: Why don't we . . . Item Subject: Message text Ranko wrote: > Well, I have another idea... > > Why don't we gather REALLY "in live" and organize something like > Blues-L Symposium where blues-scholars will make presentations > about particular blues-artists or blues music types, or any other blues- > > related topic, have panels on any topic of interest, ask labels to > bring and sell blues CDs, ask magazines to present and sell their > publications, have lots of blues jams, and FUN. > > How about that, a? > > Ranko > Are we talking about a get together camping/jam/bluesfest somewhere fairly central where a lot people could get to easily? Sounds like a good time just waiting to happen. Count me in. RW ========================================================================= Date: Fri, 11 Aug 1995 13:35:39 -0800 From: Michael Hewitt Subject: Re: Garcia/Blues Ler Bitterness I have to really chuckle at this thread. Has it occurred to those who are lamenting the thread's existence that everytime they post an objection to it, they generate multiple responses to their protest, thereby prolonging the thread as well as engendering a flame war. To those who wish the thread would go away, ignore it...use the delete key. It will run its natural course and life will go on. Those who feel compelled to rightfully mourn the loss of a pop-culture icon will eventually move on to other topics. This is NOT an uncommon occurence on listserves. So, lighten up and get a clue. Your participation just perpetuates what you percieve to be a problem. Ahem...IMHO: ) Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Fri, 11 Aug 1995 13:47:49 -0800 From: Michael Hewitt Subject: Australian CD's Does anyone know of a source for Australian issued CD's? There are a couple of artists whose work I like, but they are apparently unavailable through my normal stores (can't even be special ordered). I am especially interested in the work of Jimmy Barnes and 12-year-old blues prodigy Nathan Cavalari. Don't know if Nathan has recorded yet, but I'm assuming he has since he had a U.S, tour this year. And Jimmy's "Soul Deep" features some great R & B covers. Thanks in advance for the help. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Fri, 11 Aug 1995 15:49:00 CDT From: Paul Garon Subject: Re: Why don't we . . . > Since the question of whether or not remarks about Jerry Garcia's death are >appropriate on Blues-L, we don't we do this: > Let's meet in a Private Room Chat and talk about it 'live. ... > If this is successful, we might consider "Muddy's Cabin" in the future. >dick waterman > If people want to get together and "chat" about Jerry Garcia, that's certainly their privilege, but it's not a thread that's going to go on forever, and it would be nice if we could work out our differences right here on blues-l. (That doesn't even count the technical facts that may make it hard for AOL and the rest of us to link in chat mode.) We are a community--even if Net communities are new to most of us and their diversity hard to handle--and we should learn to handle things as they come up in the community. Taking a topic out of the group deprives a huge number of members of information they may enjoy seeing. After all, if you count everyone who has commented on Jerry Garcia, pro and con, you still come up with only a tiny segment of blue-l. What about all the lurkers (a majority of blues-l)? They shouldn't have to join various chat groups to keep up with the list. I've seen threads of great hostility appear before... and eventually die down. Hopefully the participants learn something when that happens. Sometimes there is a little private communication going on behind a thread; well, that happens, too. But I still have the feeling that the more we handle HERE, the better. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Fri, 11 Aug 1995 16:54:47 EDT From: William Pollak Subject: Brush with Greatness: Bullmoose Jackson When I met Bullmoose Jackson, he gave me his business card. On the card, it said Bullmoose Jackson His voice! His horn! And who was that woman I saw you with last night? Bill P. ========================================================================= Date: Fri, 11 Aug 1995 13:56:06 -0700 From: Ron Daschmans Subject: First Blues Show This Weekend Hello Blues-L Subscribers! Well, I am very excited to say that my wife and I are leaving (from Sacramento, CA) for Reno, NV to see B.B. King, Etta James, Jimmie Vaughan, and the group of Magic Dick, J. Geils, w/ Elvin Bishop this Saturday. This will be my first real blues festival/concert. What I want to know is... Do festival promoters or individual artists typically sell merchandise (ie. tour shirts, tour books, posters, stuff, etc.) like at the countless rock concerts I've been to? This may be a naive question, but I kinda want to know how much $$$ I need to bring. Thanks a bunch! Have a great weekend, Ron S. Daschmans P.S. I told all my friends about the Air Conditioner donation you good folks organized. You've impressed a lot of people :) ========================================================================= Date: Fri, 11 Aug 1995 16:48:12 -0500 From: Kevin Boyle Subject: UBS - Unidentified Blues Song I have had this song buzzing around in my head for days, but I have probably only heard once or twice before. It goes something like this: " I don't play no Chubby Checker, No James Brown or no one else" " I don't play no Chubby Checker, No James Brown or no one else" " You no the good lord made us all an I'm happy just to be myself" If I remember it was just a bluesman and his guitar. Additional lyrics would be nice but if anyone knows Who, Where, and When please HELP ME! Don't you just hate it when a few lines of a song keep buzzin'around in your head? Thanx in advance you wonderful 'zellers. Kevin B. ========================================================================= Date: Fri, 11 Aug 1995 17:42:08 -0400 From: Benjamin King Subject: Introduction Hello, My name is Benjamin King. I am a 24 tears old software developer. I am new to the group and jus wanted to to say high to every one. ========================================================================= Date: Fri, 11 Aug 1995 21:45:47 GMT From: Peter Groves Schweitzer Subject: ANYBODY WANT FREE AIR TIME!!! ern,rec.music.folk,rec.music.indian.misc,rec.music.bluenote,alt.music.progressive,alt.punk.straight-edge,alt.rave X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting kids DJ. We are currently looking for new music to play on our station. Most music sent to the station will be played. If you have any music to send us our address is: Attn: Noah Goodman WUTZ FM PO BOX 259 Summertown, TN 38483 Noah Goodman WUTZ FM 88.3 ========================================================================= Date: Fri, 11 Aug 1995 16:00:33 -0600 From: Watterworth Jay Subject: Re: Re[2]: Beat the deadline . . . Come on, you guys. He's from New Jersey. I mean, talk about the blues! Jay CU Boulder On Fri, 11 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > Sure he does....isn't he "Ol' Blue Eyes"??????? > > Shannon > > > ______________________________ Reply Separator _________________________________ > Subject: Re: Beat the deadline . . . > Author: "P.W. Fenton" at INTERNET_KDC > Date: 8/11/95 8:03 AM > > > On10 Aug 95, Dick Waterman had this to say: > > However, I am over a month here now and apparently no longer > > moist with newbie newbie dew. > ^^^^^^^^^^^^^^^^^ > > O.K. Waterman, now you've gone TOO far. Sinatra has NOTHING to do > with the Blues ;^) > > P.W. Fenton > Tampa, Florida > email - pwfenton@gate.net > WWW - http://www.vistech.net/users/bluesell/ > ========================================================================= Date: Fri, 11 Aug 1995 22:18:26 GMT From: Rick Schneider Subject: Wa Nui Records, blues on-line from Hawaii Wa Nui Records is now on-line at http://planet-hawaii.com/wanui. The label offers downloadable music samples from "The Blues in Paradise" and "Rhythm Oil" by Mojo Hand. Check us out. ========================================================================= Date: Fri, 11 Aug 1995 20:30:43 GMT From: Eric LeBlanc-CISTI Subject: Re: Lightnin Hopkins/What'd I Say It's on the recent FANTASY OBCCD 571 : LIGHTNIN' HOPKINS - HOOTIN' THE BLUES In article LAA23639@postoffice2.mail.cornell.edu, "Charles d'Orban" writes: > I recently heard on the radio a version of "What'd I Say" (the Ray Charles > song) by Lightnin Hopkins. Does anyone know what CD it is on? (A search > by song title on CD Now didn't help even though it turned up all sorts of > versions) > > Charles. ========================================================================= Date: Fri, 11 Aug 1995 17:39:20 PDT From: rjbauman@IQUEST.NET Subject: Re: Why don't we . . . ==========There's also WebChat. I have no idea how to set it up. But I've used it on the ESPN Web site.============== Isn't this similar to the guest book pages on PW's and other sights? How fast are these pages updated? ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 11 Aug 1995 17:44:39 PDT From: rjbauman@IQUEST.NET Subject: Re: Luck! (low blues content) ==================You know, I assumed in my post that musicians on this list want to be successful with a music of great rootedness and authenticity as opposed to a fad.... If people want to cynically package and market themselves, fine, just realize there are 10,000 whores in line in front of ya, and most of 'em are better looking!==================== The problem is, the "musicians" I was joking about aren't on this list. I was having fun at the expense of some truly horrible, IMO, grunge bands. Not that there aren't some good ones out there. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 11 Aug 1995 22:50:47 GMT From: Peter Groves Schweitzer Subject: ANYBODY WANT FREE AIR TIME!!! oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ. We are currently looking for new music to play. If you play in a band or know someone who does please get me a cd or tape and I will probobly play it. Send any music to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman WUTZ FM 88.3 ========================================================================= Date: Fri, 11 Aug 1995 19:17:44 -0400 From: Msbeale Subject: CHRIS CAIN CD WINNERS Wow!!!!! I had a terrific amount of email this morning, after posting my offer for a free Chris Cain CD to the first 5 email responses!!! Damn, ya'll get up and online early in the morning. :) Anyway. We have all the winners we can handle. Thanks to all for your interest. I've asked every winner to post their humble reviews on the list no later than the 31st of August. So, hopefully, we'll have some fresh fodder for the list if nothing else. Thanks to all! PS Chris Cain's new CD (his 4th) is called Somewhere Along the Way and is available on Blind Pig Records. Thanks. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Fri, 11 Aug 1995 19:50:46 -0400 From: Jacquelin Katz Subject: Re: Muddy's House (longish) and stupid! I don't know who Denise is or why everyone rushed to her defense, but I found her tone compelled me to respond, so here it is. On Thu, 10 Aug 1995, DeniseTapp wrote: > Dear Paul: Since your message was actually delivered to *everyone*, I'm putting in my two cents: I just can't deal with some of the snide statements. > Practicing what one preaches? 20 years ago, before you knew what the > Blues was, I helped videotape the last performance of Gus Cannon, drove > Furry Lewis around town and, just, in general, celebrated life and music > with my friends of all backgrounds and colors. I still live this way. > Have you ever heard of Sam Phillips, for example? Or any of the other > white people who helped bring black music to the forefront of society? Yes. Not sure why you ask... > You quote "blacks AND whites but strictly Southerners" as if these were my > words. I have printouts of all of my posts and none contains this string. Perhaps you are injecting your own prejudice into my remarks. I did mention that blacks and whites in the South have suffered from economic enslavement, and I will stand by those words. We're still the worst paid people in the U.S., while we give you cheap food and clothing but we also enjoy a lifestyle and climate which most of you long for. I don't remember what you wrote, word for word, but the tone was clear and I wonder why someone of your age is so decidedly antagonistic toward fellow countrymen who live only a few hundred miles away. Apparently, to you, the ungrateful leeches of the North who are somehow responsible for your low pay produce nothing to support themselves. Northerners *do* grow food, you know, though we also get overcharged for winter produce which comes from mostly California and Florida. You guys *don't* have a total lock on economic enslavement or on hardship; low pay exists in our agricultural areas, too, as well as in our cities, which BTW are suffering mightily from the migration of factories and companies to the South (hey, thanks a lot!) and to other countries to avoid the expenses involved in supporting poor people and rich politicians. Maybe you should open your mind to a 20th century awareness of what's really happening beyond the Mason-Dixon line. Then, maybe, you can even expand to a *global* appreciation of economics and of other people's viewpoints instead of reacting to any mention of slavery as a personal and regional attack. It ain't 1864 no mo'. > Once again, I have encountered another "authority" who has not spent time in the Delta region and is, essentially, clueless as to the real life way in which the people of this area have interacted and relied upon one another for generations. A mere *30* years ago, the majority of blacks and whites weren't interacting too comfortably: in fact, segregation was the order of the day. Good thing there were people like me and you around to help out. > Denise > > P.S. I have a most delightful interview on videotape given by B.B. King > almost 20 years ago in which he says, "Chicago Blues??? They don't have > any music that we didn't bring them from the Delta." ========================================================================= Date: Fri, 11 Aug 1995 20:24:29 -0400 From: Jacquelin Katz Subject: Re: Garcia/Blues Ler Bitterness On Fri, 11 Aug 1995, T-Bone wrote: > > > > If a friend comes to you upset and says "My cat died I really miss him " > > > > Do you say " F#**K YOU, I LIKE DOGS " ?? > > No, but there IS a time and place. I think some of us, myself included, > are just sick of the whole media wankathon that goes on around these > things. Did the media do this when Howlin' Wolf or Muddy died? > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "I took the duck out to the burn barrel, first scanning the woods for > feminists. You never know." - Patrick McManus > Free advice: no cable charge required: If you don't like what the "media" is wankin', turn it off. We are not the media. If you don't want to read something, delete it, and start your own whine about something else. ========================================================================= Date: Fri, 11 Aug 1995 20:45:24 -0400 From: Barry Silverberg Subject: $%#&*(^%*&^% idiot me. I formally retract the James Carr CD for trade. Thanks to a little nudge from Lee Spector I replayed this CD again. What was I thinking? As I explained to Lee, the dead brain cells on my desk must be the culprits. Anyway, this is a terrific voice; a terrific soul; a terrific CD. Having grown up on a lot of R&B and soul music I was being a bit blues pompish in thinking that I should only be getting REAL BLUES CDs @ this point in my collecting efforts. BAH to me and those purist's thoughts - good music is the game and JC is just that. The other CD's remain up for trade, & I apologize to all for putting the carrot out before I tasted it and then having to retract it. As punishment I think I will review this CD in my next news- letter. Cruel taskmaster I am - huh :):). -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 11 Aug 1995 22:05:12 +0000 From: "P.W. Fenton" Subject: It's Official My Home page has now moved into the same computer as the Blues-l Shopping center. Hopefully this will be the last move for quite some time. http://www.gate.net/~pwfenton The Blues-L Shopping Center - http://www.gate.net/~pwfenton/blues-l.html P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 11 Aug 1995 22:21:40 -0400 From: Stew Crossen Subject: johnnie johnson Hello, This is Beef Stew, host of The Blues Bus and Blues Music Director for WHUS 91.7, a community radio station with offices and studios located on the campus od the University of Connecticut. I failed to get his/her addressbut...someone was looking for info bout Johnnie Johnson & Kentucky Headhunters. Album is called "That'll Work" on Elektra/Nonesuch Johnnie Johnson & The Kentucky Headhunters Bfstew ========================================================================= Date: Fri, 11 Aug 1995 22:05:46 -0600 From: Don O Subject: Lightnin Hopkins Can anyone out there tell me where Lightnin Hopkins is buried? I have a radio listener who wants to visit his gravesite. The guy has called me several times and is very serious about it. Someone had told me earlier that they thought it was near Centerville. Anyone out there know the town and cemetery? Thanks for the help. Don O. KNON FM Dallas ========================================================================= Date: Fri, 11 Aug 1995 23:57:28 -0400 From: Mary Katherine Aldin Subject: John Lee Hooker's car stolen There was a report on a local news radio station here today that John Lee Hooker's car was stolen from his home in the Southern California area. He was not here at the time, but was in the Bay Area. Car not recovered yet, but has vanity license plate reading DocHook. Mary Katherine ========================================================================= Date: Sat, 12 Aug 1995 05:25:46 GMT From: choir Subject: Re: curious about 78s In article , James Leftwich says: > >Hey, > >A fellow at the Poconos Blues Festival was selling blues 78s that were >mostly fairly modern. How much do the old 78s (Patton, R. Johnson, S. >House, etc.) go for? And are there unfound copies out there or have they >all been picked clean. A friend told me he used to go to juke box >companies and would buy their records en masse... > >Jim Leftwich >leftwich@cloud9.net >"I'm on cloud9!" :) The real old blues (20s, 30s) can be found in auctions, but be prepared to pay! Pristine copies, when found, can fetch a few hundred dollars. Well worn copies, particularly of Paramount 12,000 and 13,000 series, can still run $25. A good source of blues is Kurt Nauck's auctions. If you're interested in his address, e-mail me at choir@ibm.net Bob Marovich ========================================================================= Date: Fri, 11 Aug 1995 22:51:26 -0700 From: Roberta Penn Subject: Re: Seattle Blues Playlist 8/13/95 BUDDY GUY BLUES AT MY BABY'S HOUSE JSP FABULOUS T-BIRDS HERE COMES THE NIGHT PRIVATE BEAU JOCQUE BEAU JOCQUE BOOGIE ROUNDER LITTLE BILL ALL ABOUT MY GIRL LIT. BILL LITTLE BILL WAKIN' UP LIT. BILL COLIN JAMES BAD HABITS WEA OTIS RUSH SO MANY ROADS DELMARK SUE FOLEY HOWLIN' FOR MY DARLIN' ANTONE'S BESSIE SMITH THE YELLOW DOG BLUES COLUMBIA JESSE COLIN YOUNG T-BONE SHUFFLE RIDGETOP NOLAN STRUCK HOW DO YOU WANT YOUR THRILL PAULA GARCIA/GRISMAN THE THRILL IS GONE ACOUSTIC PEPPERMINT HARRIS GOT A BIG FINE BABY MAINSTREAM CHRIS THOMAS DA GAMBLER PRIVATE LITTLE MILTON CAMPBELL LITTLE BLUEBIRD STAX COLIN JAMES STANDIN' ON THE EDGE WEA ETTA JAMES I'D RATHER GO BLIND PRIVATE JOHNNY GUITAR WATSON BOW WOW MEMPHIS SLIM/CANNED HEAT BACK TO MOTHER EARTH VERVE LLOYD GLEN BLUES HANGOVER NIGHT TRAIN BO CARTER WARM MY WEINER YAZOO ROBT. CRAY JEALOUS LOVE MERCURY WM. BELL/MEMPHIS HORNS HOLDING ON TO LOVE TELARC TOURE/COODER DIRABY RYKO ========================================================================= Date: Sat, 12 Aug 1995 01:53:33 -0400 From: James Leftwich Subject: Re: Why don't we . . . No it's a lot more than that. Let's see if I can explain it... You select a handle and type a message (like the guest book pages). Then the message is sent into a sort of queue for other people logged in to see. Then you read other messages other people have written and can respond. You can target the entire group or an individual user. It's a little less chaotic than irc but it can become kind of a pain in the ass. Anyone know how to set up webchat? Jim On Fri, 11 Aug 1995 rjbauman@iquest.net wrote: > ==========There's also WebChat. I have no idea how to set it up. But I've > used it > on the ESPN Web site.============== > > Isn't this similar to the guest book pages on PW's and other sights? How fast > are these pages updated? > > ------------------------------------- > Name: R. J. Bauman > E-mail: rjbauman@pop.iquest.net (R. J. Bauman) > Date: 08/03/95 > Time: 14:17:21 > > This message was sent by Chameleon > ------------------------------------- > > > ========================================================================= Date: Sat, 12 Aug 1995 05:41:02 GMT From: choir Subject: Re: WDIA/Bukka White In article , L W says: > >Questions: Is is TRUE that WDIA was the first black radio station in the >country....? It was/is broadcasting out of Memphis.....? Was Rufus Thomas >a DJ there....? > >I'll ask this again: Anyone have any info on how Bukka Wite got booked to play >the Olympic Games in Mexico in 1968 (he performed, didn't compete :-)) >LW I know that WDIA broadcast out of Memphis and believe Rufus Thomas was a DJ there. You'd be interested in Louis Cantor's book, "Wheelin' on Beale" which chronicles the history of WDIA in Memphis. Bob Marovich choir@ibm.net ========================================================================= Date: Sat, 12 Aug 1995 02:31:30 -0400 From: PrePhoto Subject: Re: Re[2]: Garcia/Blues Ler Bitterness Most people don't make a quasi-relegion out of their pets. Jerry's dead. get a life ========================================================================= Date: Sat, 12 Aug 1995 06:44:09 GMT From: Peter Dwyer Subject: Re: BB King Commercial BB appears in an Australian commercial for McDonald's. In this commercial he jams with young local child guitar prodigy, Nathan Cavilleri. Other scenes in this cringe-awful commercial show BB giving some corny homily to young Nathan along the lines of "be yourself....". If only the great BB could have taken his own advice ;-) Peter Dwyer ========================================================================= Date: Sat, 12 Aug 1995 01:19:54 +0500 From: Bill Morgan Subject: Re: Muddy's House (longish), and vitriolic! When I first read the statement by David S. that started this whole controversy, my reaction was similar to Denise's, so I read the message again and decided that it wasn't so confrontational as I thought, but there was a hint of condescension and sanctimony. On viewing it a third time I noticed that David mentioned feeling contrary, and his reply was to Denise's post, an otherwise innocuous description of Muddy Water's house. This controversy may have been averted had he inserted a new topic (or subject) instead of issuing his message as a response to Denise's. Slavery, sharecropping, and racism certainly are valid topics if you want to talk about the origin of the blues. And perhaps he should have started a new thread rather than hitching a ride on and boarding Denise's response to a thread started by LW I believe, regarding "looting" a small chunk of wood from Muddy's house. While Denise's tone appeared especially shrill, I can appreciate her feelings. We southerners get this self-righteous crap all the time. So, it takes constant work to maintain our stoic demeanor and our self esteem. WIth regard to the other posts. I was surprised to hear from Craig Edmundson that Paul Garon is a "disciplined researcher not in the habit of making unsubstantiated claims," since that's exactly what he did. Then of course there's Jackie Katz whose tone rivals Denise's, and what we see here is backlash begets backlash. But the most annoying thing about this post: <> You guys *don't* have a total lock on economic enslavement or on <>hardship; . My guess is that Denise is a woman. Just what is the deal with this "You guys" stuff when addressing men and women? <>A mere *30* years ago, the majority of blacks and whites weren't interacting <>too comfortably: in fact, segregation was the order of the day. Good thing <>there were people like me and you around to help out. Hope you're sincere. Now I've had enough of this thread. Bill Morgan ========================================================================= Date: Sat, 12 Aug 1995 01:44:16 +0500 From: Bill Morgan Subject: Baton Rouge Blues Festival The Baton Rouge Blues Festival will be Saturday October 14 and Sunday October 15. Here is a list of performers: John Mayall Ivan Neville Charles Brown Clarence "Frogman" Henry Luther Allison Sonny Landreth Raful Neal Kenny Neal Chris LeBlanc Roscoe Chenier Chick Willis Jackie Neal Tabby Thomas Henry Gray Deborah Coleman Johnny Adams Oscar Davis Big Bo Melvin Rudi Richard Luther Kent J. Monque D' Dave Thompson and Big Love Big Luchus Brown C.C. Adcock Fruteland Jackson Guitar Gable and King Karl Bernie Pearl and Harmonica Fats John Sinclair and Blues Scholars Long John Hunter Admission is $5.00 a day. For festival and travel information call 1-800-LA-ROUGE. You may e-mail me for more information, but right now this is all I know about the festival. --------------- Bill Morgan ========================================================================= Date: Sat, 12 Aug 1995 04:16:20 -0400 From: Garry Segal Subject: Blind Willie Johnson Blind Willie Johnson... Does anyone have info on this gospel singer slide player. My buddy was telling me about an instumental of his called "Dark As Night ". Lots of spooky slide and moaning in the backround. He doesnt know where to get it or if that is the name of the song. I think he also sang some pretty politically charged stuff along with gospel. Are there reissues ? Thanks. "Death Dont Have No Mercy In This Land" Garry email BlueSngr@aol.com Bandpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sat, 12 Aug 1995 08:38:55 GMT From: Tony Burke Subject: Re: Garcia-Scmarcia Hugh! Just what I was thinkin' when I wrote the first message and stirred up all this stuff. Besides messages email is running at five to one against us blues anoraks over here!! But never mind, its got the debate going!! Will be back early next week with overview!! Sorry to the grieving Garcia fans and Dead Heads - nothing personal. TB ========================================================================= Date: Sat, 12 Aug 1995 08:41:05 GMT From: Tony Burke Subject: Re: Looking for this cd Try Red Lick in Wales, they usually have stuff like that in their second hand lists.. Write to Red Lick, PO Box 3, Gwynedd, Wales, UK - the best blues/R&B/old timey etc music mail order in Europe. ========================================================================= Date: Sat, 12 Aug 1995 05:01:49 -0400 From: Garry Segal Subject: Blues L Bitterness I am shocked at all the negativity on this list. The issue was compassion and tolerance on the death of a musician who was maybe blues to some maybe not to others. Hiding behind your keyboards with snide remarks shows a dangerous lack of basic common courtesy and respect for the dead. Is this the advantage of computer discussions? Scary. Brothers and sisters we are all on that road to a better place like it or not. Thats why its called the great equalizer. Do you really want yourself or anyone you care about mocked on that last ride in that long black caddy? Do you generally kick folks when they're down? One of the last bitter posts ended with the admonishment to "get a life". If it is to live in your narrow dark alley I'd rather join JG. "Death Dont Have No Mercy In This Land" Rev. Gary Davis My last post on this.............You're welcome. Garry ========================================================================= Date: Sat, 12 Aug 1995 09:11:50 GMT From: brad gekler Subject: Re: Rod the Mod David Burke wrote: > : You seem to have left out the part that has to do with the Blues. > : P.W. Fenton > Well, pee-dubble-yuh ....I think Rod the Mod has a *lot* to do with the > blues,.. > >Ah..ya..ahhh..really? Oh I get it you just clownin' around-or did Rod"blues"Stewart pay ya to say that? Hope it was alot, he can afford it with all the money he made from those "blues" tunes he cut. BRG ========================================================================= Date: Sat, 12 Aug 1995 10:11:54 GMT From: Tony Burke Subject: Re: Blind Willie Johnson Gary, Get out and get yourself The Complete Blind Wiile Johnson Columbia Roots 'n Blues Series C2K 52835. You can't miss with this set - a great slide player and an all round giant of a blues and gospel artist who deserves his fizzer on a postage stamp anytime! Who else deserves commemoration on a postage stamp in the blues world? Louis Jordan Wynonie Harris Amos Milburn John Lee Hooker Albert Ammons Memphis Minnie There's six for a kick off!! ========================================================================= Date: Sat, 12 Aug 1995 06:53:47 -0400 From: Stew Crossen Subject: Pocono Blues Festival 1995 Greetings... From...Beef Stew, WHUS Blues Music Director, Storrs, CT Just got my photos back from Pocono. Serves as a reminder as to what a great job Michael Cloeren and the staff did, putting on the best "festival" I've ever been to. Special thanks to my friends Bernie Pearl and Harmonica Fats. It was great getting together. Anyone else have any comments on Pocono? ========================================================================= Date: Sat, 12 Aug 1995 08:06:39 -0400 From: "r.d. tebby" Subject: words (no blues content, I think) On Sat, 12 Aug 1995, Tony Burke wrote: [bunch of stuff cut] > > Besides messages email is running at five to one against us blues > anoraks over here!! Do you mind defining the term 'anorak', in this context? My dictionary (Webster's - yes I know it's American) defines it as 'parka', which I alwyas thought was an item of clothing. Thanks, rdt ========================================================================= Date: Sat, 12 Aug 1995 09:12:49 -0400 From: Bob vanArsdall Subject: UBS - Unidentified Blues Song Kevin Boyle asked: > >I have had this song buzzing around in my head for days, but I have >probably only heard once or twice before. It goes something like this: > >" I don't play no Chubby Checker, No James Brown or no one else" >" I don't play no Chubby Checker, No James Brown or no one else" >" You no the good lord made us all an I'm happy just to be myself" > >If I remember it was just a bluesman and his guitar. Additional lyrics >would be nice but if anyone knows Who, Where, and When please HELP ME! Just a guess, but it might be "I Do Not Play No Rock and Roll" by - was it - Fred McDowell? >Don't you just hate it when a few lines of a song keep buzzin'around >in your head? Hate it. National Public Radio ran a segment on this a while back, and they insidiously implanted Sammy Davis Junior's "The Candyman" into millions of people's heads. They more you try to get the songs out of your head, the harder it gets... Bob ========================================================================= Date: Sat, 12 Aug 1995 10:14:39 -0500 From: Patti Bowman Subject: Re: Musicians, Computers, & the Internet > Just wondering....since many BLUES-L'ers are musicians as well as > computer literate (or else we wouldn't be here)... In your > experience, among musicians you know and/or play with, is knowledge of > computers common or rare? I'm wondering because of all the talk about > Blues WEB pages and other Internet sites and so on...who is the > audience that will benefit from this information? > My experience with the musicians I know in the Cincinnati area is that > it's the rare one or two that even own a computer, and I don't know > any of them that have Internet access. (My Internet access is limited > to e-Mail here at work.) > I'm not knocking anyone or anything...just musing. Several of my > musician friends are in awe of my computer literacy (*snort*), and are > both mystified and excited by the BLUES-L chatter I share with them on > an almost daily basis. > Shannon I think that the point here is that it doesn't really matter at all if the musicians are computer literate or not. Most of them don't know how to run a retail store either but the retailers do and the PUBLIC can benefit from that. Just as the PUBLIC can benefit from the web sites. (Did that thought thread translate?) One of the fastest ways to spread info is on the Internet through groups like this. If one of you suggests a band that is found somewhere here on the net, I am liable to give it a try. That equals interest in the band and can lead to record sales, booking or a myriad of other possibilities - just another way of "working hard" for the bands who aren't relying on luck alone. Just my $.02 worth Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Sat, 12 Aug 1995 10:14:46 -0500 From: Patti Bowman Subject: Re[2]: Cuteness/Blues/Persistent Women > Garry -- I missed the original post about screaming girls going to > blues shows. Why are you asking me and Patti in particular? Because > we bantered with the "bass player mystique"? Hmmmm? ;) It seems to > me there are plenty of *other* women on the BLUES-L. I guess you and I should be flattered, Shannon. One comment about bass players and we are "experts" in the field! As for my thoughts on "cuteness" of a band..... It is sad but true - and this exists in all genre of music - that presentation and image are seemingly linked to success. I don't think that a performer has to physically attractive though. I mean SRV was not an attractive man but he certainly exuded sex appeal. Does it make the music sound better if the band is atractive? No - look at Billy Ray Cyrus. Quick short story about women who try to pick up the band- I was in the bathroom of a club when I overheard two women talking about which one of them was going to pick up the bass player. I joined the conversation and we finally bet $30 bucks to the winner. At the end of the night I went home with $30 and the bass player - who was my live-in boyfriend at the time. Seemed only fair! Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Sat, 12 Aug 1995 10:14:58 -0500 From: Patti Bowman Subject: Re: Garcia - whats he on Blues-L for? >On Fri, 11 Aug 1995, Jeff Seale wrote: >> Well, I ain't no Dead fan, but I am a *music* fan. > >That still doesn't explain why you would like the Dead. > >In all seriousness, the only time I ever asked for my money back because >of a bad performance was at a Dead show. They only played for 90 minutes, >30 of which was some BS called "Space". > >For a real skewering of the Dead, check out episode 603 of Mystery >Science Theater 3000. The whole "Cheesy Jam" is indescribable. > >T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) >"I took the duck out to the burn barrel, first scanning the woods for > feminists. You never know." - Patrick McManus Boy Tbone - you sure know how to win friends. Patti Feminism-the odd notion that women are people. ========================================================================= Date: Sat, 12 Aug 1995 14:52:25 GMT From: Michael J Shimony Subject: Blues Shows In Philly Could someone please tell me what radio stations play the blues in Philly. The only Blues Show I know of on the radio is the one on WXPN 88.5, which is on all night on saturday, and Temple's blues show that is on sundays. Thanks for your help. -mike ========================================================================= Date: Sat, 12 Aug 1995 11:42:19 -0400 From: Dick Waterman Subject: Re: Blind Willie Johnson This is essential stuff. "Dark is the Night, Cold in the Grave" is the root of many Ry Cooder variations on different movie scores. This is not to put down Ry because, if you are picking a musical mentor, he at least picked a true master. BWJohnson was a true original and some of his disciples were Rev. Pearly Brown and Rev. Gary Davis. His voice was dark and brooding; his guitar work could be aggressive or subtle; his wife's soft voice singing counterpoint just a fraction behind the beat. Recommended listening are; "The Rain Don't Fall on Me No More," "Motherless Children" and my favorite is "You're Going to Need Somebody on Your Bond." I'll leave it up to others to recomend a specific musical choice but Blind Willie Johnson is a top of the line necessity in your collection. dick waterman ========================================================================= Date: Sat, 12 Aug 1995 12:20:42 -0400 From: Jacquelin Katz Subject: Re: Muddy's House (longish), and vitriolic! I guess Bill has had enough of this thread, but I'll apologize to the rest of you for the politically incorrect "you guys", a point well taken. I meant Southerners, but wanted to avoid the word since the main point I wanted to make was that regionalist defensiveness (us vs. them) is so counterproductive. Guess I didn't really succeed in that too well. Yes, I was sincere: since I was well under 18 during the 60's, my contribution to the Civil Rights movement consisted mostly of arguing with people who mouthed racist talk (and where I lived, it happened a *lot*) and other actions to promote understanding. So I guess I developed a propensity to "do battle" when I see intolerance: sorry if I went overboard here. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Sat, 12 Aug 1995, Bill Morgan wrote: > When I first read the statement by David S. that started this whole > controversy, my reaction was similar to Denise's, so I read the message > again and decided that it wasn't so confrontational as I thought, but > there was a hint of condescension and sanctimony. On viewing it a third > time I noticed that David mentioned feeling contrary, and his reply was > to Denise's post, an otherwise innocuous description of Muddy Water's > house. > > This controversy may have been averted had he inserted a new topic (or > subject) instead of issuing his message as a response to Denise's. > Slavery, sharecropping, and racism certainly are valid topics if you > want to talk about the origin of the blues. And perhaps he should have > started a new thread rather than hitching a ride on and boarding > Denise's response to a thread started by LW I believe, regarding > "looting" a small chunk of wood from Muddy's house. > > While Denise's tone appeared especially shrill, I can appreciate her > feelings. We southerners get this self-righteous crap all the time. So, > it takes constant work to maintain our stoic demeanor and our self > esteem. > > WIth regard to the other posts. I was surprised to hear from Craig > Edmundson that Paul Garon is a "disciplined researcher not in the habit > of making unsubstantiated claims," since that's exactly what he did. > > Then of course there's Jackie Katz whose tone rivals Denise's, and what > we see here is backlash begets backlash. > > But the most annoying thing about this post: > > <> You guys *don't* have a total lock on economic enslavement or on > <>hardship; . > > My guess is that Denise is a woman. Just what is the deal with this > "You guys" stuff when addressing men and women? > > <>A mere *30* years ago, the majority of blacks and whites weren't > interacting > <>too comfortably: in fact, segregation was the order of the day. > Good thing > <>there were people like me and you around to help out. > > Hope you're sincere. > > Now I've had enough of this thread. > > Bill Morgan > ========================================================================= Date: Sat, 12 Aug 1995 13:15:03 -0400 From: B CHICAGO Subject: Re: Bar owners there is good and bad in every field. in my 30 years in the bar scene i have known some really good and honest bar owners. ========================================================================= Date: Sat, 12 Aug 1995 11:51:21 -0600 From: Watterworth Jay Subject: Re: UBS - Unidentified Blues Song It isn't on Fred McDowell's "I Do Not Play No Rock'n'Roll" which (as quoted on the back of the LP) contains the lines "... and I do not play no rock and roll, y'all. I just play straight 'n' natchel blue." [Personally, I think, with the exception of "Jesus Is On the Mainline", this is a pretty poor example of Fred's art. I would say that it was one of those lps that were recorded for mass consumption rather than "art" whoever that is. IMHO] Jay Watterworth CU Boulder On Sat, 12 Aug 1995, Bob vanArsdall wrote: > Kevin Boyle asked: > > > >I have had this song buzzing around in my head for days, but I have > >probably only heard once or twice before. It goes something like this: > > > >" I don't play no Chubby Checker, No James Brown or no one else" > >" I don't play no Chubby Checker, No James Brown or no one else" > >" You no the good lord made us all an I'm happy just to be myself" > > > >If I remember it was just a bluesman and his guitar. Additional lyrics > >would be nice but if anyone knows Who, Where, and When please HELP ME! > > Just a guess, but it might be "I Do Not Play No Rock and Roll" by - was it > - Fred McDowell? > > > >Don't you just hate it when a few lines of a song keep buzzin'around > >in your head? > > Hate it. National Public Radio ran a segment on this a while back, and they > insidiously implanted Sammy Davis Junior's "The Candyman" into millions of > people's heads. They more you try to get the songs out of your head, the > harder it gets... > > Bob > ========================================================================= Date: Sat, 12 Aug 1995 18:32:52 GMT From: Tony Burke Subject: Screamin' Jay Pulls Out Just got the news from the organisers of the Colne Festival (end of August) in the UK that Screamin' Jay Hawkins has pulled out of his UK tour. Guess whose replacing him? Nine Below Zero thats who - another harp lead pub rock band! Well, beggers can't be choosers. Never mind there is still Johnnie Johnson, Luther Allison, Robert Ward, Homesick James to look forward too!! ========================================================================= Date: Sat, 12 Aug 1995 14:45:24 -0400 From: Mary Katherine Aldin Subject: blues postage stamps Tony: re your list of those who deserve to be on postage stamps : since you live in the U.K, you probably are not aware of the U.S. Post Office regulation which insists that the proposed stamp subject be *dead* in order to be considered. With this in mind, I hope that John Lee Hooker is not eligible for stamp-hood for a long long time yet. Mary Katherine ========================================================================= Date: Sat, 12 Aug 1995 15:07:20 -0400 From: Garry Segal Subject: Re: Blind Willie Johnson Tony, Dick, PW, Thanks for the Blind Willie info. Thats why I like this list. Does Ry Cooder actually cover any of Blind Willies stuff ? Does anybody? Hey Im going to go get his original sides first, just curious. BTW PW & Clint did a great job on the Blues L Shopping Center ! Thanks yous guyz ! Its at http://gate.net/~pwfenton/blues-l.html Garry email BlueSngr@aol.com Band page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sat, 12 Aug 1995 15:40:54 -0400 From: CATBAUER Subject: Re: Larry McCray Larry is no longer with Pointblank but has a recording ready to go. Cat ========================================================================= Date: Sat, 12 Aug 1995 19:45:09 GMT From: "Ian K. Mckenzie" Subject: Re: Blind Willie Johnson Garry Segal wrote: >Blind Willie Johnson... >Does anyone have info on this gospel singer slide player. My buddy was >telling me about an instumental of his called "Dark As Night ". Lots of >spooky slide and moaning in the backround. He doesnt know where to get it or >if that is the name of the song. I think he also sang some pretty politically >charged stuff along with gospel. Are there reissues ? Thanks. Blind Willie, a religiuos singer rather than a blues singer, recorded between 1927 and 1930 for Columbia. The tune 'Dark was the night and cold was the ground' (rec 1927) is a `moan' which is a tour de force is available on a sampler (Bluse for you pocket Transatlantic 1098) and probably on some document CD too. Johnson Died in 1949 and was the writer of 'Mother's children have a hard time', sometimes now called Motherless children have a hard time' A copy of Dark was the night.... was included in the Voyager space craft artifacts, along with music by Bethoven abd Chuck Berry!!! ****************************************************** Ian K. Mckenzie Institute of Police & Criminological Studies, University of Portsmouth UK ******************************************************* ========================================================================= Date: Sat, 12 Aug 1995 15:39:54 -0400 From: CATBAUER Subject: Re: Tab Benoit Just received a tape of Tab Benoit's upcoming release from Justice Records . It includes 6 originals and 6 covers. It was recorded live to two-track and mixed on the spot "to capture the spontaneity of the moment." Haven't time to go into detail now but one song in particular that caught my attention was a duet with Willie Nelson called "Rainy Day Blues." I believe it will be out @ Sept.12th. Cat ========================================================================= Date: Sat, 12 Aug 1995 16:59:33 -0400 From: Lynn Moncrief Subject: Re: blues postage stamps In a message dated 95-08-12 14:47:40 EDT, MKAldin@AOL.COM (Mary Katherine Aldin) writes: >Tony: > >re your list of those who deserve to be on postage stamps : since you live in >the U.K, you probably are not aware of the U.S. Post Office regulation which >insists that the proposed stamp subject be *dead* in order to be considered. > With this in mind, I hope that John Lee Hooker is not eligible for >stamp-hood for a long long time yet. > >Mary Katherine As a John Lee Hooker fan, I hear that!!!! :-D Lynn ========================================================================= Date: Sat, 12 Aug 1995 22:28:52 -0600 From: Watterworth Jay Subject: Re: Screamin' Jay Pulls Out Speaking of Screamin'Jay, I had the great pleasure of seeing the movie Smoke the other day. And, who should be on the radio in the background of one of the scenes? You guessed it! Jay Watterworth CU Boulder On Sat, 12 Aug 1995, Tony Burke wrote: > Just got the news from the organisers of the Colne Festival (end of > August) in the UK that Screamin' Jay Hawkins has pulled out of his UK > tour. > > Guess whose replacing him? > > Nine Below Zero thats who - another harp lead pub rock band! Well, > beggers can't be choosers. > > Never mind there is still Johnnie Johnson, Luther Allison, Robert Ward, > Homesick James to look forward too!! > ========================================================================= Date: Sun, 13 Aug 1995 00:53:46 -0400 From: Stew Crossen Subject: Mary Flower A long while back, a local blues mag ran a review of Mary Flower's, Blues Jubilee. The review (IMHO) was not glowing yet not horrible either. I contacted Mary and asked for a copy of the disc for my blues show. She sent the disc along with an apologetic letter for the review. Fear not Mary, the disc is great. I'm sorry that I was unable to see Mary and Chris Smither at the Old Vienna Kaffeehaus in Westboro, MA last night, but such is life. Anyone else have thoughts on Mary's effort? Beef Stew, WHUS Blues Music Director ========================================================================= Date: Sun, 13 Aug 1995 01:40:36 -0400 From: Dick Waterman Subject: Re: Mary Flower She has a CD available in the Colorado area but it lacks any national distribution. She lives in Denver and has taught blues guitar there for some time. She accumulates a small amount of money and then tries the road for a few gigs here and there. It's a mighty hard road out there for a woman performing Bessie Smith, Memphis Slim, etc. She gets an occasional festival (i.e. Eureka Springs, Mississippi Valley, etc.) but I'd be much obliged if any booker would give her CD a listen. No disrespect intended to Rory Block in discussing this genre but Mary Flower is a slide guitar monster deserving of your attention. I won't make this a commerial post but will provide a business contact for Mary Flower to anyone who contacts me directly. dick waterman ========================================================================= Date: Sun, 13 Aug 1995 00:58:07 -0800 From: Michael Hewitt Subject: Blues on HOB (Oh my!) Amazingly enough, tonight's HOB actually had blues content. Just watched JLH w/Ry Cooder, Blues Traveler (not super blusey, but their front man plays a mean harp), and Keb Mo. This was my first experience with Mo and I was impressed. His performance was limited, but what I saw reminded me of Taj Mahal 25 years ago with a lot more polished guitar work. Will be looking for more Mo at the store tomorrow and will be taking a closer listen to Blues Traveler from now on. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sun, 13 Aug 1995 01:00:02 PDT From: Eric LeBlanc-CISTI Subject: BLUES DATES : AUGUST 13 - AUGUST 19 Here's a few dates (b. born, d. death) for this week. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON,JAMES "BILLY"(b/JOHN LEE HOOKER) b. 1919-0813, EAST ORANGE, NJ BARRETT, FANITA (of THE BLOSSOMS) b. 1938-0813, ST. LOUIS, MO BROOKS, HAROLD "TINA" (tsax) d. 1974-0813, NEW YORK CITY, NY 42 CORTEZ, DAVE "BABY" (o/HAPPY ORGAN) b. 1938-0813, DETROIT, MI DEVEREAUX, WESLEY (v/g/THE SULTANS) b. 1933-0813, OMAHA, NE HINTON, JOE (v/HI/BACKBEAT REC) d. 1968-0813, BOSTON, MA 39 KING CURTIS [CURTIS OUSLEY] (sax/prod) d. 1971-0813, MANHATTAN,NYC, NY 37 MCCRACKLIN, JIMMY (JAMES DAVID WALKER)(p) b. 1921-0813, HELENA, AR MCCULLOCH, JIMMY (g/MAYALL/SMALL FACES) b. 1953-0813, GLASGOW, SCOTLAND SEALS, FRANK "SON" (g/ALLIGATOR REC) b. 1942-0813, OSCEOLA, AR TEX, JOE (v/DIAL REC) d. 1982-0813, NAVASOTA, TX 49 WARREN, ROBERT "BABY BOY" (g) b. 1919-0813, LAKE PROVIDENCE, LA WINBURN, ANNA MAE (g/SWEETHEARTS OF RHY) b. 1913-0813, PORT ROYAL, TN ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXANDER, LOREZ (v/KING REC) b. 1929-0814, CHICAGO, IL ANGUS, IAN (BLUES-L MEMBER) b. 1945-0814, VANCOUVER, BC BELOW, FRED (d/CHESS REC) d. 1988-0814, CHICAGO, IL 61 BRICKTOP [ADA BEATRICE LOUISE V. SMITH] b. 1894-0814, ALDERSON, W. VA BROONZY, BILL BIG (g) d. 1958-0814, CHICAGO, IL 60 BUCHANAN, ROY (g) d. 1988-0814, FAIRFAX, VA 48 CHEATHAM, JEANNIE EVANS (p/CONCORD REC) b. 19 -0814, AKRON, OH GRAHAM, LARRY (v/of FAMILY STONE) b. 1946-0814, BEAUMONT, TX HALL, ROLAND (tpt/BOBBY PARKER) b. 1938-0814, PASSADENA, MD JENKINS, JOHN "BOBO" (g) d. 1984-0814, DETROIT, MI 69 LEAKE, LAFAYETTE (p) d. 1990-0814, CHICAGO, IL 71 MALO, RON (engineer/CHESS REC) d. 1992-0814, LOS ANGELES, CA -- RICHMOND, JUNE (v/ANDY KIRK) d. 1962-0814, GOTHENBURG, SWEDEN 47 SMITH, HEZEKIAH "STUFF" (vln/SAVOY REC) b. 1909-0814, PORTSMOUTH, OH WILLIAMS, SAMUEL"TONY"(lead/THE PLATTERS) d. 1992-0814, MANHATTAN, NY 64 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASHTON, FLOYD (of THE TAMS) b. 1933-0815, ATLANTA, GA BRENSTON, JACKIE(sax/ROCKET 88/IKE TURNER)b. 1934-0815, CLARKSDALE, MS BROWN, BUSTER (hca/FANNIE BROWN) b. 1911-0815, CORDELE, GA BYRD, BOBBY (v/JAMES BROWN'S FAMOUS FLAMESb. 1934-0815, TOCCOA, GA CALDWELL, BOBBY (v) b. 1951-0815, NEW YORK CITY, NY DAWSON, EDDIE (b) d. 1972-0815, NEW ORLEANS, LA 88 FISCHER, JERRY (co-owner: MERCURY REC) d. 1988-0815, LOS ANGELES, CA 73 GARLAND, JOSEPH C. (sax/IN THE MOOD) b. 1903-0815, NORFOLK, VA GRIFFIN, BILLY (lead/THE MIRACLES) b. 1950-0815, BALTIMORE, MD HENDRIX, JAMES (prod/gospel) b. 1920-0815, NASHVILLE, TN HOOPER, NESBERT "STIX" (d/THE CRUSADERS) b. 1938-0815, HOUSTON, TX KNIGHT, FREDERICK (v/prod) b. 1944-0815, AL LITTLE BEAVER (WILLIE GEORGE HALE) (g) b. 1945-0815, FORREST CITY, AR MCGHEE, GRANVILLE "STICK(S)" (g) d. 1961-0815, BRONX, NY 44 PETERSON, OSCAR EMMANUEL (p) b. 1925-0815, MONTREAL, QUEBEC PETTY, NORMAN (prod/BUDDY HOLLY) d. 1984-0815, LUBBOCK, TX 57 PINCKNEY, BILL (of THE DRIFTERS) b. 1925-0815, SUMTER, SC POLLARD, TERRY (MS.) (p/EMMIT SLAY TRIO) b. 1931-0815, DETROIT, MI RICH, DON (g/BUCKEROOS) b. 1941-0815, OLYMPIA, WA THUNDER, JOHNNY [GIL HAMILTON] b. 1941-0815, LEESBURG, FL ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASHBURN, BENNY (manager/THE COMMODORES) d. 1982-0816, ENGLEWOOD CLIFFS,NJ 54 BIBB, ERIC (g/OPUS 3 REC) b. 1951-0816, NEW YORK CITY, NY CARN, JOHN B. III (critic) d. 1989-0816, INDIANAPOLIS, MN 41 COOKIE & HIS CUPCAKES [HUEY THIERRY] b. 1936-0816, JENNINGS, LA ELKINS, ALFRED (b) b. -0816, FREEMAN, ERNIE [ERNEST AARON FREEMAN JR.] b. 1922-0816, CLEVELAND, OH GEORGE, BARBARA (v/I KNOW) b. 1942-0816, NEW ORLEANS, LA HIBBLER, AL (v/DECCA REC) b. 1915-0816, LITTLE ROCK, AR HICKS, EDNA (v) d. 1925-0816, CHICAGO, IL 29 HULIN, T. K. (ALTON JAMES HULIN) (cajun) b. 1943-0816, ST. MARTINVILLE, LA JOHNSON, ROBERT (g/songw) d. 1938-0816, GREENWOOD, MS 27 KIRKLAND, EDDIE (g/hca) b. 1928-0816, KINGSTON, JAMAICA LESTER, KETTY (REVOYDA FRIERSON) (v) b. 1934-0816, HOPE, AR MADONNA [MADONNA LOUISE VERONICA CICCONE] b. 1958-0816, BAY CITY, MI MITCHELL, BOBBY (lead/THE TOPPERS) b. 1935-0816, ALGIERS, LA PERKINS, CARL (p/BRADSHAW/MCNEELY) b. 1928-0816, INDIANAPOLIS, IN PICKETT, DAN [JAMES FOUNTY](g/GOTHAM REC) d. 1967-0816, BOAZ, AL 59 PRESLEY, ELVIS (g/p) d. 1977-0816, MEMPHIS, TN 42 SPANN, PERVIS (dj) b. 1932-0816, ITTA BENA, MS TALTY, DON (owner: FORMAL REC) b. 1911-0816, IL TAYLOR, JAMES "JT" (lead/KOOL & THE GANG) b. 1953-0816, SC TITELMAN, RUSS (prod/CLAPTON/COODER) b. 1944-0816, LOS ANGELES, CA TOO TIGHT HENRY (HENRY LEE CASTLE) (g) d. 1971-0816, CHICAGO, IL 71 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLISON, LUTHER S. (g/ALLIGATOR REC) b. 1939-0817, MAYFLOWER, AR BAILEY, PEARL MAE (v) d. 1990-0817, PHILADELPHIA, PA 72 BROWN, WALTER (v/JAY MCSHANN) b. 1917-0817, DALLAS, TX BUTTS, JAMES "BUDDY"(lead/NORFOLK JUBILEE)d. 1922-0817, NORFOLK, VA 25 CHAUVARD, MARCEL (discographer) d. 1968-0817, PARIS, FRANCE 42 DUVIVIER, GEORGE B. (b) b. 1920-0817, NEW YORK CITY, NY GARVEY, MARCUS A. (:) b. 1887-0817, ST.ANN'SBAY,JAMAICA GUITAR GABLE (GABRIEL PERRODIN)(g/EXCELLO)b. 1937-0817, BELLEVILLE, LA JACKSON, MELVIN "LIL' SON" (g) b. 1916-0817, TYLER, TX JAMES, COLIN (COLIN JAMES MUNN) (g) b. 1964-0817, REGINA, SASK JOHNSON, ERIC (g) b. 1954-0817, TX MELLY, GEORGE (v) b. 1926-0817, LIVERPOOL, UK MORRIS, ELMORE JR. REV (gospel) d. 1979-0817, CINCINNATI, OH -- MURPHY, PAUL (g/DUKE ROBILLARD) d. 1994-0817, SAO PAULO, BRAZIL 40 NIXON, HAMMIE (HAMMIE DAVIS) (hca/ESTES) d. 1984-0817, BROWNSVILLE, TN 76 PEARSON, COLUMBUS "DUKE" (p) b. 1932-0817, ATLANTA, GA PETERSON, JAY (of LIT'CHARLIE/NIGHTCATS) b. 1952-0817, OAKLAND, CA RAY, DAVE "SNAKER" (g/ELEKTRA REC) b. 1943-0817, ST. PAUL, MN QUEBEC, IKE ABRAMS (tsax/BLUE NOTE REC) b. 1918-0817, NEWARK, NJ RANEY, WAYNE (hca/DELMORE BROS) b. 1921-0817, WOLF BAYOU, AR RICHARDSON, W. L. (lead/FAIRFIELD FOUR) d. 1993-0817, NASHVILLE, TN 80 SAYLES, JOHNNY (v/ROY BUCHANAN) d. 1993-0817, HAZEL CREST, IL 56 SMITH, TAB (asax/DELMARK REC) d. 1971-0817, ST. LOUIS, MO 62 TATE, CHARLES "BABY" (g/BLUESVILLE REC) d. 1972-0817, COLUMBIA, SC 56 WASHINGTON, ALBERT (g) b. 1935-0817, ROME, GA WILLIAMS, PAUL (of the TEMPTATIONS) d. 1973-0817, BIRMINGHAM, MI 34 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, JOHN H. JR. (tpt) d. 1974-0818, BIRMINGHAM, AL 53 BROWN, MAXINE (v/WAND REC) b. 1939-0818, KINSTON, NC COHN, ZINKY AUGUSTUS (p) b. 1908-0818, OAKLAND, CA DASH, SARAH (of THE BLUEBELLES) b. 1943-0818, TRENTON, NJ HARRIS, BARBARA (of THE TOYS) b. 1945-0818, ELIZABETH, NJ HAWKINS, EDWIN R. (p/gospel) b. 1943-0818, OAKLAND, CA HENDRYX, NONA (of THE BLUEBELLES) b. 1945-0818, TRENTON, NJ JACKSON, LEE (g) b. 1921-0818, JACKSON, MS JONES, CURTIS (p) b. 1906-0818, NAPLES, TX JONES, MARSHAL M. (p/IKE TURNER/B.B. KING)d. 1984-0818, ST. LOUIS, MO 42 KOMARA, EDWARD (BLUES-L MEMBER) b. 1966-0818, BUFFALO, NY PENNY, HERBERT "HANK" (v/BLOODSHOT EYES) b. 1918-0818, BIRMINGHAM, AL PRESTON, JIMMY (sax/GOTHAM REC) b. 1913-0818, CHESTER, PA SMITH, BILL BARKIN' (v/DELMARK REC) b. 1928-0818, CLEVELAND, MS TIL, SONNY (lead/THE ORIOLES) b. 1925-0818, BALTIMORE, MD WEAVER, VIVIAN LAVELLE (p/o/NOBLE SISSLE) b. 1918-0818, CLEVELAND, OH ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAKER, PETER "GINGER" (d/CREAM) b. 1939-0819, LEWISHAM, UK BENNETT, JUNIOR (sound eng/JEWEL REC) d. 1993-0819, WARSAW, KY 46 BROWN, ALLEN NORMAN (g/MILLS BROS) d. 1969-0819, HOLLYWOOD, CA 55 CHRISTIAN, JOHNNY "LITTLE" (v) b. 1936-0819, MS CLINTON, BILL (:) (tsax/president) b. 1946-0819, HOPE, AR DEJESUS, LUCHI (songw/arr/MERCURY REC) b. 1923-0819, NEW YORK CITY, NY DEJESUS, LUCHI (songw/arr/MERCURY REC) d. 1984-0819, CANOGA PARK, CA 61 DONLEY, JIMMY (v/cajun) b. 1929-0819, GULFPORT, MS DURHAM, EDDIE (g/tbn/BASIE) b. 1906-0819, SAN MARCOS, TX FERRIER, AL (g/cajun) b. 1935-0819, MONTGOMERY, LA GAINES, EARL (v/HYMN #5) b. 1935-0819, DECATUR, AL GRANT, FRED (g/SILVERCLOUD BLUES BAND) d. 1993-0819, ST. LOUIS, MO -- KUBAN, BOB (d/IN-MEN/THE CHEATER) b. 1942-0819, ST. LOUIS, MO LOVE, WILLIE (JR.) (p/TRUMPET REC) d. 1953-0819, JACKSON, MS 46 MCTELL, WILLIE BLIND (g) d. 1959-0819, MILLEDGEVILLE, GA 61 MILLS, HARRY F. (lead/MILLS BROS) b. 1913-0819, PIQUA, OH NASH, JOHNNY LESTER (v) b. 1940-0819, HOUSTON, TX WALLACE, CEDRIC (b/FATS WALLER) d. 1985-0819, NY 76 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 9 Aug 1995 12:56:56 -0400 From: CATBAUER Subject: Sunflower/MS (long post alert) I haven't had so much fun in a long time. While I loved the Chicago and Pocono Blues Festivals, Sunflower, Oxford and Clarksdale were a whole 'nuther experience...one I will never forget and hope to repeat in years to come. Flying into Memphis on Thursday I wasn't sure what to expect but the minute I stepped off the plane and saw Dick Waterman I knew I was going to have a good time. The first thing we did was have lunch at the Interstate (sp?) BBQ. Anyone who likes "real" BBQ has to eat there at least once, it was the best. Then we went shopping over at Schwabs to pick up the figurine for LW...this is another place to visit, just like the old 5 & 10 up here, more things than you could possibly imagine and they know where everything is. : ) After a few quick stops at the Blues Foundation and some other places in Memphis we drove to Oxford...it is one of the most beautiful towns I've ever visited. The square is so picturesque, Faulkner's Alley, Uncle Buck's record store, Square Books, City Grocery and Proud Larry's club are all worth visiting. There was a David Lindley cd I wanted, so Dick called the owner of Uncle Buck's to see if he had one in stock, they didn't but not to worry...the owner sold me his so I could have it to take home (and silly me left it in the car ), most record stores will be happy to order something for you but knowing I wanted it, he was nice enough to let me have his copy. Square Books has a beautiful porch with rocking chairs (coffee & cookies inside) for you to relax and read your book while looking out over the square. Borders are nice but this store has character along with a fantastic selection of Blues books. That evening I finally got to meet Ed Komura, the archivists at Ole Miss, Tom Freeland and his lovely wife for dinner at the Taylor Grocery store just south of Oxford. I thought lunch was great but the catfish dinner we had at this little store was delicious, living in Rochester a Friday night fish fry is a tradition...there's no place here that could come close to making catfish like the Taylor Grocery store did. (Charlie Musslewhite's cousin is the mayor of Taylor) Also visited the Archives at Ole Miss., I have to admit I envy Ed Komura being surrounded by the recordings, clippings, and everything else housed there. Being there even for a brief amount of time I realize the wealth of information he is responsible for and how fortunate blues fans are that he takes such pride in the archives. Last but not least...Eddie Shaw was in town that night at Proud Larry's place. Having missed him both in chicago and at home it was the best possible end to a great day. He is wonderful, it's a rare treat to hear blues coming from a sax and he didn't disappoint me. Almost forgot, met David Nelson from Living Blues there...I have to confess that as long as I've been online I should know that it's hard to imagine what a person will be like when you finally meet them...David was the perfect example, I expected someone much older and more serious, when Dick first introduced us I saw a nice looking guy with long blonde hair, a tie dyed t-shirt dancing to the music of Eddie Shaw...not at all what I expected. Now...for the Sunflower Festival itself. Our first stop was the Delta Blues museum. No visit to Clarksdale would be complete without spending several hours there. I plan on going back the next time I'm in the area simply because there is so much to look at. Because of the weather the first afternoon's performances had been moved inside. I honestly can't remember who was performing when we first arrived but I do remember how good it sounded. Simple acoustic blues at their best. We spent several hours there listening and looking at the museum then went over to an auditorium for Charlie Musslewhite. As always he performs with emotion that only a few harp players seem to have. Finally got to meet Curtis Hewston, Denise, Bill, John that night along with several others from Blues-l, as much as I enjoyed hearing Ch ========================================================================= Date: Sun, 13 Aug 1995 07:53:49 GMT From: Andy Synyszyn Subject: Re: Acoustic Strings & 3rd hand capo In article ISTS024%UABDPO.BITNET@VTBIT.CC.VT.EDU writes: > I'm going to change the strings on my Gibson acoustic. I have been using > Daddario (sp) Semi-flats, but gosh they are expensive...I always get strings > 2 for 1, which makes the semi-flats the same price as one pack of regular > strings. I will probally go ahead and get the Semi-flats (they are the ONLY > strings I'll use on the Dobro), but anyone want to recommend a good acoustic > string. > > Any recomendations > > LW > Hi, I recently discovered 'Michael Messer National Guitar Strings' here in the UK. They're hand wound by Newtone Strings and I've found them to be great. They come in two guages: Heavy: .016 .018 .027w .039 .049 .059 Light: .015 .017 .026w .036 .046 .056 They give a really great blues sound on both my Dobro & acoustic guitars. Apparantly because they use a round central core as opposed to a hexagonal one they tune to pitch at lower tension!. All I can say is that the light guage are easy to play & don't feel like fence wire as the guage may suggest. The guy at Newtone will wind strings to your spec also, so if these aren't to your liking he'll make a set to suit. Hope this is of interest. Andy... -- ============================================================================ _ _ "If it wasn't for bad luck /| _ _| ( _ ( __ _ I'd have no luck at all" /-|| |(_||_| __) |_|| ||_| _) /_|_|| | - Albert King ___________) __) __) __) andy@synyszyn.demon.co.uk ============================================================================ ========================================================================= Date: Sun, 13 Aug 1995 11:41:12 -0500 From: Dave Daubard Subject: Re: Blues L Bitterness In small towns people will pull over when meeting a funeral procession. Go to the "big city", people speed by. RESPECT-PLEASE. ========================================================================= Date: Sun, 13 Aug 1995 12:57:47 -0600 From: Ranko Vujosevic Subject: Re: Mary Flower > A long while back, a local blues mag ran a review of Mary Flower's, Blues > Jubilee. The review (IMHO) was not glowing yet not horrible either. I > contacted Mary and asked for a copy of the disc for my blues show. She sent > the disc along with an apologetic letter for the review. Fear not Mary, the > disc is great. I'm sorry that I was unable to see Mary > and Chris Smither at the Old Vienna Kaffeehaus in Westboro, MA last night, > but such is life. > > Anyone else have thoughts on Mary's effort? > > Beef Stew, WHUS Blues Music Director > Johnson County Blues Society (Iowa City) put on a Mary Flower concert on June 24. I got a chance to hang out with Mary (she stayed in Iowa City for 4-5 days, waiting for Miss. Valley Blues Fest). We even went to visit Dr. Harry Oster together and hang out at Miss. Valley BF. It was quite a treat to listen to Dr. Harry Oster play and sing some old Irish folk songs, and Mary Flower play some slide on his '20s and '30s guitar. As Dick Waterman said, Mary Flower is a terrific guitar player, and even better person. She plays acoustic guitar and lap National Steel. I enjoy her "Blues Jubilee" CD very much. Ranko ========================================================================= Date: Sun, 13 Aug 1995 14:12:16 -0400 From: Garry Segal Subject: Robert Pete Wiiliams I was lucky enough to have played a set with Robert Pete Williams at the NOLA Jazz & Heritage Festival in the late 70's. He heard me play with a folk blues guy that I was touring with (JD Dawson ) and asked me to join him on stage. It was great . I was wondering if anyone knew about his last recorded work what label etc. So I could keep his memory alive. Thanks . Garry email BlueSngr@aol.com Band Page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sun, 13 Aug 1995 15:41:21 -0400 From: James H Spence Subject: Eddie Shaw and the Wolfgang (warning no blues review experience) Eddie Shaw's CD was reviewed here recently so I thought I would provide some info on his shows. IMHO... You should go and see Eddie Shaw and his wolfgang if you get the chance. He plays here in Bowling Green Ohio regularly for some reason, and always gives a good, long performance. Last night he played three sets, with Shorty singing many of the songs in the first set. Many of the songs were from the recent "Oh so played" list, Sweet Home Chicago, Mustang Sally, etc though they also played Hoochie Cootchie Man, Kansas City, Red Rooster, some Howlin Wolf, and some originals. The highlights were a story/song about Hound Dog Taylor (called something like "You Can't Leave the Dog") and a song that started with the lines Hey Mister Your wife's been cheating on us And I though you had a woman That we both could trust This one had me laughing so hard I was crying. This band really enjoys playing, especially Shorty. Go and see them, and request "Midnight Rain in Georgia". Jim Spence Philosophy Dept BGSU Bowling Green, OH ========================================================================= Date: Sun, 13 Aug 1995 15:57:19 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Chicago Fest Date? Help! I'm editing an article about this year's Chicago Blues Festival, and my enthusiastic writer forget an important piece of information....the dates! When was the Festival? July? Thanks! Shannon ========================================================================= Date: Sun, 13 Aug 1995 16:12:00 CDT From: "" Subject: Re: Screamin' Jay Pulls Out Reply-To: Tony Burke From: Richard Chalk Subject: Screamin' Jay Pulls Out To: Multiple recipients of list BLUES-L >...that Screamin' Jay Hawkins has pulled out of his UK >tour. >Guess whose replacing him? >Nine Below Zero thats who - another harp lead pub rock band! Well, >beggers can't be choosers. Nine Below Zero is Alvin Lee's (remember 10 Years After?) regular back-up band. I saw them when we opened for Alvin Lee on a touring Blues Festival in Greece last March. They're definately a rock band with some blues undertones. Pretty good though. The lead guitar player sits out when Alvin's set starts. Alvin uses the rhythm section. Richard Chalk TopCat ========================================================================= Date: Sun, 13 Aug 1995 21:27:44 GMT From: Zaphkiel Subject: sarafest.txt (0/1) Keep Blues Alive! More info in a few days! RL Adams "When I use a word," Humpty Dumpty said, in a rather scornful tone, "it means just what I choose it to mean -- neither more nor less." "The question is," said Alice, "whether you CAN make words mean so many different things." "The question is," said Humpty, "which is to be master-- that's all." ========================================================================= Date: Sun, 13 Aug 1995 21:27:45 GMT From: Zaphkiel Subject: sarafest.txt (1/1) begin 644 sarafest.txt M5&AE($9L;W)I9&$@0FQU97,@3F5T=V]R:R!P2!A;F0@=&AE M($AO;F5Y($AO=6YD2X@($9O;V0L($%R=',@86YD($-R869T6]N M92X-"@T*#0I4:&ES(&ES('1H92!T;W1A;"!I;F9OF%P:&MI96Q`:7@N;F5T8V]M+F-O;6P@ ` end ========================================================================= Date: Sun, 13 Aug 1995 16:25:00 CDT From: "" Subject: Re: Blues L Bitterness Right on Gary! This has needed to be said for a long time. Touche! Richard Chalk TopCat Records ========================================================================= Date: Sun, 13 Aug 1995 21:28:18 GMT From: Zaphkiel Subject: Sarasota Labor Day Music Festival Heya Blues Fans, Here is the latest press release for our event! Come join us for a great time. RL Adams PS.... If you do attend, come and find me. I'll have a jewelry booth. Let me know you saw this post on Blues-L and we'll chat. ....Robin Florida Blues Network presents Labor Day Music Festival 6489 Kahana Way, Sarasota, Florida 34241 ____________________________________________________________________________________ August 1, 1995 PRESS RELEASE Jerry Ross of the Florida Blues Network is pleased to announce the inaugural Labor Day Music Festival scheduled for Sunday, September 3, 1995 at Ed Smith Stadium, located at 12th and Tuttle Avenue in Sarasota, Florida. This festival will feature national and regional blues music and will feature 9 hours of continuous music. Set on Florida's West Coast, the event will attract many music lovers and blues fans to the Sarasota community for this last big party of the summer. A portion of the proceeds from this exciting event will go to the Suncoast Center for Independent Living, one of Sarasota's most important non-profit organizations providing comfort for handicapped citizens of the community. >From Jerry Ross of the Florida Blues Network: "We wanted to provide the opportunity for people to come together, dance, make new friends and re-acquaint themselves with old friends. Labor Day Weekend has provided a great musical tradition in Sarasota." An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, Grammy-winning harmonica wizard Sugar Blue, who won the coveted award with The Rolling Stones for "Miss You" with his trademark riff identifying the song. Sugar Blue previously appeared in Sarasota earlier this summer at a jam packed Gator Club performance as part of the Florida Blues Network's Summer Roots 'N Blues Series and blues fans are elated over his return to headline this festival. Rightly so, Sugar Blue has been called the "Charlie Parker and Jimi Hendrix of the harmonica". In addition, the immensely popular Chicago funk/blues guitarist Joanna Connor returns to Sarasota to perform for loyal Florida fans who have developed an intense love for Joanna's impressive guitar style and her strong vocal presence. Connor also appeared earlier in the year at the Florida Blues Network's Summer Series and was immediately booked for the festival during her red hot performance. Making his first ever appearance in Sarasota, Texas harmonica master Gary Primich will make this festival a guaranteed "don't miss" event. Primich, who lectures and gives master class instruction on his chosen instrument, will perform tunes ranging from Duke Ellington's "Caravan" to T-Bone Walker-styled jump and swing blues. Gary Primich is considered the "musician's musician" when it comes to harmonica. His band is constantly rated among the nation's best. Also included on this show will be a 13-year old female guitar sensation, Clearwater's D. D. Dunn, making her first appearance in Sarasota. Dunn, a four-foot dynamo will knock out audiences out with her display of jazz and blues theory as well as her impressive "chops". She will appear with Dunedin's BirdDog Bobby and his Honey Hounds, who will also be making a rare Sarasota appearance. Sarasota itself boasts a very strong musical history, and this festival would not be complete without showcasing a portion of the rich talent found inside the city limits. Guitarist Bobby G, voted the area's No. 1 musician by Sarasota Magazine, will be appearing with slide guitarist Paul Galestro and The Blynders. Galestro has written many blues classics and has gained a national reputation on slide guitar while Bobby G, who founded the early 70's rock group, Frigid Pink, is an impressive guitarist of enormous talent. Rounding out this festival will be Gwen "Queenie" Fogt and the King B's Blues 'N Soul Revue, featuring the Eddie Kinder Horns. Gwen is a singer or rare ability and her stage show, coupled with the big band sound of the King B's, is a Sarasota favorite! Gates open at 11:00 AM. The music will begin at Noon and will continue through 9:00 PM followed by a giant Sarasota Red Sox Fireworks Finale. Many of the regions top restaurants will be on hand to serve food and beverages throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. Also included will be a Big Screen Satellite Football Tent, Arts & Crafts, and Children's Activities. The stage and viewing areas are under tents to provide a festival atmosphere come rain or shine. Please bring blankets and lawn chairs to this fun family event. No pets, glass, coolers or audio- visual cameras are permitted. Tickets for general lawn seating are available NOW at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $13.00 at the gate. A limited number of Gold Reserved Tent Seats (200) will be available for $25.00 through the Florida Blues Network only. ($20 for members of the Florida Blues Club). For further information regarding this event and the Florida Blues Club: Contact Jerry Ross/Florida Blues Network, Inc. 941-377-8220 "When I use a word," Humpty Dumpty said, in a rather scornful tone, "it means just what I choose it to mean -- neither more nor less." "The question is," said Alice, "whether you CAN make words mean so many different things." "The question is," said Humpty, "which is to be master-- that's all." ========================================================================= Date: Sun, 13 Aug 1995 16:40:00 CDT From: "" Subject: Re: To James B. Smith @ALCOA.COM From: topcat@computek.net Subject: Re:To James B. Smith @ALCOA.COM Please contact me. Your inquiry re: the new Freddie King was received and replied to, but it keeps coming back. I think I must have your e-mail address wrong. Either contact me here at topcat@computek.net or PREFERABLY at blueman@computek.net. Thank you. Richard Chalk TopCat Records <---- End Included Message ----> ========================================================================= Date: Sun, 13 Aug 1995 18:20:58 -0400 From: Catman8016 Subject: Attn Detroit Blues Society and more... Anyone out there involved with the Detroit blues society????...i would like to find out more info about it...i know they meet at Sully s first sunday of Month...and was wanting more details...any info appreciated/...also interested in talking with serious blues musicians in Detroit Toledo or ann arbor area..I am trying to find a serious...working gig..at least 2 nites a week preferably 3-5..i am a guitar player...email me to talk or get more info ...thanks.. ========================================================================= Date: Sun, 13 Aug 1995 18:20:48 -0400 From: Catman8016 Subject: Re: Musicians, Computers, & the Internet shannon im a player..and u agree use of computers and technology is limited..but i think it s coause players are gonna buy equipment to play before they buy computer stuff...if it wasn t for my dear wife...i d be writing this on aan es 335...by the way it s good to see another blues fan from oh ..im in toledo ========================================================================= Date: Sun, 13 Aug 1995 18:35:49 -0400 From: Hugh Hardy Subject: New Colin James Well, I was a little unsure about Colin James' new disc when I first heard it...and now it's a daily play for me. This is kind of a blues/soul album (Mavis Staples is on a few cuts). Oh yes, it's entitled; "Bad Habits". Anyway, it is really a marvellous disc. I was always attracted to CJ because of his guitar playing, but now I'm really taken with his singing. This CD is dedicated to the memory of Albert King/Albert Collins. If you listen to the title track, you'll hear Albert King for sure - with maybe a little SRV thrown in. I'm looking forward to seeing him at the Kee in Bala , Ont. on Sept 2. I think that list member Colin Linden may be opening (a double thrill!). If you are listening, Colin L., I'd like you and the other Colin to sign my Strat - maybe we can arrange it. Last year's show with Colin James and the Little Big Band was great (Roomful of Blues horns). Regards, Hugh H. ========================================================================= Date: Sun, 13 Aug 1995 20:46:00 EDT From: edward c liu Subject: Mesa/Boogie Subway Blues Opinions? Howdy all, More guitar gear shop talk...sorry 'bout that. I had a chance to test drive a Mesa/Boogie Subway Blues amp this weekend. Tech specs, as I remember 'em: 17watts, 2 EL84 tubes, spring reverb, 3-band EQ, standby switch, clean and fat channels, effects loop, speaker-out jack. Except for a little feedback that seemed to hit the D and G strings, the thing sounded REALLY REALLY good with a stock '95 American Standard Strat in the clean channel. Didn't like the fat channel very much, but I didn't listen to it very hard since the clean channel sounded so damn good. It also does not have a trace of tweed on it, which I also like (I think tweed is butt-ugly, vintage or not =8^). I've heard of Mesa/Boogie as a company, and normally associate them with high-end, expensive amps (the Subway Blues is retailing for $350 this month at Sam Ash). I'm also wary of most amps that bill themselves as "blues." Anybody out there have any experience with this amp, or with Mesa/Boogie amps in general? Is 17 watts too much for yer average living-room guitar wanna-be? Any other recommendations for relatively cheap, bluesy-toned amps under $400 would be greatly appreciated. I really wasn't planning any new guitar gear purchases 'till I heard the Boogie. Doggone it. More overtime for Ed to pay for a new amp, I guess....=8^) Thanks! -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Sun, 13 Aug 1995 22:18:06 -0400 From: Lynn Moncrief Subject: Re: sarafest.txt (1/1) In a message dated 95-08-13 17:24:54 EDT, you write: >begin 644 sarafest.txt >M5&AE($9L;W)I9&$@0FQU97,@3F5T=V]R:R!PMM;6)EMM(&9O;&QO=W,Z(`T*4W5G87(@0FQU92P@2&]L;65S($)R;W1H97)S+"!3;6]K >M:6XG2F]E($MU8F5K($)A;F0-"G=I=&@@0B=N;VES($MI;FM;65R;R!A;F0@=&AE(%)O8VMI;B<@0V%J=6YS+"!":6QL(%!EMM97,@4F5V=64L($1A;@T*16QE8W1R;R!A;F0@=&AE(%-I;'9EM=&@@4FEC:'D@2VEC:VQI9VAT97(L($)I2!A;F0@=&AE >M($AO;F5Y($AO=6YDM;W5N8V5D('-O;VXN#0H-"E1W;R!D87ES(&]F(&9U;B!F;W(@=&AE('=H;VQE >M(&9A;6EL>2X@($9O;V0L($%R=',@86YD($-R869TMM(`T*#0I&:7)E=V]R:W,@M<&5R9F]R;6%N8V4@*%-U9V%R($)L=64I+@T*#0I4:&4@;75S:6,@=VEL;"!B >M92!U;F1EM90T*=VET:"!P;&5N='D@;V8@6]N >M92X-"@T*#0I4:&ES(&ES('1H92!T;W1A;"!I;F9OMM86EL86)L92X@(`T*5&AE($9L;W)I9&$@0FQU97,@3F5T=V]R:R!T:&4@M92!F;VQK6]U+`T*(")4:&4@5&%M<&$@0F%Y($)L >M=65S($9EM1"!424U%(0T*#0I%+6UA:6P@;64@9F]R(&UO9(`T*>F%P:&MI96Q`:7@N;F5T8V]M+F-O;6P@ >` >end > > OK, but what does this have to do with the blues? ;-) Lynn ========================================================================= Date: Sun, 13 Aug 1995 21:38:34 -0500 From: VT Subject: Hubert SUMLIN Interview - Pt.3 - 1964 Am Folk Blues Fest >DATE: Sat, 29 Jul 1995 16:32:52 -0500 >FROM: VT > >Hubert Sumlin, Sat.95.07.22 @ the Turning Point, Piermont, NY. > >I have approx 30 minutes of an interview with Hubert Sumlin, from >between his two shows. > >The subjects can be divided as: > >1) Got My Mojo Working >2) Early days and Wolf Sighting >3) 1964 American Folk Blues Festival - with the Wolf in Europe >4) Eric Clapton's Guitar and London Sessions >5) Antone's 20th Anniversary > >Caveat - I am not practiced at doing interviews I merely asked >questions as prompts, and let Hubert do the talking. > >Preface - some people have said that although Hubert is a sweet man and >a phenomenal guitarist, but he is not a reliable informant. > >I will present 2 thoughts here - Hubert canNOT possibly be lying ALL the >time. He loves telling stories. > >That's the reason I merely have transcribed what I taped - straight >without any comments - it's up to you to decide, and make of it what YOU >will. (Truth: is what you want to believe, reality: is what you have to >face up to) > >Key: HS= Hubert Sumlin; Red= Jeff "Red" Hubert's manager. > Part 3 - 1964 American Folk Blues Festival - in Europe with the Wolf VT: What was it like when you were touring Europe and England, during '64 with the Wolf? HS: It was nice. I met so many people, you know I had never been no where, man, other than the States. And so this guy came over, what? Lippmann and Rau - Horst Lippmann - came over signing people up, you know what I'm talking about, to go to Europe. You know where everybody, man, Wolf - he (?????) with the Wolf, and the Wolf come to me saying "hey, man you wanna go? you wanna go?" and I told him, hey, why not? you know...... I was scared, man, I was nervous, I was, oh, Lord have mercy! My first flight, and I (????) Wolf up in that, that....he had the window seat and I had the other (laughs) all the way to Frankfurt, Germany, man...... Shoot! when we got to Frankfurt, Germany, I said, you know I looking at different place, different people, different language, different stuff and all, like and this here. I stuck close to Wolf. In the studio, this guy had ...television studio, man, we did a...a... VT: Recording, right, for the Sundown Label, right? HS: That's right! 2 weeks we's in the studio, and they'd taken this program, that we recorded, 2 weeks before we....well, we call that work too... because it was work. You know this show lasted the year round, this tour, this whole thing, it was just like, you know what I'm talking about.... So, I, hey, man I got, got chance to go to different places meet different people, and so forth. I got chance to record - my first - 1964 - never will forget it - my first lil' ol' s- 45. In East Berlin, at that time, man, you couldn't go, you know, you couldn't cross, you couldn't go no where, you know. How we end up over there. We played Warsaw, Poland, we played all over Poland, for about a week and a half. And so, it was our last date, we thought we were on our way home, and we got on this big ol' plane, and I know there was something about this plane, it had funny writing on it, you understand, Russian plane, man (laugh) you know what I'm talking about (laugh). So I'm just knowing we're going home - so here comes Horst Lippmann, this same guy, he was on the plane, man, he know what he done. He come just before the plane land, about 20 minutes before we land in East Berlin, he said: "Hubert, I have to tell you now, say, we got 3 more nights in East Berlin," he said: "I want you to record..." I, oh, Lord, man, boom-boom-boom-boom-boom, heart, not me, not me.....you know what I'm talking about. Sure enough, man, we landed there about 4 o'clock in the evening, from Warsaw. We stayed in the Hotel Berliner. I had 2 (????) rooms, big ol' suite, man, yeah! I don't know, man, I was so nervous, when they take me to the studio and the steel set right at the wall, man. You can.... I'm looking over there at West Berlin, you understand? All womens, I ain't never seen all womens, man.....operating the studio. So they brought me a chair, one lady brought me a chair, another lady brought me a fifth of Vodka, a glass, a round-hole guitar and a mike. Said down there, speaking English! "All right, Mr. Sumlin, we ready when you are.." I said, wait a minute, wait a minute, y'all just wait now, you know, and these people, man, walking the studio with machine gun....I'm telling you, I ain't never seen nothing like it. Man, I did my first thing, scared, but when I drink them Vodka... VT: (laughs) HS: (hearty laughter) I'm a tell you something, I didn't know it come out that good you know what I'm talking about? So hey, that was my first recording, man...... VT: What was the song titles you did? HS: What it, what was it, I should not forget it, man..... "I Love You".... "I Love You" - one of them, and another, what is it? I...I can't think, man....... VT: That's OK..... HS: But I got it, you know what I'm talking about, and I listen to myself sometimes, sometime I go back and get that old 45, that's onliest record I had left......... And the guy, after got through recording, we done already work 3 nights, up in East Berlin, for nothing.... the money, we didn't see no American money. And when I got paid off - I had a stack of money, man, I don't know, I had so many Marks till I don't know, but I went to spend it, when they told me I couldn't bring the money out, they didn't have the....I said oh, Lord, have mercy, I went to spend it, man, and when I got through.... VT: So what did you buy? HS: Oh, I bought everything: fur coats, I bought cameras, I didn't see nother stuff, I bought trains, I bought my kids...I bought everything I (laughs).... They had to ship it back by ship. I didn't see nothing, man. But, I tell you what, I seen it once, when we got the... we flew back from East Berlin, after we got through and everything, back to Bern(?) and when we got off the plane man, I'm looking at all these boxes and everything. I said that them my boxes, I said that's my stuff, ain't nobody got nothing, then ain't nobody - I own this plane - cause I'm the one with all the garbage, you know what I'm talking about. But! it weren't none of my stuff! My stuff went from East Berlin by ship, man, it went from there by ship to the United States. And when I got home, about two months later, cause they auctioned(?) us off, you know we stayed over, and everybody had left and come back to the States. And we had to London for, 3 weeks, we had to do a show by name, which we had in the United States called "Hit or Miss" - you ever remember the show, man "It, will it be a hit? Is this a hit or a miss?" And we had just made "Love My Darling"(sic) and something else, you know what I'm talking about, I don't know what else, what, but either way...... We pantomimed, you know what I'm talking about...... VT: Yeah, you mimed it.... HS: Yes, right, me and Wolf....... VT: (laughing) the Wolf MIMING? HS: They sold us man (laughs).... and when I got back home.... we made it home on Christmas day, and I got home, you couldn't get in my house, man, my door, the door to my back, to come in my back there was so much stuff (laughs) I had so much stuff I started opening boxes. I had bought everything I could buy.... - and I gave old lady a big pile of money, she's coming on, man, with this apron, I know - what am I to do, man, I had to spend out. I pushed it down her a big bundle. I think that woman, boy, I guess she thought I...she didn't know what was happening. She turned around and looked at me - I just put that money in her pocket. That woman caught up with me, she was old woman, and I looking up seeing her coming, and I backed up I thought she was going other way, cause she thought I stuck up or something like that, you know what I'm talking about? And she looked in the pocket I know she discovered. That woman followed me got to this hotel, man - Hotel Berliner - I'm getting ready to go look at Bugs Bunny and things speaking German, you know, that's what they were doing (laughs), cause we leaving the next day. This lady followed me to the hotel got down on her knees. I said miss, please, mam',no, you ain't got to do that. Thanking me - thanking me for that money. I thought, you know, that old lady needed that money, you never can tell, at that time - 1964 - I think I did a pretty good deed, you know what I'm talking about. Cause, hey, man, what am I going to do with that money - I couldn't bring it out. I done run out of things to buy - so hey, she was the best thing I saw, man, and she was an old lady (laughs). VT: Hubert, that single you cut, you said it was a round-hole guitar - so was it acoustic? HS: Yes, it was. [Note: according to Red, Hubert's manager the acoustic tracks on the Evidence CD "Blues Anytime" listed under Sumlin/Dixon/Slim were the ones Hubert cut solo in East Berlin - the other side of the 45 was probably "Hubert's Blues"] Vincent p00061@psilink.com ========================================================================= Date: Sun, 13 Aug 1995 22:25:01 -0500 From: VT Subject: Kenny Neal - just an Observation I caught both sets of Kenny Neal on Thurs.95.08.10 @ the Bayou, Mt. Vernon, NY. Kenny played a beat up Telecaster which he got a great tone out of, he has a nice rich deep voice surprising for his small frame (he also played some pretty good harp and lap steel guitar). His youngest brother (#10) Fredrick was on keyboards. Another brother (I missed his name) played some pretty funky bass, slapping and snapping his strings (for those who are interested :-) somewhat in the Stanley Clarke mode. He has veteran drummer ?? Johnson who really did drive. All their numbers were long about 10 minutes in duration. The audience was entertained. During the first set I kept wondering who they reminded me of...... when I did make the connection, it surprised even me. Because of the long numbers there were long instrumental breaks, kind of rocking and free flowing, and in some ways they reminded me of the classic - Allmans Brothers Band from the Fillmore East era :-) Just thought you'd like to know :-) Anyone else noticed this (or am I out in left field again? :-) Vincent p00061@psilink.com ========================================================================= Date: Sun, 13 Aug 1995 23:22:20 -0500 From: Rob Varak Subject: Re: New Colin James This is an artist who I really have trouble pinning down. I loved one of his albums (the one w/Bonnie Raitt and the Otis Rush tunes), but some of his stuff has really turned me off. Anybody have any suggestions? How's the big band album? Rob PS Purists be damned, I love when he does that cool "Stones in My Passway" intro on the first tune. ROCKIN'!!!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 14 Aug 1995 01:25:09 -0400 From: James Leftwich Subject: Re: Mary Flower I think she scored a gig recently here in the NY area with John Hammond. Unfortunately, I missed the show. Jim On Sun, 13 Aug 1995, Dick Waterman wrote: > She has a CD available in the Colorado area but it lacks any national > distribution. She lives in Denver and has taught blues guitar there for some > time. She accumulates a small amount of money and then tries the road for a > few gigs here and there. It's a mighty hard road out there for a woman > performing Bessie Smith, Memphis Slim, etc. She gets an occasional festival > (i.e. Eureka Springs, Mississippi Valley, etc.) but I'd be much obliged if > any booker would give her CD a listen. No disrespect intended to Rory Block > in discussing this genre but Mary Flower is a slide guitar monster deserving > of your attention. I won't make this a commerial post but will provide a > business contact for Mary Flower to anyone who contacts me directly. > > dick waterman > ========================================================================= Date: Mon, 14 Aug 1995 08:17:00 -0000 From: Ken Peace Subject: Blues-L T-Shirts where and how ? I'm pretty new here. What's all the talk about Blues-L T-Shirts. Sounds like something I would like. Info please. Thanks Ken ---------------------------------------------------------------------------- Ken Peace |Down at Antone's kenpeace@acer.u-net.com |Red Hot Texas Blues Chester, UK |Swinging 'n' Shuffling in the N.W. ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 14 Aug 1995 06:29:39 -0400 From: Barry Silverberg Subject: One Man's Opinion-"Booba" Barnes ROOSEVELT "BOOBA" BARNES - THE HEART BROKEN MAN (ROOSTER #2623) ROOSTER BLUES RECORDS 232 SUNFLOWER AVE. CLARKSDALE, MS. 38614 Roosevelt "Booba" Barnes is a bluesman not to be missed. Rooster Records has done us all a service by bringing him out. I first came upon Mr. Barnes a few months ago at an east coast blues festival. I was walking between stages and out from the corner of my ear a huge guitar sound caught my attention. By the time I found my way over to where this music was coming from, there was Mr. Barnes out in the audience area playing a ferocious and hot guitar solo. I was hooked. I parked myself as close up in front of the stage as I could get and was treated to a major blues set. Mr. Barnes is a great bluesman, a major musician and a terrific entertainer. This CD captures him well and will hook you too. How Long This Must Go On / Don't Cry No More / Ain't Going To Worry About Tomorrow / Tell Me What I've Done-My Last Affair / Heartbroken Man / Blind Man-I Pity The Fool / Rocking Daddy / Tin Pan Alley / Baby, Scratch My Back / Louise Louise Blues / No Place To Go How Long This Must Go On: Roosevelt "Booba" Barnes opens up this set to one of his own songs. Terry Taylor on drums and Mr. Barnes on guitar set up the stage for the unique and solid vocals of Mr. Barnes. This side moves and Mr. Barnes bellows. He is a superior musician with a great vocal style. He carries his voice deep and down and at times very dirty. He is a real, legitimate and honest bluesman that you will enjoy. This side does justice to him and the rest of this A+++ CD. Don't Cry No More: This cut rocks and rolls. From the outset it is powerful. It is an all time classic and Mr. Barnes brings a special touch to it. His timing on this side is exceptional. It is unique and has a slowed down underpinning that gets a lot more out of this song than you may have heard before. His guitar work too has a slower timed feel to it that also embellishes this great rendition of this blues cover. Ain't Going To Worry About Tomorrow: Roosevelt "Booba" Barnes opens up his guitar - front and center and penetrating. The pace here slows down and Mr. Barnes digs deeper. He is bringing us a lot of his heart and you can hear it and feel it in every word. The guitar matches his gritty vocals perfectly and the pacing is moving. Mr. Barnes is a very well accomplished and exciting musician who deserves a lot of attention. Listen close to his vocal inflections and you will understand the amount of music this man is making. Tell Me What I've Done-My Last Affair: This is master cover. Howlin' Wolf wrote it and Roosevelt "Booba" Barnes makes it his own. He is a perfect replica to the grit and gravel voice of the Wolf and this side is a standout. The overtones and echoes in Mr. Barnes voice are masterful. Try this cut as an opener and let the rest of this CD surprise you. Heartbroken Man: Another side written my Mr. Barnes. Lots of music opens this side up and when Mr. Barnes comes in he is on top and over. His voice is so rich and so expressive. He makes it move all over and takes the song with him. Mr. Barnes is making blues the way he likes it and you will too. Blind Man-I Pity The Fool: This cut will absolutely leave you shivering. Roosevelt "Booba" Barnes opens this cover from an eerie and touching place - way deep down inside himself. You will get a first hand feel of the depths of this man right here on this side. You will be invited in and you will leave a fan - forever. Once again he perfectly matches his guitar work to the fierce vocals he wails. The absolute quality of this man's music is astounding. Rocking Daddy: The Wolf returns. Another Howlin' Wolf cover and Mr. Barnes' Wolf vocals. These are some of the most fun sides of all - listen and enjoy. Tin Pan Alley: Here Mr. Barnes sets a grit to his voice that matches up nicely with his rendition of this song. This cut has always demanded a lot of anyone performing it and Roosevelt "Booba" Barnes carries it out exquisitely. He adds just the right inflections and musical cuts to keep this song calling you and never lets up for the full 5:35 running time. Baby, Scratch My Back: Here Mr. Barnes starts out with a big harmonica run. He is as accomplished on the harp as he is on the guitar and in his singing. Scratch my back has always been a fun tune and Mr. Barnes' version is no exception. The added strength of his harmonica makes this one of the best cuts on this entire CD. From note one to the very end Mr. Barnes plays big blues. Louise Louise Blues: Here's a rich musical opening. A fierce but quiet guitar sets this song up nicely. Although not a Wolf creation it is once again Roosevelt "Booba" Barnes offering up his Wolf vocals. The pace here is nicely done - just enough ease and just enough racy guitar work. Listen to Mr. Barnes glide over the strings of his guitar. This is what makes the best of the best and this is why you listen to the blues No Place To Go: Once more Mr. Barnes and his harmonica. A fitting end to a great all around CD. Roosevelt "Booba" Barnes here blends all of the vocal styles he has thus far offered into one continuous stream of playfulness and emotion. He is hot and he is an important bluesman. You would do yourself a big service by getting this CD now and turning yourself on to the heart of the blues and the great Mr. Roosevelt "Booba" Barnes. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 14 Aug 1995 10:45:30 GMT From: Geoff Walters Subject: Peter Green live Hi, I just read this on the Richard Thompson list of all places: >Just read an interview with Mick Fleetwood who said that he just obtained >over one hundred tapes of shows Peter Green & Fleetwood Mac had done on >the BBC. He plans to release a double CD in the next few months from >these tapes with many more to come. Ye, Ha! Anyone have any further info on this? Geoff ========================================================================= Date: Mon, 14 Aug 1995 07:57:05 -0400 From: Leo Aspiras Subject: Re: Introduction I thought it was '96 Tears' by Questionmark and the Mysterians...... Leo 'The Scatman' Aspiras from D.C. ---------------------- Replied Message Body ---------------------- >Received: from mbone.brown.edu by falcon.dol-esa.gov (5.65/1.35) > id AA21393; Fri, 11 Aug 95 18:08:53 -0400 >Received: from stanley.cis.Brown.EDU (stanley.cis.brown.edu [128.148.176.55]) by listserv.brown.edu (8.6.10/8.6.10) with SMTP id RAA03940; Fri, 11 Aug 1995 17:42:50 -0400 >Received: from BROWNVM.BROWN.EDU by BROWNVM.BROWN.EDU (LISTSERV release 1.8b) > with NJE id 2598 for BLUES-L@BROWNVM.BROWN.EDU; Fri, 11 Aug 1995 > 17:40:26 -0400 >Received: from BROWNVM (NJE origin SMTP@BROWNVM) by BROWNVM.BROWN.EDU (LMail > V1.2a/1.8a) with BSMTP id 7140; Fri, 11 Aug 1995 17:40:26 -0400 >Received: from mail04.mail.aol.com by BROWNVM.brown.edu (IBM VM SMTP V2R2) with > TCP; Fri, 11 Aug 95 17:40:25 EDT >Received: by mail04.mail.aol.com (1.37.109.16/16.2) id AA238817328; Fri, 11 Aug > 1995 17:42:08 -0400 >Message-Id: <950811174206_72230660@aol.com> >Date: Fri, 11 Aug 1995 17:42:08 >Reply-To: ShyGuy0001@AOL.COM >Sender: Blues Music List >From: Benjamin King >Subject: Introduction >To: Multiple recipients of list BLUES-L ------------------------------------------------------------------ Hello, My name is Benjamin King. I am a 24 tears old software developer. I am new to the group and jus wanted to to say high to every one. ========================================================================= Date: Mon, 14 Aug 1995 06:27:31 -0500 From: Roger Struve Subject: Mary Flower -Reply I saw Mary Flowers at the workshop tent at the Miss. Valley Blues Festival this last july 4th weekend. She was pretty good, doing slide on a 1931 National Style 1 1/2 square neck guitar that she had just recently purchased. What was cool to me was that the wiggle line etched on her 1931 Style 1.5 was the same pattern as on my 1994 Style W round neck National. (a little aside, not pertinent to this message). She had a heart felt sound, and sang marvelously. I bought her CD, but unfortunately, my CD player is out for repair, and I haven't played it yet. She did give ol delta doc a big hug when i went up to talk with her after her show... Sort of a memorable performance if you ask me (some pun intended)...(the show was great) regards, delta doc roger ========================================================================= Date: Mon, 14 Aug 1995 08:22:28 -0400 From: Skip Montanaro Subject: Re: sarafest Zaphkiel wrote: begin 644 sarafest.txt M5&AE($9L;W)I9&$@0FQU97,@3F5T=V]R:R!P Subject: Re: Johnny Copeland Onstage > The guy who owns Terrablues in NYC called me a few minutes ago and > remarked that Johnny Copeland came into his club last night to > visit friend Smokey Wilson and got onstage to join for for a few > songs. He's still on a heart transplant waiting list but is > obviously going ahead with his life and not sitting around waiting > for the phone to ring. dick waterman Aw right...Go Johnny Clyde Go! I was listening to some Johnny Clyde this weekend. Said a prayer for him, hoped that he'd be able to join us again real soon doing what he loves. Can't wait till that day! ========================================================================= Date: Mon, 14 Aug 1995 08:51:44 EST From: "Steven G. Toney" Subject: Re[2]: Larry McCray Well, well. Now, if I (this is underlined) had a record label and I (underlined again) wanted a hardworking, honest, compassionate artist to sign to my label, I'd jump at the chance to sign Larry McCray. :-) Too bad for Pointblank... :-( ______________________________ Reply Separator _________________________________ Subject: Re: Larry McCray Author: CATBAUER at INTERNET Date: 8/12/95 3:50 PM Larry is no longer with Pointblank but has a recording ready to go. Cat ========================================================================= Date: Fri, 11 Aug 1995 22:47:21 -0400 From: Swampkat Subject: Dr. Dixon Anyone ever hear of this guy? Comments.......... Mike Walkin' Wolk Charleston, S.C. ========================================================================= Date: Fri, 11 Aug 1995 22:47:10 -0400 From: Swampkat Subject: Re: Dixie Hummingbirds I saw these guys near Boston a few years ago. It was hard to believe folks in their seventies could sing with such feeling and intesity. Quite a show. Go see 'em while you still can. They live in Philly. Mike Walkin' Wolk Charleston, S.C. ========================================================================= Date: Mon, 14 Aug 1995 09:10:00 EDT From: "(Brent M. Smith)" Subject: August 13, 1938 Just thought i would mention that on August 13, 1938, Robert Johnson was poisoned by a jelous bar owner. This led to his death of Pneumonia on August 16 of the same year. According to the story Son House tried to keep him from drinking the poisoned whiskey by slapping the bottle out of his hand. They gave him another bottle. The rest is understood. --Brent ========================================================================= Date: Mon, 14 Aug 1995 08:16:15 CDT From: L W Subject: Kenny Neal - just an Observation ----------------------------Original message---------------------------- >(#10) Fredrick was on keyboards. Another brother (I missed his name) >played some pretty funky bass, slapping and snapping his strings (for That would be Darnell >Allmans Brothers Band from the Fillmore East era :-) >Anyone else noticed this (or am I out in left field again? :-) Heads up here comes a fly ball. I did not get the feeling that they were even close to the Allman brothers style...Who knows maybe I'm in left field LW ========================================================================= Date: Mon, 14 Aug 1995 08:30:33 CDT From: L W Subject: August 13, 1938 ----------------------------Original message---------------------------- >Just thought i would mention that on August 13, 1938, Robert Johnson >was poisoned by a jelous bar owner. This led to his death of Pneumonia >on August 16 of the same year. >According to the story Son House tried to keep him from drinking the >poisoned whiskey by slapping the bottle out of his hand. They gave him >another bottle. The rest is understood. --Brent This one of many variations of how RJ died. Anyone know which one is accurate LW ========================================================================= Date: Mon, 14 Aug 1995 08:32:08 CDT From: L W Subject: Purists/Charles Brown Could someone tell me what a "purist" is. A record store owner called me a purist the other day because I don't care for Keb' Mo's music. He kept on and on about it, like I said his momma was ugly or sumpin. My wife agreed with him except she doesn't care for Keb's music either. I listen to Charles Brown, Hank Crawford, John Hiatt, John Mayall, Emmy Lou Harris, Doc Watson, SRV , Duanne & Brothers.....etc. I usually listen to Delta blues and I only listen authenic delta blues, maybe thats where he got that from. Define purists please. Interviewed Charles Brown yesterday (looong conversation) and he talks just as lyrical and melodic as he sings. He's certianly a classy and GOOD person. It will make it way to blues-l sometime, transcribing it will be a lot of trouble. All you need is one question and Charles will do the rest :-) LW ========================================================================= Date: Mon, 14 Aug 1995 09:46:15 -0400 From: Steve Levine Subject: Mercy Dee Revelation I picked up a Mercy Dee cd this weekend. I think the title is "Mercy's Troubles." I had never heard of him before, but I chose it over a Toots Thielemans cd and a Wolf Chicago blues compilation because it looked interesting and it was on Arhoolie. I have never been disappointed with an Arhoolie cd! Also, it had "One Room Country Shack," and since this has been covered so much I wanted to hear the original. I didn't get around to listening to the whole thing until Saturday afternoon (I still had the new James Harman cd "Black and White" in my cd player). I was looking at the song titles and I saw one called "Eighth Wonder of the World." This is a song I was trying to find out about for years. My old band used to perform it and we didn't even know the title or who sang it! A friend of the guitarist/singer taped a blues show on the radio and gave him the tape. That song was on it and we based our version on it. I once heard Larry Wise play this song and I asked him if he knew who wrote it. He told me that he heard it on the radio and didn't know who wrote it - he was probably listening to the same radio show! I put on "Eighth Wonder" and sure enough it was the same song from that radio show years ago. So now, five years after first hearing and perfroming it, I solved the mystery of who wrote it, and I didn't even notice the title when I was looking at the cd in the store. I'll probably spend the rest of my life finding out who wrote some of the other old songs I used to play and still play. It's nice to have little blues revelations like that, it certainly made me glad to choose that disc! -Steve 'What can you lose, why don't you give it a whirl, If she sticks with you it'll be a miracle, it'll be the eighth wonder of the world." -Mercy Dee ========================================================================= Date: Mon, 14 Aug 1995 08:52:07 -0500 From: Jeff Seale Subject: Blues-L meeting in SA - REVIEW Well, I'm not very good at doing this review thing (especially not as good as Bill Shute ;-) ). Saturday night was the highly publicized S. Texas Blues-L meeting at Billy Blues with TEXAS JOHNNY BROWN. We arrived and *finally* had the pleasure of meeting James Foster and his lovely wife, Cynthia. And of course Bill Shute and his cool kids were there. Some of my co-workers and Bill's co-workers also attended. As for the show, TJB rocked the house again. The song set was very similar to the last 3 gigs he's played here, but the order was varied and the show was still very excellent. There was even a request for a happy birthday and they obliged with a bluesy version of Happy Birthday for the guy. I met and spoke with his manager who was pleased that we were mentioning TJB on the internet. Johnny also seemed pleased that we were getting the word out. They were going to Austin to work out the details on the new cd on Sunday. We'll keep you posted on when the release nears. One question: he did that old country tune, "Today I Started Loving You Again." Who did the original? TJB is one fabulous blues player and an awesome entertainer. If he does make it to your area, be the first in line! -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Mon, 14 Aug 1995 08:50:34 EWT From: "CATHI N." Subject: Primich Itinerary Oh plagues and curses...here it is again...the updated Primich itinerary (I guess I should, about now, tell you I have no financial interest, or stake in giving you these schedules...just that Gary will torture me if I don't)..CN August 30-31 -- SPAH CONVENTION . . . . . Detroit, MI September 1 Shooter's . . . . . . . . Ft. Myers, FL 2 Sebastian Beach Club . . Melbourne, FL 3 Festival . . . . . . . . Sarasota, FL 4 Ringside . . . . . . . . St. Petersburg, FL 5 Daves C.C. Club . . . . . Tallahassee, FL 7 Poet's . . . . . . . . . Lafayette, LA 8 Ruby's Roadhouse . . . . Mandeville, LA 9 Margaritaville . . . . . New Orleans, LA 14 Wildhare's . . . . . . . El Paso, TX 15 Nolaz . . . . . . . . . . Prescott, AZ 16 Rhythm Room . . . . . . . Phoenix, AZ 17 Belly Up . . . . . . . . Solana Beach, CA 18 Hollywood Athletic Club . LA, CA 20 Blue Cafe . . . . . . . . Long Beach, CA 21 TBA 22 Cantina Lavida (W/ Juke Logan) . . Brea, CA 23 Corn & Apple Fest . . . . Oxnard, CA (Afternoon) 26 Mother's . . . . . . . . San Luis Obispo, CA 28-30 Blues on B . . . . . . San Mateo, CA October 1-8 -- Oregon - Washington 10-11 -- Yale/Vancouver BC 12 -- Bumfuck, BC (really Gary?) 13-15 -- Edmonton, Alberta 17 -- Salt Lake City 20 Pearl's . . . . . . . . Austin, TX 21 Billy Blues . . . . . . San Antonio, TX 26 Continental Club . . . Austin, TX (With Juke Logan) 27 Blue Cat . . . . . . . Dallas TX (with Juke Logan) 28 Velvet Elvis . . . . . Houston, TX (with Juke Logan) November Back to Midwest! Cathi N. ========================================================================= Date: Mon, 14 Aug 1995 09:56:56 -0400 From: BluesRevue Subject: Re: Peter Green Two CD compilation coming out on Viceroy ========================================================================= Date: Mon, 14 Aug 1995 09:07:09 -0600 From: James Foster Subject: Texas Johnny Brown and more! Texas Johnny Brown and the Quality Blues Band Billy Blues; San Antonio, Texas August 12, 1995 I had been looking forward to this gig ever since list members Jeff Seale and Bill Shute began to talk about it weeks ago. So, Saturday came and Cynthia and I made the trek down IH-35 south to San Antonio...we were not disappointed! We arrived at Billy Blues before 9pm and right away things got off to a great start; the doorman was courteous and enthusiastic about this evening's show (am I the only one who thinks that this is getting rarer...I mea, how many times have you been 'mis-treated' before even entering a club!) . Billy Blue's was pretty empty, but true to his word, Bill Shute was instantly recognizable as, in his own words, a lighter-shaded "Count Basie" with two blond-haired kids. We shuffled on over to say hi and we were warmly greeted and introduced. It is always a pleasure to meet genuinely nice people and Bill exudes a warmth and class that is rarely seen. He immediately presented me with a copy of the wonderful Lazy Lester photo he took at Antone's Anniversary show in May. We pulled some tables together (Bill said we were expecting around 15 folks!) and ordered some tasty Frio beer. A few minutes later Jeff and Tanya Seale arrived and it was great to finally meet Jeff as we had corresponded over the last 2-3 years - from St. Louis to Texas, talking about everything from Big Bad Smitty to Stubb's Bar-B-Q! More and more folks began filling up the club, including friends of both Bill and Jeff's (both of these guys do much to promote these shows among their friends and co-workers and that is a lesson for all of us!). Now to the music...Texas Johnny Brown and the Quality Blues Band came on-stage with some wonderful matching coats, which they kept on for a few tunes despite the warm south Texas evening. This is one great band, despite being with a new drummer, who - I believe - was playing with them for the very first time! Texas Johnny Brown, who co-wrote "Two Steps From The Blues" (who needs more credentials than that!!!), is one of the finest guitar players I have ever had the pleasure of hearing...comparisons at this level are unnecessary...yes, others play well or even 'better', but no one can beat TJB at being TJB!!! He plays great, he dances great, he sings great, he entertains, and he LOVES his audience. The band played at least three sets and during the breaks they mingled with the crowd and were approachable, talkative and, most of all, courteous (how many of us have been gruffly treated by those musicians we were only trying to thank?). The music was a great mix of up-tempo, swinging pieces and heart-breaking ballads...really, this is one of the best bands in Texas (a note to Austin dwellers like myself...this band rarely gets to Austin because the gigs here don't pay...ugh, that's sad as this is just the band that would help the fledging blues scene here, IMHO; they would greatly complement the sounds of W.C. Clark, the Dynamic Duo, and Antone's House Band). Another GREAT treat of the band is the presence of Teddy Reynolds on keyboards...if you have the Black Top release, now out-of-print, called something like "Gulf Coast Blues", which features Carol Fran, Joe "Guitar" Hughes and Teddy Reynolds, among others, then you know that Reynolds can play. He and TJB go way back, as TJB informed us, and the synergy between those players showed. In the end, it was a very special evening of good music and good company! James Foster SPECIAL NOTE: Texas Johnny Brown and the Quality Blues Band will be back in San Antonio at Billy Blue's on September 15, 1995. If you are within driving distance, start making plans! ========================================================================= Date: Mon, 14 Aug 1995 08:09:34 -0700 From: Ron Wack Subject: Re[2]: Cuteness/Blues/Persistent Women Item Subject: Message text Patti wrote: > > Quick short story about women who try to pick up the band- > I was in the bathroom of a club when I overheard two women talking about > which one of them was going to pick up the bass player. I joined the > conversation and we finally bet $30 bucks to the winner. At the end of the > night I went home with $30 and the bass player - who was my live-in > boyfriend at the time. Seemed only fair! > > Patti :) You sneaky, sneaky lady. You made my Monday morning a little bit more bearable. Thanks :) RW ========================================================================= Date: Mon, 14 Aug 1995 08:11:56 -0600 From: "Paul R. Leach" Subject: Re: Mary Flower -Reply ol' doc said... >She had a heart felt sound, and sang marvelously. I bought her CD, >but unfortunately, my CD player is out for repair, and I haven't >played it yet. Mary Flower has been a mainstay of the Denver scene for as long as I can remember. I've had a few chats with her and she is as personable as everyone here has been saying. She is a wonderful performer. I've bought a number of her recordings over the years hoping to find something as satisfying as her live shows. Though Blues Jubilee comes closer than any release to date, it still disappoints me when compared to her wonderful stage presence. -- Paul { * }====# ========================================================================= Date: Mon, 14 Aug 1995 09:28:04 -0500 From: Erica Wissolik Subject: Thank you Patti B. >>> Patti Bowman 08/12/95 10:14am >>> > > >T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) >"I took the duck out to the burn barrel, first scanning the woods for > feminists. You never know." - Patrick McManus Boy Tbone - you sure know how to win friends. Patti Feminism-the odd notion that women are people. >>>>>>>>>>>>>>>>> Thank you Patti. I wasn't calm enough to say anything rational to this `person' so I didn't say anything at all. But you did it very nicely. Erica ========================================================================= Date: Mon, 14 Aug 1995 10:16:44 -0400 From: BluesRevue Subject: Re: Peter Green live don't know if its the same, but Viceroy is releasing a two CD compilation. Bob Vorel ========================================================================= Date: Mon, 14 Aug 1995 10:30:34 EDT From: george morales Subject: guitar jr johnson(was blues in PHila)long (fwd) i don't think this made it thru the first time ----------------------------Original message---------------------------- Date: Mon, 14 Aug 95 08:24:19 EDT From: george morales Subject: guitar jr johnson(was blues in PHila)long To: blue-l@brownvm Message-Id: <950814.083815.EDT.GEORGEM@TEMPLEVM> I saw mr johnson in concert fri night and boy was he impressive.I walked into the show with high expectations bec of a co-worker relating to me his experience in seeing Muddy Waters in the late 70's at The Emerald Club outside of PHiladelphia. I don't know enough about the blues to recite the song titles guitar jr played but I can say that he really connected with the audience and his guitar playing was mind-blowing. I am curious thought, he was backed by a band that didn't impress me at all. There were times when the keyboard player and the sax player detracted from my enjoyment of listening to Guitar Jr. How do you think this affects an artist of Guitar Jr stature? I came away wanting to hear more of his work and plan to buy many more Muddy Waters albums Are there other blues artists that played with Muddy Waters in his band that went on to record solo material? The club he played at,"Warmdaddy's" is new and upcoming artists included Kenny Neal and Jimmy Hawkins.The Michael Hill Blues Mob played there Sat night The club has booths and tables for dining and play videos of blues artists in concert before the live band comes on. I'm curious about one thing though,how hard is it for a new bar/restaurant to develop a steady audience? The place was pretty crowded and they are bringing in many blues artists.They charge $3.50 for a draft beer which is the same price for a bottle of beer.Do others out there pay the same price when seeing a blues artist in a bar.Paying that price for a draft really bothers me. Anyway, I'll be back to see other blues acts there in the future and will post info on upcoming acts. Sorry for my rambling on and on . . . George ========================================================================= Date: Mon, 14 Aug 1995 14:34:54 +0000 From: Pat Hertel Subject: Michael Keith Group Anyone ever hear of these people? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [14/8/95 10:34 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 14 Aug 1995 10:36:17 -0400 From: Rick Miller Subject: I LIKE DOGS (was Jerry Garcia) I like dogs *AND* cats! But I don't talk about my cat with dog lovers. Riffin Rick (((( oo-) /- I go up on a moutain, I call my Bearcat Bag. Well the Bearcat comes a runnin' But the hound-dog he stays way back. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Mon, 14 Aug 1995 10:36:47 -0400 From: BluesRevue Subject: New Blues Revue Out! The Sept/Oct Issue of Blues Revue is now out with John Lee Hooker and Robert Cray gracing the cover. Feature articles include: Son Seals, Jimmy Dawkins, Mississippi John Hurt, Denise LaSalle, Robert Lowery & Virgil Thrasher, the Johnny Nocturne Band, and usual columns by Bob Margolin, David Evans, Keri Leigh, Kim Field, Nick Gravenites, and Tom Cullen. Subscription Info: BluesRevue@aol.com (ask about the free CD offer) Bob Vorel, publisher. ========================================================================= Date: Mon, 14 Aug 1995 10:37:49 -0400 From: BluesRevue Subject: Blues Revue Holiday Issue There will be a one month "planned set-back" of the next issue of Blues Revue-the Holiday Issue. If we didn't change the publishing dates, the Holiday issue would come out either three weeks before Halloween or right at Christmas, sos we went for the one month bump. Next issue out just before Thanksgiving, with a great picture of Muddy Waters wearing a Santa Hat. The entire issue is devoted to Muddy and his sidemen, with the exception of a recent interview with Saffire, the Uppity Blues Women. Subscription Info: BluesRevue@aol.com (ask about the free CD offer) Bob Vorel ========================================================================= Date: Mon, 14 Aug 1995 11:03:02 -0400 From: Peter Welch Subject: New Little Walter CD when? Does anyone know when the next MCA/Chess set of Little Walter is going to be released (if ever)? Any word on this? Thanks, Peter W. ========================================================================= Date: Mon, 14 Aug 1995 10:17:04 EDT From: Jessica Sowin Subject: Blind Willie Johnson-- REISSUE Garry Segal asked: >Are there [Blind Willie] reissues ? Thanks. We (Legacy/Columbia) releaesed _The Complete Blind Willie Johnson_ in our Roots N' Blues series. The double CD/cassette set includes: Selection#: C2K 052835 Label Copy ========================================================================================================= =============== Related Products: C2T - 052835 Copyright Notice: (P) 1993 Sony Music Entertainment Inc. ======================================================================================================================== Side: 1 co number matrix #:CK 52836 rec date component #:CK 52836 Band song title time recording loc. publisher 01 I KNOW HIS BLOOD CAN MAKE ME WHOLE 00:00 Pending 02 JESUS MAKE UP MY DYING BED 00:00 Pending 03 IT'S NOBODY'S FAULT BUT MINE 00:00 Pending 04 MOTHER'S CHILDREN HAVE A HARD TIME 00:00 Pending 05 DARK WAS THE NIGHT-COLD WAS THE GROUND 00:00 Pending 06 IF I HAD MY WAY I'D TEAR THE BUILDING 00:00 Pending DOWN 07 I'M GONNA RUN TO THE CITY OF REFUGE 00:00 Pending 08 JESUS IS COMING SOON 00:00 Pending 09 LORD I CAN'T JUST KEEP FROM CRYING 00:00 Pending 10 KEEP YOUR LAMP TRIMMED AND BURNING 00:00 Pending 11 LET YOUR LIGHT SHINE ON ME 00:00 Pending 12 GOD DON'T NEVER CHANGE 00:00 Pending 13 BYE AND BYE I'M GOIN' TO SEE THE KING 00:00 Pending 14 SWEETER AS THE YEARS ROLL BY 00:00 Pending ---------------------------------------- total time for side 1 = 00:00:00 ---------------------------------------- Side: 2 co number matrix #:CK 52837 rec date component #:CK 52837 Band song title time recording loc. publisher 01 YOU'LL NEED SOMEBODY ON YOUR BOND 00:00 Pending 02 WHEN THE WAR WAS ON 00:00 Pending 03 PRAISE GOD I'M SATISFIED 00:00 Pending 04 TAKE YOUR BURDEN TO THE LORD AND 00:00 Pending LEAVE IT THERE 05 TAKE YOUR STAND 00:00 Pending 06 GOD MOVES ON THE WATER 00:00 Pending Side: 2 co number matrix #:CK 52837 rec date component #:CK 52837 Band song title time recording loc. publisher 07 CAN'T NOBODY HIDE FROM GOD 00:00 Pending 08 IF IT HAD NOT BEEN FOR JESUS 00:00 Pending 09 GO TO ME WITH THAT LAND 00:00 Pending 10 THE RAIN DON'T FALL ON ME 00:00 Pending 11 TROUBLE WILL SOON BE OVER 00:00 Pending 12 THE SOUL OF A MAN 00:00 Pending 13 EVERYBODY OUGHT TO TREAT A STRANGER 00:00 Pending RIGHT 14 CHURCH, I'M FULLY SAVED TO-DAY 00:00 Pending 15 JOHN THE REVELATOR 00:00 Pending 16 YOU'RE GONNA NEED SOMEBODY ON YOUR 00:00 BOND ---------------------------------------- total time for side 2 = 00:00:00 ---------------------------------------- Thanks, Jessica Legacy ========================================================================= Date: Mon, 14 Aug 1995 11:06:52 -0400 From: Dick Waterman Subject: Re: August 13, 1938 I was with Son House for over 20 years and heard him tell many Robert Johnson stories but never any directly connected with Robert's death or the circumstances of where, when, how, who etc. Maybe Honeyboy Edwards? dick waterman "You can bury my body down by the highway side / So my old evil spirit can catch a Greyhound bus and ride." ========================================================================= Date: Mon, 14 Aug 1995 11:08:37 -0400 From: Rick Miller Subject: Elmore James lyrics -HELP please. Hi gang. I been brushing up on my slide and would like to do "Dust My Broom" with my band. I can't quite make out Elmore's lyrics in the second and third choruses. Help please, EJ fans. :) I have, 2nd verse as : I'm gonna write a letter, telephone every town I know. I'm gonna write a letter, telephone every town I know. If I don't find her in Mississippi, > She's ....something....something....I know ??? and 3rd verse as : And I don't want no woman want every downtown man she meets. No I don't want no woman want every downtown man she meets. > ...something...something...something ...something..something...the street?? Can you help? I'd like EJ's own lyrics, if possible. I know ZZ Top and some other covers have stuck in something about Ethiopia or other lyrics in there to fit. They probably couldn't make out EJ's lyrics either. :) Thanks a load! Riffin Rick (((( oo-) /- I believe my time ain't long. ps. Gee, nobody talkin' about Mickey Mantle and blues this morning. I named my son Michael (7) after him. I have some blues. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Mon, 14 Aug 1995 11:13:37 -0400 From: Peter Welch Subject: CDs I'd like to see... With the great news that Charly is releasing their Sun Blues Box on CD, here are some other big CD sets that I'd love to see released: A B.B. King boxed set with his complete Modern/RPM/Crown/Kent, etc. recordings from the 50s and early 60s The complete King/Federal recordings of Freddie King. A King/Federal boxed set (Dream on...) A "Big" Albert King boxed set...Rhino's is okay...but not nearly complete enough. An Imperial records boxed set. Duke/Peacock records boxed set. Modern/Flair boxed set. Bullet records boxed set. A George Smith boxed set (I'm really in fantasy land now..) Document to start releasing "Complete" Chronological works of post-war artists (Sure) Just hoping, Peter ========================================================================= Date: Mon, 14 Aug 1995 15:16:54 +0000 From: Kevin R Shook Subject: Re: New Colin James The new disk has caused a lot of local interest here (in the province where CJ was born and raised). He does a cover of "Atlanta Moan" which is often done here by Big Dave Maclean (whom he credits for the arrangement & thanks). Having heard Colin James version, I just have to say that if you like CJ's version, you just gotta hear Big Dave do it live (solo, on his National) - truly a transcendent experience! Kevin Shook krs350@engr.usask.ca Saskatoon, SK CANADA ========================================================================= Date: Mon, 14 Aug 1995 10:38:53 PDT From: rjbauman@IQUEST.NET Subject: Re: sarafest.txt (1/1) For those of you who couldn't uudecode this message, here it is. RJ Bauman The Florida Blues Network presents: The Sarasota Labor Day Weekend Music Festival September 2nd & 3rd, 1995 Ed Smith Stadium, Sarasota, Florida. Talent at this time is as follows: Sugar Blue, Holmes Brothers, Smokin'Joe Kubek Band with B'nois King, Roddy Romero and the Rockin' Cajuns, Bill Perry Blues Band, Queenie and the King B's Rhythm N Blues Revue, Dan Electro and the Silvertones with Richy Kicklighter, Bird Dog Bobby and the Honey Hounds. Additional bands to be announced soon. Two days of fun for the whole family. Food, Arts and Crafts, Kiddie Rides and Games, Big Screen Football, Beer, Soda, Fireworks show following Sunday nights performance (Sugar Blue). The music will be under a large tent and will be rain or shine with plenty of shade and cover for everyone. This is the total information I have so far, I'll post new info as it becomes available. The Florida Blues Network the same folks that brought you, "The Tampa Bay Blues Festival" March '95 NOW THAT WAS A GOOD TIME! E-mail me for more info: RL Adams zaphkiel@ix.netcom.com ========================================================================= Date: Mon, 14 Aug 1995 11:32:34 -0400 From: Rick Miller Subject: Elmore James lyrics Please pardon moi, here. I completely forgot that of course I can cross- reference the original Robert Johnson lyrics. (I sorta forgot he wrote it). Oy! (it's Monday). Anyway, I could still use those lyrics, as Elmore sang them. Thanks, Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Mon, 14 Aug 1995 10:35:39 CST From: JBards Subject: Jessie Thomas, RIP It is with great sadness that I report the passing Jesse Thomas yesterday, here in Shreveport, La. His wife, Bessie Mae, called last night to tell us that he died, presumably of a heart attack, early Sunday morning. Jessie, who held the arguable title of the oldest living recorded bluesman, was born near here in Logansport in 1911. He was first recorded ( Blue Goose Blues) in 1929. He subsequently moved to southern California and performed with other legendary artists like Nat King Cole and T-Bone Walker through to the early 50s. He is the author of a number of standards- " Jack 0' Diamond" " Let's Have Some Fun", "Crying Blues" and many others. He returned to Shreveport in the 50s and made a living playing his own brand of blues-jazz fusion - many believe Jesse to be among the earliest of the jazz/blues fusionists- and with the help of his friend and number one fan, Dan Garner, began playing the music festival circuit again in the 90s, including the Chicago Blues Festival and the New Orleans Jazz- Heritage Festival.Jesse suffered a series of strokes about three years ago and had been bothered by arthritis, but he continued to play within the limits of his physical abilities. I last saw him about 2 months ago, playing at the Juneteenth Fest here in Shreveport- I was suprised then at how strong his voice and playing were- he didn't play many notes in solos, but his timing was dead on and the ones he chose were the right ones. Jesse's music was an acatagorical blend of blues, jazz, country and swing. It was, like the man himself, gentle, intelligent, humorous and loving. Like Jerry Garcia's , his demise represents the passing of an era, and I will miss him terribly. Bessie told us the service would be next Saturday. They were not well off, and it is custom in that community to raise money for the burial expenses. I'm going by later today. If any of the bluezellers out there want to express their sympathies, The Thomas's address is 2831 Abbie, Shreveport, La. 71103. Jim Bardsley ========================================================================= Date: Mon, 14 Aug 1995 11:45:27 -0400 From: "Abe W. Mathews" Subject: Re: Re[2]: Cuteness/Blues/Persistent Women My little "cuteness" story: A few years back, while I was still living in the dorms, my classic rock band played a frat "pajama" party. It was one of the most amazing parties of my life. During the whole gig, the one woman I lusted after above all others stood not 15 feet away from me, staring (I thought) at me the whole night, wearing silk pajamas. I was going to try to talk to her after the gig, but she left before I got the chance. Well, the next morning, I was standing in line for breakfast, and who should be right in front of me? Yep, her. She was talking about the party to her best friend, so I thought I'd listen in for a minute before making my move. Lo and behold, the two of them started talking about that "awesome" band that was playing the night before, and talking about how "cute" the different members were. Both of them went through the band, starting with how much they'd like to go home with the drummer, then the singer, then the bass player, then the long haired guitar player. I waited, and waited, and they *NEVER EVEN MENTIONED ME!!!!!* (the short-haired guitar player.) Well, I'm older and wiser now, but I have to say that was the most effective way to stop a come-on that I've ever heard. Maybe that's why I play dem blues now. :) Abe awmathew@mtu.edu ========================================================================= Date: Mon, 14 Aug 1995 10:42:08 PDT From: rjbauman@IQUEST.NET Subject: Re: Purists I gave this a try several months ago on this list. When you said, "I only listen authenic delta blues, maybe thats where he got that from.Define purists please", I think that qualified you, LW. I see nothing offensive about this title, either, although I don't consider myself one. I define a purist as: anybody who has a particular vision of what blues (or any genre of music) should sound like and enjoys derivative forms of the music much, much less. One *may* also find it difficult to judge music based on it's own merits- that is with no preconceptions. RJ Bauman (whatever we agree is the answer, it belongs oin the FAQ) ========================================================================= Date: Mon, 14 Aug 1995 11:58:54 -0400 From: Steve Levine Subject: Re: New Little Walter CD when? +Does anyone know when the next MCA/Chess set of Little Walter +is going to be released (if ever)? Any word on this? I read recently (I think it was in the American Harmonica Newsletter) that the official release date is Ocotber 1. Can anyone confirm that date? ========================================================================= Date: Mon, 14 Aug 1995 10:57:08 CDT From: L W Subject: Re: Purists ----------------------------Original message---------------------------- >I gave this a try several months ago on this list. >When you said, "I only listen authenic delta blues, maybe thats where he got >that from.Define purists please", I think that qualified you, LW. I see >nothing offensive about this title, either, although I don't consider myself >one. That's ONLY when I listen to "Delta Blues" I mean why use Sweet N' Low when the sugar's on the table. Would a "purist" listen to the Allman Brothers, Emmy Lou Harris, Robben Ford, Hank Crawford, John Hiatt....etc ????? If the ONLY thing I listened to was "authenic delta blues" then yes, I would consider myself a "purist", but listening to SRV would disqualify me...RIGHT ? LW ========================================================================= Date: Mon, 14 Aug 1995 12:10:01 -0400 From: Mary Katherine Aldin Subject: Re: New Little Walter CD when? The release date was originally mid-August, however the schedule got changed and it is not set for mid-October release. It's a double CD in the Chess Collectibles series, called Little Walter: Blues With a Feeling. Mary Katherine ========================================================================= Date: Mon, 14 Aug 1995 12:05:56 EST From: "Steven G. Toney" Subject: Re: Purists ========= LW wrote: Define purists please. LW ========== Good question. Disclaimer: The following is an attempt to answer LW's question based on what I, in the past have refered to as a purist. There is no intention on my part to categorize anyone, or anything, as being 'purist', only to provide my own personal feelings of what I consider a purist to be. I've used the term in the past when refering to people who define blues as a music form that started and, generally, ended with the original musicians. My feeling is that a purist tends to consider those that followed as 'less' than the original. Originals would be defined as the genre of musicians that originated their 'type' of blues...delta, jump, chicago, whatever you wanna call them. The purists, therefore, tend to have less tolerance for the types of music that evolved from the originals. They would tend to dismiss the derivatives as being copy-cats, or as having less musical ability than the originals. The purists might tend to enjoy SBW II and Little Walter as being innovators (which they no doubt were), but tend to dismiss someone like maybe Kim Wilson or J. Geils/Magic Dick as being less or as being immitators. (Question: just because they were immitators, does that make them less? I don't know the answer.) The purists tend to place Albert King, Freddie King, Buddy Guy, Otis Rush and Lonnie Mack on a higher perch, because they were originals, but tend to dismiss Stevie Ray Vaughan because he was derivative. The question does get me to thinking, however. I have been a proponent of not categorizing music based on it's origins, or using the historical basis of the music as being a reason to accept or reject...my premise has always been that good music is just good music; if it moves my ears and heart, based solely on the music itself, then it's good music to me. Others have stated that blues roots are such that make the music inseparable from the people/places/things that were the subject of the song. (Can someone really sing 'I've worked five long years for one woman, and she had the NERVE to put me out' if they haven't experienced it first hand?) I'm not sure, but maybe the purist does not think as much in this manner...is he more apt dismiss the music because of reasons that are related to facts and figures, rather than emotion? (I cannot enjoy this music because, he/she has never even had someone for five years! How could they possibly be kicked out!) I'm not stating an opinion here, just a question. I'm probably totally off base here. Anyway, what do you all think, is this true of the purist? For me personally, I tend to relate to the music based on what the music does to me and my feelings, rather than what the basis of the music, or performer, is. I'm not sure what that makes me, purist or non-purist. Really, if you think about it, all music can be traced to some other point...it had to start somewhere. Therefore, it's all derivative so it's probably impossible to truly define what a purist is. Maybe 100 years from now, 'purists' will think the blues started and ended with Stevie Ray and Chris Duarte!!! Please, I am not claiming that the Blues-L 'purists' don't/cannot enjoy the derivative musicians, I am simply responding to the question and trying to define what I, in the past, have considered to be a purist. Steve Toney ========================================================================= Date: Mon, 14 Aug 1995 11:11:01 CST From: JBards Subject: Re: Blind Willie Johnson-- REISSUE I just got this yesterday. I add my vote that it's a great compilation. "Dark was the Night" will give you goosebumps every time. Jim _______________________________________________________________________________ Subject: Blind Willie Johnson-- REISSUE From: Jessica Sowin at INTERNET-SH Date: 8/14/95 10:37 AM Garry Segal asked: >Are there [Blind Willie] reissues ? Thanks. We (Legacy/Columbia) releaesed _The Complete Blind Willie Johnson_ in our Roots N' Blues series. The double CD/cassette set includes: Selection#: C2K 052835 Label Copy ================================================================================ ========================= =============== Related Products: C2T - 052835 Copyright Notice: (P) 1993 Sony Music Entertainment Inc. ================================================================================ ======================================== Side: 1 co number matrix #:CK 52836 rec date component #:CK 52836 Band song title time recording loc. publisher 01 I KNOW HIS BLOOD CAN MAKE ME WHOLE 00:00 Pending 02 JESUS MAKE UP MY DYING BED 00:00 Pending 03 IT'S NOBODY'S FAULT BUT MINE 00:00 Pending 04 MOTHER'S CHILDREN HAVE A HARD TIME 00:00 Pending 05 DARK WAS THE NIGHT-COLD WAS THE GROUND 00:00 Pending 06 IF I HAD MY WAY I'D TEAR THE BUILDING 00:00 Pending DOWN 07 I'M GONNA RUN TO THE CITY OF REFUGE 00:00 Pending 08 JESUS IS COMING SOON 00:00 Pending 09 LORD I CAN'T JUST KEEP FROM CRYING 00:00 Pending 10 KEEP YOUR LAMP TRIMMED AND BURNING 00:00 Pending 11 LET YOUR LIGHT SHINE ON ME 00:00 Pending 12 GOD DON'T NEVER CHANGE 00:00 Pending 13 BYE AND BYE I'M GOIN' TO SEE THE KING 00:00 Pending 14 SWEETER AS THE YEARS ROLL BY 00:00 Pending ---------------------------------------- total time for side 1 = 00:00:00 ---------------------------------------- Side: 2 co number matrix #:CK 52837 rec date component #:CK 52837 Band song title time recording loc. publisher 01 YOU'LL NEED SOMEBODY ON YOUR BOND 00:00 Pending 02 WHEN THE WAR WAS ON 00:00 Pending 03 PRAISE GOD I'M SATISFIED 00:00 Pending 04 TAKE YOUR BURDEN TO THE LORD AND 00:00 Pending LEAVE IT THERE 05 TAKE YOUR STAND 00:00 Pending 06 GOD MOVES ON THE WATER 00:00 Pending Side: 2 co number matrix #:CK 52837 rec date component #:CK 52837 Band song title time recording loc. publisher 07 CAN'T NOBODY HIDE FROM GOD 00:00 Pending 08 IF IT HAD NOT BEEN FOR JESUS 00:00 Pending 09 GO TO ME WITH THAT LAND 00:00 Pending 10 THE RAIN DON'T FALL ON ME 00:00 Pending 11 TROUBLE WILL SOON BE OVER 00:00 Pending 12 THE SOUL OF A MAN 00:00 Pending 13 EVERYBODY OUGHT TO TREAT A STRANGER 00:00 Pending RIGHT 14 CHURCH, I'M FULLY SAVED TO-DAY 00:00 Pending 15 JOHN THE REVELATOR 00:00 Pending 16 YOU'RE GONNA NEED SOMEBODY ON YOUR 00:00 BOND ---------------------------------------- total time for side 2 = 00:00:00 ---------------------------------------- Thanks, Jessica Legacy ========================================================================= Date: Mon, 14 Aug 1995 10:13:34 -0600 From: BMPECH@MSCD.EDU Subject: Re: August 13, 1938 On Mon, 14 Aug 1995, Dick Waterman wrote: > I was with Son House for over 20 years and heard him tell many Robert Johnson > stories but never any directly connected with Robert's death or the > circumstances of where, when, how, who etc. > Maybe Honeyboy Edwards? > > dick waterman > > "You can bury my body down by the highway side / So my old evil spirit > can catch a Greyhound bus and ride." As I remember the story (probably apocryphal), SBW II knocked the first bottle of whiskey out of RJ's hand, RJ told him not to do that again and then drank from a second poisoned bottle. Honeyboy's account of the evening (when he was interviewed by John Hammond in "The Search for Robert Johnson") doesn't mention the incident. And, as someone pointed out, because Mississippi was "dry" at the time, it's unlikely that the (probably bootleg) whiskey bottles at the juke were sealed with tax seals. BP Boulder, CO "It's a mean old world when a man can't have a cigarette in a postage stamp." Kerri Leigh ========================================================================= Date: Mon, 14 Aug 1995 12:14:44 -0400 From: Carlos Soto Subject: Re: Blind Willie Johnson On Sat, 12 Aug 1995, Garry Segal wrote: > Blind Willie Johnson... > Does anyone have info on this gospel singer slide player. My buddy was > telling me about an instumental of his called "Dark As Night ". Lots of > spooky slide and moaning in the backround. He doesnt know where to get it or > if that is the name of the song. I think he also sang some pretty politically > charged stuff along with gospel. Are there reissues ? Thanks. --- The song you are refering to is called "Dark Was The Night." Described as "a nearly wordless prayer in the form of an intimate dialogue between Johnson and his instrument." I have the song from a 1990 Columbia records release entitled "The Slide Guitar: Bottles, Knives & Steel." It's got a couple of Blind Willie Johnson tunes, as well as some Leadbelly, Robert Johnson, Tampa Red, Charlie Patton and Son House. -CS ========================================================================= Date: Mon, 14 Aug 1995 12:22:48 -0400 From: Tom Freeland Subject: Re: CDs I'd like to see... In a message dated 95-08-14 11:17:59 EDT, pw7e@POE.ACC.VIRGINIA.EDU (Peter Welch) writes: > >With the great news that Charly is releasing their Sun Blues Box >on CD, here are some other big CD sets that I'd love to see released: > > It should be noted that Bear Family is putting out the complete Sun Singles, 4 CDs at a time, in boxed sets given the usual Bear Family treatment, which means great packaging, great documentation, fascinating photographs, and prices that incur noseblead. Vol 1 (which carries you through Elvis and just about finishes the blues content from early Sun) and Vol 2 (just released, which has the first recordings of Carl Perkins, Johnny Cash, Jerry Lee Lewis, Roy Orbison, and others) are both out, and both fascinating. Wonderful sound, and an amazing range of music, from country to rockabilly to blues and back. A label that *below the names associated with Sun's heyday* brings you everything from Rufus Thomas to Harmonica Frank to Charlie Feathers before the hickup should be checked out by anyone interested in American music, and, as it was a single label, this is a great way to do it. It does leave out two sides of Sun that are equally (if not more) fascinating-- the era of Memphis Recording Service, during which recordings were made and then licensed out to Chess and the like ("Rocket 88" and Howlin' Wolf, for instance), and the amazing outtakes set forth in places like the Jerry Lee Lewis Bear Family Sun box. All in all, I'd start with the Jerry Lee Bear Family Box if I didn't have any Sun. BUT these singles are great...even though the toll is a bit steep. Tom Freeland ========================================================================= Date: Mon, 14 Aug 1995 11:52:00 CDT From: Bonnie Kalmbach Subject: Booba's "Heartbroken Man" I've always liked Booby's wild, driving, not-to-mention humorous "Heart Broken Man". Therefore, I was pretty surprized to hear Al Green do a version/something very similar on the HI box set. Not all the lyrics are the same - the beat is a tad slower - but Al sang 20 years ago "I want to get married today... Let me take you in my arms and hold you, Let me take you in my arms and squeeze you Hold you every night...make everything alright alright... Yep, it's pretty identical - but Booba's version is great too. -Bonnie ========================================================================= Date: Mon, 14 Aug 1995 12:50:43 -0400 From: Ari Eisinger Subject: Re: Blind Willie Johnson I'd go with the two Blind Willie Johnson CDs on the Yazoo label. I always prefer the sound quality on the Yazoo label to that on Columbia. Columbia gets the surface noise off, but they also screw up the sound quality of the music on the original recordings in the process. So you have a choice between 1. Surface noise with the best possible sound quality for the music and 2. No surface noise with impaired sound for the music. ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Mon, 14 Aug 1995 13:25:41 -0400 From: Lynn Moncrief Subject: Re: guitar jr johnson(was blues in PHila)long (fwd) In a message dated 95-08-14 10:33:26 EDT, you write: >Are there other blues artists that played with Muddy Waters in his band that >went on to record solo material? How about half of the blues artists performing today? ;-D No, seriously. Just off the top of my head: Johnny Winter (guitar) James Cotton (harp) Pinetop Perkins (piano) Jerry Portnoy (harp)--I think he may have done solo recordings Bob Margolin(sp?) (guitar) Lynn ========================================================================= Date: Mon, 14 Aug 1995 13:25:43 -0400 From: Lynn Moncrief Subject: Re: Purists In a message dated 95-08-14 12:05:23 EDT, you write: >If the ONLY thing I listened to was "authenic delta blues" then yes, I would >consider myself a "purist", but listening to SRV would disqualify me...RIGHT >? Gee and until now I thought SRV was pure Texas blues (except for occassional excursions into other things like his excellently executed "Chitlin's Con Carne", which is jazz, on his "The Sky is Crying" album). BTW, I'm not talking about his backing up Bruce Sprinsteen, etc. Just his blues. Guess I'll spin up the SRV CDs and listen to them again. :-) Lynn ========================================================================= Date: Mon, 14 Aug 1995 12:24:58 CDT From: Dave Kneifl Subject: Thanks for Blues Access Info Thanks to those that responded to my inquiry about Blues Access last week. I got the "Summer" issue this weekend at Borders in Madison. I do plan to subscribe, but first I have another possibly stupid question. The next issue will be the "Fall 1995" issue. Approximately when does this come out (1st of Fall)? Since it is already August 14th, if the subscription form says to wait 6-8 weeks for the first delivery, can I expect to get it in the mail, or, if not, when should I give up on that and check the newsstand? (As much as I like it, I don't need two copies). Sorry, that was two questions... DK PS - I saw a post earlier today where someone (can't remember the name, sorry) was interested in a Blues-L T-shirt. I would also be interested, but I haven't seen any responses on the list yet. Anyone? Dave Kneifl Program Assistant Private phone: (608) 265-6657 UW Extension Office phone: (608) 262-2011 Independent Learning E-mail: kneifl@admin.uwex.edu 432 N Lake St, Rm 104 Madison WI 53706 One seventh of your life is spent on Monday. ========================================================================= Date: Mon, 14 Aug 1995 12:24:58 PDT From: rjbauman@IQUEST.NET Subject: Re: Purists LW, I would agree with you that listening to a diverse group of artists such as those you mentioned effectively disqualifies you from purist status IF: when you are inclined to listen to BLUES it is atleast *somewhat* as natural for you to play SRV or Buddy Guy as Johnny Shines or Muddy Waters. For some, SRV and BG are so far out their defintion of blues that this music is *not* really blues *to them*. Therefore, they still would not consider themselves *blues* purists. The label is maybe more fathomable to would be non-purists than purists. Does that make any sense? You are clearly not a purist, speaking of music in general, but by my tame defintion I could see how some might label you a purist when it comes to the blues. AND THERE"S NOTHING WRONG WITH THAT!!! It is clear to me from reading your posts over the last 9 months that you exhibit a strong preference for Delta style blues. I can always count on you to help keep this list balanced and have likely bought most of my Delta Lp's and CD's since joining blues-l. I site you as one of my biggest influences on this end of the blues and hope that you take no offense to any suggestion that you are a blues purist. RJ Bauman (btw, the term purist as I use it has nothing to do with the white/black thing some might associate with this) ========================================================================= Date: Mon, 14 Aug 1995 12:32:41 CDT From: L W Subject: Re: Purists ----------------------------Original message---------------------------- >You are clearly not a purist, speaking of music in general, but by my tame >defintion I could see how some might label you a purist when it comes to the >blues. AND THERE"S NOTHING WRONG WITH THAT!!! It is clear to me from reading <>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> You're right, nothing wrong it at all, it's a compliment if anything... He's one them "ole purist guys" all he likes is that old crap like Son House, Muddy Waters, Fred McDowell, Robert Nighthawk, Robert Johnson.....etc. He don't even like Keb' Mo's music....What a sad life he must live having to listen to all that old stuff all the time :-) LW 'oh yeah, he even listens to that old Memphis Minnie lady' ========================================================================= Date: Mon, 14 Aug 1995 10:44:59 -0700 From: Chris Adams Subject: BB's early Memphis sides Can someone point me to the best collection of BB King's early Memphis sides, including Phineas Newborn and later Ike Turner on piano? Do the Virgin/Flair compilations cover this period, and which is the best? Please enlighten. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Mon, 14 Aug 1995 14:15:13 EDT From: george morales Subject: guitar jr & others who played w/ Muddy Waters Thanks to those who repsonded to my previous query regarding those artists.I heard a live track by Pinetop Perkins over the weekend.The dj said he has a new cd out "Pinetop Live" or something to that effect. ========================================================================= Date: Mon, 14 Aug 1995 11:18:46 -0800 From: Don Cicchetti Subject: Re: Garcia-Scmarcia Tony said: >Hugh! > >Just what I was thinkin' when I wrote the first message and stirred up >all this stuff. > >Besides messages email is running at five to one against us blues >anoraks over here!! > >But never mind, its got the debate going!! > >Will be back early next week with overview!! > >Sorry to the grieving Garcia fans and Dead Heads - nothing personal. WHAT? I for one have never been a deadhead, have never seen them, and own none of their recordings.... And what debate did you get going? Perhaps it was: A. Are these guys really bozos who say stupid thoughtless things all the time? or B. are they just kind of warped cause they are hiding behind a computer? Listen guys! This ain't about "the media", this ain't about "deadheads" and this ain't about "what's appropriate on the blues list". This is about manners, kindness, and remembering that there are PEOPLE on the other end of that line. Neil Postman and others have made the point that technology often bends people into funny shapes based on the form and agenda of that technology (and what IS a "pre photo" exactly anyway??). We choose to either fall into "cyber CB land" with all its attendant nastiness or we choose to humanize our list by being nice (most of the time) and having some concern for manners and the feelings of others. This "debate" is about how offensive and ill-mannered some of you have been, and you need to understand that. Personally, I think apologies are in order. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 14:20:47 -0400 From: Peter Welch Subject: Re: BB's early Memphis sides According to Chris Adams: > > Can someone point me to the best collection of BB King's early Memphis > sides, including Phineas Newborn and later Ike Turner on piano? Do the > Virgin/Flair compilations cover this period, and which is the best? > Please enlighten. > > Christopher Adams > Automated Systems > Oregon State Library > chris@sparkie.osl.state.or.us > Chris, There's a good comp. of BB's early 50s stuff called "Do the Boogie" on the Virgin/Flair label? There was quite a lot of this stuff on various vinyl Lps on import labels, but on CD most of it is spread all over (This is why I've been clamoring for a BB King boxed set of all his early sides.) The Virgin/Flair "Best of B.B. King has a few early things, but mostly focuses on his mid and late 50s stuff. Same goes for Ace(UK)'s "Best of, Vol. 2". Virgin also has a great CD combining 2 of BB's old Crown LPs from the 50s...this also has quite a few early cuts. Disc 1 of MCA's boxed set also has some of these songs, but they should have included a lot more of this instead of his 70s and 80s stuff. I'd go with "Do The Boogie" Hope this helps, -Peter ========================================================================= Date: Mon, 14 Aug 1995 11:30:41 -0800 From: Don Cicchetti Subject: Re: Purists I think that one aspect of defining "purists" has to be that purists are opposed to change, and they are actively hostile, and often vocally critical of something outside of their tradition. Hence, a Sinatra purist (we knew some of them in the sixties didn't we?) will dump on rock as garbage and blues as primitive and people who listen to them as idiots. It is this intolerance and willingness to call names and put others taste down that to me defines the negative side of purists. Yes there are positive sides, one of them being that purists maintain the memory and tradition intact so that future generations may listen to the "real thing" for themselves. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 11:33:01 PDT From: Gordon Fehlman Subject: Re: BB Went up to Shoreline to see BB Kings Blues Revue. I enjoyed myself but thought the acts were rushed or just seemed that way. I liked BB, Jimmy Vaughn was good, I loved Elvin Bishop. I would recomend it to y'all out there accross the USofA to take the show in, I believe its going all accross the US. I'll give a better review later, gotta get back to work. Gordon ========================================================================= Date: Mon, 14 Aug 1995 15:04:03 -0400 From: James Leftwich Subject: Re: Blind Willie Johnson My 2 cents worth, Yazoo's _Praise God I'm Satisfied_ has all the essential BWJ. All songs feature his slide playing, whereas the rest of his work is basically repetitive fingering an alternating bass line. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Mon, 14 Aug 1995 15:12:58 -0400 From: "Abe W. Mathews" Subject: This'll make you angry - Purists While I was out surfing a little while ago, I found this link: http://www.gold.net/users/ex14/ It's for Progression online magazine. They have an article entitled _Hang the DJ_ with the caption: Is guitar music dead? Carl Homer asks blues, soul and trad. jazz purists outside to settle it like gentlemen. I *strongly* urge anyone with web access to go and read this article. If this is the position that more people take about blues music, we're in for a bad time. It seems to be the author's position that *all* people who listen to the blues (In the author's opinion, that's Clapton and Cray) are purists. If you don't have web access, e-mail me, and I'll try to find a way for you to see this article. It`ll get you angry, if nothing else. Abe awmathew@mtu.edu ========================================================================= Date: Mon, 14 Aug 1995 14:09:00 CDT From: Bonnie Kalmbach Subject: unknown tune A stranger just called me - on the advice of a friend - and asked if I knew the (alleged) blues tune that contains the lyrics: "I told you I love you - now get out!" Anybody know?? -Bonnie ========================================================================= Date: Mon, 14 Aug 1995 14:15:37 -0600 From: Ranko Vujosevic Subject: Re: BB > Went up to Shoreline to see BB Kings Blues Revue. I enjoyed myself but > thought the acts were rushed or just seemed that way. I liked BB, Jimmy > Vaughn was good, I loved Elvin Bishop. I would recomend it to y'all > out there accross the USofA to take the show in, I believe its going > all accross the US. > I'll give a better review later, gotta get back to work. > Gordon > They will be playing Quad Cities in few days. Though I can get free tickets - won't go. Can't care less for Jimmy, Elvin, and other Magic Dicks. Yes, you can call me purist!!! And that Ol' Blues Boy - if you guys see him, tell him I will be willing to put on a gig for him and his Lucile only - I can guarantee him $600 and room. I can't do any better than that - neither can he... Ranko ps. Would like to see Etta James though, but would not be able to survive Magic Dicks. ========================================================================= Date: Mon, 14 Aug 1995 14:17:18 CDT From: L W Subject: BB, Etta Jones, Irene Reed While we're talking about BB, the current Vintage Guitar has a right nice interview with BB. Peter Green is mentioned, BB said Peter Green's playing makes him sweat... Charles Brown's new CD will have some duets with Etta Jones and Irene Reed. He said (IHHO) those two ladies are the best female singers alive... I've heard of Etta Jones, but I don't know about Irene Reed..? LW ========================================================================= Date: Mon, 14 Aug 1995 15:28:24 -0400 From: Tom Morgan Subject: Bartender's Bop Playlist Here is the playlist from this afternoon's show. The show was primarily played at 45 rpm with some pretty rare stuff thrown in, sorry not much blues on today's show. Tom Title Group Year Label -------------------- -------------------- ---- ------------- Soul Heaven Dixie Drifters Roulette Pink Sugar and Turner, Sammy Verve Purple Salt Love Makes The World Jackson, Deon Carla Go Round One Room Paradise Raelets Tangerine Mary Mack Turner, Titus Philips Go Go Train Payne, Jackie Jet Stream Something Inside Me Charles, Ray ABC As Long As I Live Fantastic Four Ric Tic She Shot A Hole In Curry, Clifford Elf My Soul New Breed (part 2) Brown, James Smash Train, The Charles, Ray ABC Follow Your Heart Franklin, Aretha Columbia I Can't Stand To See Valentine, Joe Ronn You Go You Got My Mind Carr, James Goldwax Messed Up My Boyfriend Brook Mabley, Moms Chess Benton Tell It Like It Is Neville, Aaron Rhino Prove It To Me Mimms, Garnet UA I Spy (For The FBI) Thomas, Jano Rhino Shake and Vibrate Brown, Sir Latimore Sound Stage 7 Love Don't Love Brown, James King Nobody Land of 1000 dances Pickett, Wilson Atlantic Oogum Boogum Song, Wood, Benton Rhino The Lala I Love You Caesars Laurie Mercy Mercy Mercy Williams, Larry Rhinoe I Can't Help Myself Carter, Chuck Brunswick Shimmy McCall, Toussaint Ronn Love Lession Mickey and Sylvia RCA Terrible Boots Orlons Cameo Cuckoo Clock Mabley, Moms Chess House of Gold Warwick, Dee Dee Mercury Get On Up Esquires 67 Rhino BINGO Townsend, Ned Atlantic Cool Jerk Capitols, The 66 Rhino Boomerang Kdoe, Ernie Duke Martian Melody Goodman, Dickie Mark-X Niki Hokey Proby, PJ Liberty Touchables, The Goodman, Dickie Mark-X Seven Day Weekend Bonds, Gary US LeGrand Two-Way-Poc-A-Way Dixie Cups ABC Take A Look Franklin, Aretha Columbia My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture WebMaster: Dave Matthews Band ========================================================================= Date: Mon, 14 Aug 1995 14:39:00 CDT From: Bonnie Kalmbach Subject: Big Bad Smitty LP I discovered and listened to an LP by Big Bad Smitty in the Delta Blues Museum last week. I believe it was recorded sometime in the eighties. The sound quality was pretty awful - but I wondered if some of that might be because of the vintage headphones. Th sound on the first track wasn't as bad and featured some stunning and beautiful slide guitar. This is the info I jotted down: "Bad Bad Smitty" (John Howard Smith and the Upsetters) JC and E Records JCE R-71105 distributed by Say It Loud Records 7250 Normandy Place St. Louis, MO 63121 Does anyone have anymore info on this album? I haven't looked into it myself any farther - but I sure would like a copy - bad sound and all. -Bonnie ========================================================================= Date: Mon, 14 Aug 1995 12:50:12 PDT From: Gordon Fehlman Subject: Re: BB Just another note on the Blues Fest at the Shoreline, When BB came back\ on stage he talked about who would be keeping the blues alive in the future when he's gone, well, he brought out a 13 year old from Austrailia. No matter what anybody says this kid tore it up. I've been playing guitar(at least trying)since I was 14 now I'm 42 and I only wish I had that kind of talent. The name will come to me,just can't remember. Damn, gotta go more work to do. Later, Gordon P.S. yes you are all right, he's not lived the blues but man he could play. ========================================================================= Date: Mon, 14 Aug 1995 16:08:35 -0400 From: Ross Whitwam Subject: Re: Purists Don Cicchetti wrote on 8/14/95 >I think that one aspect of defining "purists" has to be that purists are >opposed to change, and they are actively hostile, and often vocally >critical of something outside of their tradition. Well, it seems to me calling someone a purist is like calling them politically correct these days. Neither term tends to be used as any kind of meaningful description. They are used as insults and conversation stoppers. They are used to mean, "I don't agree with your tastes/viewpoints, you're just a purist/being political correct, so shut-up -- I don't want to hear it." The main criterion for being a purist seems to be that you don't like what I like. As is illustrated time and again on this very list, musical tastes are a very personal matter to most people. What they like is part of their self-identity. When what they like is criticised it is sometimes easy to misinterpret the criticism as being an attack on them personally. "You think SRV sucks?! Well, I love SRV, so you must be saying my tastes suck, that I suck. Well kruck you, you're just a purist anyway." Remember, this whole thread started when a store clerk called LW a purist because LW wasn't as enthusiastic about Keb Mo as the clerk. As they have been emptied of content, I feel it is best to avoid all use of terms such as "purist" and "politically correct" -- just as I feel saying someone "sucks" is best avoided because that too is empty of content and is only meant belligerently. >It is this intolerance and willingness to call names and put others taste >down that to me defines the negative side of purists. > I find this statement ironic in light of the quote you include in your sig. To deny any quality to modern music just because the sound of it doesn't appeal to you is not the height of tolerance. :) > >Don >> >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Event Services & Studio Production >dcicchet@vega.lasierra.edu > >There was a time, within the memory of some of us, >when American popular music was full of exaltation, pain & wit... >The raw intensity of Muddy Waters, >or the virile inventiveness of Duke Ellington.... > >- Robert Hughes >____________________________________________________ Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Mon, 14 Aug 1995 15:29:46 -0400 From: Willy Evans Subject: Re: BB, Etta Jones, Irene Reed On Mon, 14 Aug 1995, L W wrote: > > I've heard of Etta Jones, but I don't know about Irene Reed..? > If not mistaken, Irene Reed is the lady that toured with Lyle Lovett's Large Band. A good singer of several styles! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Mon, 14 Aug 1995 14:16:09 -0600 From: Watterworth Jay Subject: Re: BB I was interested to hear your remark, "I loved Elvin Bishop" as I have always thought of him as a grossly underrated guitarist. I felt the Butterfield Blues Band got a real shot in the arm when they first lost Bloomfield and added the horns as it gave Elvin a chance to step out of Bloomfield's shadow and shine on his own. (This is not to belittle Bloomfield, so hold the flame. One of the great thrills of my life was hearing the two battle it out on stage.) Jay Watterworth CU Boulder On Mon, 14 Aug 1995, Gordon Fehlman wrote: > Went up to Shoreline to see BB Kings Blues Revue. I enjoyed myself but > thought the acts were rushed or just seemed that way. I liked BB, Jimmy > Vaughn was good, I loved Elvin Bishop. I would recomend it to y'all > out there accross the USofA to take the show in, I believe its going > all accross the US. > I'll give a better review later, gotta get back to work. > Gordon > ========================================================================= Date: Mon, 14 Aug 1995 20:18:02 GMT From: Peter Groves Schweitzer Subject: ANYBODY WANT FREE AIR TIME!!! oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Mon, 14 Aug 1995 15:16:59 CDT From: L W Subject: Rats, I'm no purist I thought I was an authenic delta blues purist....Then I remembered I LIKE RORY BLOCK....It's true.... LW 'a non-purist' ========================================================================= Date: Mon, 14 Aug 1995 13:25:13 -0800 From: Don Cicchetti Subject: Mickey Mantle One of the greats of baseball is gone. As most of you know by now, Mickey Mantle died a couple days ago. After wrestling with the bottle for many years, and recently having a liver transplant, Mickey succumbed to cancer, a disease that claimed his father and others in his family at a young age. He never expected to live this long, yet he so obviously wanted to live some more. Those of you who have read his recent book: "All My Octobers" realize what a funny, intelligent man he was, and how grateful he was to be finally free of his addictions. To us, Giants/Willie Mays fans in the sixties, he was a royal pain in the backside; a hitter who could kill you from either side of the plate, and usually did at one point or another. Mickey hit some of the longest measured home runs ever recorded, and hit consistently in spite of pain from chronic knee problems. If Mickey had had better knees, he might have passed Babe Ruth before Hank Aaron did. Truly one of the greats, whose courage and amazing skills should inspire us all even as we remember the cautionary side of his life. So long Mickey, we remember.... Don ps to Hugh, Tony, and Mr. Photo, KIZZ MY AZZ.... ok? or better yet, grow up and get hearts before its too late. ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 13:54:16 -0800 From: Don Cicchetti Subject: Re: This'll make you angry - Purists Abe said: >While I was out surfing a little while ago, I found this link: > >http://www.gold.net/users/ex14/ > >It's for Progression online magazine. They have an article entitled >_Hang the DJ_ with the caption: > >Is guitar music dead? Carl Homer asks blues, soul and trad. jazz purists >outside to settle it like gentlemen. > >I *strongly* urge anyone with web access to go and read this article. >If this is the position that more people take about blues music, we're in >for a bad time. It seems to be the author's position that *all* people who >listen to the blues (In the author's opinion, that's Clapton and Cray) >are purists. If you don't have web access, e-mail me, and I'll try to >find a way for you to see this article. It`ll get you angry, if nothing >else. You're right... BUT, you must remember how stupid and shallow the pop and certainly the "progressive" rock scene is.... Jeez, talk about treacle..... So when looking for styles to label as stale, the blues is going to be their first target because it is so resilient. The trends come and the haircuts go, but the blues goes on. That is because it speaks to the heart and the emotions in a very pure and yet complex way. It is about more than style and striking a pose. Note that the writer is a music teacher. Too often music teahcers try too hard to make rock or pop into actual "serious music", (which will never happen), because to do so increases your need of them, and makes them feel that they are "real" teachers. Look also at the sarcastic and high-handed manner of the article and how it attempts to intimidate the reader into agreeing with the writer, or be labeled as a "loser" or a "traditionalist". It was the silliest article I have seen in a long time. Like Zappa said: "Rock journalism is people who can't write, writing about people who can't play, for people who can't read"... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 17:09:52 -0400 From: Garry Segal Subject: Re: Purists Yikes another semantics war !! I say beware the label,many artists and fans dont like to be pigeonholed. I once did a show with Eddie Clearwater and his band opened up with the bass player singing lead. Backstage after the show I said to the bass player (sorry cant remember name) " Wow you are a great blues singer, really enjoyed your opening tunes. " He glared at me and said" I'M NOT A BLUES SINGER ! I play and sing all kinds of music ,country jazz whatever .Right now I happen to be working in a blues band thats all." We later did several shots of Tequila and had a good laugh . "Purist"is a real limiting word that so far Ive rarely heard an artist describe themself that way, so why would a fan ? There are just too many definitions and limitations. Take it EZ, Garry ========================================================================= Date: Mon, 14 Aug 1995 14:23:37 -0700 From: Chris Adams Subject: Memphis blues According to Peter Guralnick, "Memphis in the 1950's was an incredible cauldron of musical activity, rivaled only by New Orleans for its variety of music and by Chicago for the intensity of its blues feeling. Probably never before had there been the creative interaction of so many different black styls, and that interaction-- and its concomitant commercial success-- might very well still be going on today if Elvis Presley had not walkded into the Sun studio after graduating from high school in 1953, to make a birthday recording for his mother." I guess I knew that Elvis changed the course of music, but this quote really emphasized to me how easily styles are influenced and how quickly history is forgotten. The same thing happened with the Beatles. The sad thing is, I liked Elvis when he first came out, and I liked the Beatles (with some reservations). Just think of the forgotten musicians and producers who were shut out of the business almost overnight. I guess we should be thankful for CD technology because I'm not sure all the reissues we are seeing would have happened with LP's and cassettes. I bet more people know Howlin Wolf's music now than they did in 1970. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Mon, 14 Aug 1995 20:45:16 EST From: Jim Miller Subject: Apology I think the idea that somehow those critical of Jerry Garcia somehow owe the list an apology is simply wrong. I completely was in love with Albert Collins' music. When he died I was heartbroken. A friend of mine told me soon after he died that he thought Albert was overrated etc. I didn't appreciate it but instead of getting in a shouting match we ended up having a rather civilized debate. I did not demand he apologize. As long as we don't personalize our attacks on members of this list I believe apologies are not in order. Therefore , telling someone to get a life is too personal and I believe inappropriate but this was said in response to posts that generally said you cannot critique Mr. Garcia at this time so shut up. Telling someone to shut up in this case is not appropriate. This debate was not worthless because a lot of people were exposed to the Dead's connection to blues (brought up by those defending Garcia being mentioned on this list). We should NEVER make these people into gods beyond the scope of reasonable critique. Over the years we have had controversies considering such questions as: Is SRV more blues or rock? Is SRV innovative? What does Garry Moore have to do with the blues? Was Robert Johnson overated? Has this music become too retro? Are purists full of it? Will popularity kill the Blues? Maybe some of this is too negative for some of you but if all we did was praise there would be no standards (everybody is wonderful and if they believe they are playing blues then so be it) and we would simply be some mindless fan club promoting platitudes. So when someone says that Blues is great music because it is honest I want to know what the hell that means. And if someone says that in today's world that statement is complete bullshit and gives good reasons for it, it makes our list have some element of true discourse. I love it. And by the way, I do believe Jerry Garcia was someone who used Blues in a creative way and is totally relevant to this list and he will be missed by myself. BUT NOBODY OWES ME AN APOLOGY! ========================================================================= Date: Mon, 14 Aug 1995 14:20:47 -0700 From: Jennifer Meserve Subject: Re: Re[2]: Garcia/Blues Ler Bitterness funny, too! On Fri, 11 Aug 1995, Ron Wack wrote: > Item Subject: Message text > > To those of you so pissed that Jerry Garcias passing has been posted > to the > > list: > > > > If a friend comes to you upset and says "My cat died I really miss him > " > > > > Do you say " F#**K YOU, I LIKE DOGS " ?? > > > > > WELL SAID!! > > RW > > > > ========================================================================= Date: Mon, 14 Aug 1995 17:27:00 -0400 From: Peter Welch Subject: Blues Lemons Besides the following, does anyone know any more blues/r&b songs with "lemon" in the title: Lemon Queezin' Daddy - Nappy Brown Lemonade - Sam Myers w/A. Funderburgh Lemon Squeezer - J.B. Lenoir / Jimmy Rogers Any more? Thanks, Peter W. ========================================================================= Date: Mon, 14 Aug 1995 16:29:43 -0600 From: Terry Ashburn Subject: Saffire Advice The wife and I are thinking about going to see Saffire in near-by Knoxville TN and was wondering if any blues-lers had any recommendations. Go or No Go? Do they do a good show? I have heard a few things they do but not much. Any comments are welcome. Terry ashburnt@TEN-NASH.TEN.K12.TN.US ========================================================================= Date: Mon, 14 Aug 1995 17:51:50 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Elmore James lyrics -HELP please. Rick You wrote, > I have, 2nd verse as : I'm gonna write a letter, > telephone every town I know. > I'm gonna write a letter, > telephone every town I know. > If I don't find her in Mississippi, > > She's ....something....something....I know =========================================== "She'll be in West Memphis, I know" ============================================= > > and 3rd verse as : And I don't want no woman > want every downtown man she meets. > No I don't want no woman > want every downtown man she meets. > > ...something...something...something > ...something..something...the street?? > > ============================================= "Man, she's a no good doney, and she lie out in the street." =============================================== This is the way I have understood what he's saying for lo these many years. I hope it helps. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Mon, 14 Aug 1995 15:01:55 -0800 From: Don Cicchetti Subject: Re: Purists Ross said, >Don Cicchetti wrote on 8/14/95 > >>I think that one aspect of defining "purists" has to be that purists are >>opposed to change, and they are actively hostile, and often vocally >>critical of something outside of their tradition. > > >Well, it seems to me calling someone a purist is like calling them >politically correct these days. Neither term tends to be used >as any kind of meaningful description. They are used as insults >and conversation stoppers. They are used to mean, "I don't agree >with your tastes/viewpoints, you're just a purist/being political >correct, so shut-up -- I don't want to hear it." > >The main criterion for being a purist seems to be that you >don't like what I like. No, as I said above, one of *my* definitions of a purist as someone who is hostile to change, and feels the need to vocally criticize others' tastes in order to uphold a tradition they value. This act is counter-productive however. >As is illustrated time and again on this very list, musical >tastes are a very personal matter to most people. What they >like is part of their self-identity. When what they like >is criticised it is sometimes easy to misinterpret the criticism >as being an attack on them personally. And sometimes it IS an attack on them personally. My father was a jazz purist. Years ago he told me that all the guitar players today (me included) were complete losers, and anything done today will never stand up to Charlie Christian..... So, me and the band improvised a little thing with piano, drums, and me on guitar, purposely recorded it poorly, and I gave it to Dad, and told him it was a little known Charlie Christian cut from the late 30's.... So he puts it on, says: "oh I don't recognize this", and listens for the guitar to come in.... Here comes the guitar, he says: "Oh YEAH, that's Charlie, you damn kids will never do anything this good"..... So I burst out laughing with "Hey DAD, THATS ME! THAT'S OUR BAND, I RECORDED THAT IN THE GARAGE"..... He goes in his room, and won't come out for the rest of the day.... :-] IMO, the act of considering people to have intelligence/artistic sensibility in the precise proportion that they agree with you to be one of the defining acts of a "purist"... Ross, if you don't like my definition, fine, don't use it. It is fair and rational in my experience. >"You think SRV sucks?! Well, I love SRV, so you must be saying >my tastes suck, that I suck. Well kruck you, you're just a purist >anyway." Or, the person who thinks SRV "sucks" may have just said that any blues recorded after 1959 is "whore music" and not "real blues", in which case he IS a purist.... >Remember, this whole thread started when a store clerk called LW >a purist because LW wasn't as enthusiastic about Keb Mo as the >clerk. How serious do you take the mumblings of store clerks?? ;-] Was Leonard high-handed and dismissive to the clerk? >As they have been emptied of content, I feel it is best to avoid >all use of terms such as "purist" and "politically correct" -- >just as I feel saying someone "sucks" is best avoided because >that too is empty of content and is only meant belligerently. Sorry, for me, "sucks" is butthead talk, while "purist" has value related to the content of the person's comments. BTW, "purist" can also be a great compliment..... Politically correct has only been drained of meaning by those on the left who don't want to be called it any more.... ;-] >>It is this intolerance and willingness to call names and put others taste >>down that to me defines the negative side of purists. >> > >I find this statement ironic in light of the quote you include in >your sig. To deny any quality to modern music just because >the sound of it doesn't appeal to you is not the height of >tolerance. :) You must find irony in the phone book as well then.... I denied any quality to modern music?? What the heck are you talking about? Hughes' statement is about upholding the virtues of Ellington and Muddy Waters, not criticising the present. If that is being a purist, than I am one! Tolerance is about accepting your kid even though they like the Offspring, it's about learning music theory from a guy who hates rock, and loving him anyway, it's about, standing up for civil rights even if that makes bigots call you "intolerant".. Tolerance is **NOT** empty-headed acceptance of whatever is put before you. (the 60's are over dude...) Tolerance is most certainly NOT saying that Madonna is just as good as Ellington. It is about accepting the person who likes Madonna, keeping your critical mouth shut, and slipping some Ellington on the CD for them sometime... The music sells itself trust me :-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 17:51:11 +0000 From: Ian Angus Subject: Re: Purists > Define purists please. > A purist is someone who doesn't like your favorite contemporary blues artist. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 14 Aug 1995 17:51:11 +0000 From: Ian Angus Subject: Re: New Colin James > This is an artist who I really have trouble pinning down. I > loved one of his albums (the one w/Bonnie Raitt and the Otis Rush tunes), > but some of his stuff has really turned me off. Anybody have any > suggestions? How's the big band album? I am a major fan of "Colin James and the Little Big Band." It's mostly covers of 40s and 50s R&B tunes. The band is actually Roomful of Blues. The arrangements are good, and James' voice is as strong as I've heard it. Good guitar, not overdone. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 14 Aug 1995 15:09:26 -0800 From: Don Cicchetti Subject: Re: Purists Garry said: (edit edit) >Backstage after the show I >said to the bass player (sorry cant remember name) " Wow you are a great >blues singer, really enjoyed your opening tunes. " He glared at me and >said" I'M NOT A BLUES SINGER ! I play and sing all kinds of music ,country >jazz whatever .Right now I happen to be working in a blues band thats all." > "Purist"is a real limiting word that so far Ive rarely heard an artist >describe themself that way, so why would a fan ? There are just too many >definitions and limitations. true, but there are way too many "sensitive" musicians out there too... He should have found what you said a GREAT compliment... BTW Artists are almost never "purists".... For instance, I got the center part of a recent tune by combining my BB King influences with my love for Samuel Barber and Aaron Copland. And it works! In general, only fans, and musicologists are purists. You're so right about throwing labels around. I do think there are useful definitions to the word "purist", however it is a term I rarely use. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 15:20:10 -0700 From: Jeffrey Taylor Subject: young blues player (was Re: BB) There was one teenage blues guitarist who was/is highly touted in the mags. He is in remission from leukemia. That's enough living the blues in my book. ============================================ Without my guitar, I am a poet without arms. - Michael Bloomfield ============================================ ========================================================================= Date: Mon, 14 Aug 1995 18:29:00 -0400 From: DeniseTapp Subject: Re: Kenny Neal - just an Observation In article <3017450321.1.p00061@psilink.com>, VT writes: Regarding Kenny Neal: >During the first set I kept wondering who they reminded me of...... >when I did make the connection, it surprised even me. > >Because of the long numbers there were long instrumental breaks, kind of >rocking and free flowing, and in some ways they reminded me of the classic - > >Allmans Brothers Band from the Fillmore East era :-) > >Just thought you'd like to know :-) > >Anyone else noticed this (or am I out in left field again? :-) > Vincent, I saw Kenny two weeks ago at B.B. King's on Beale. His playing style was very Memphis R&B, or so I commented to my date, who is a transplanted New Orleans native and Delta blues writer. He told me that, if I heard Kenny play in N.O. or another part of the country, the style would be noticeably different, that pros like Kenny adapt to the prevailing regional influence, or what pleases the crowd. This was not a topic I had ever entertained, but seeing your remarks, I think it might have some validity. This might also explain why certain talents are not received very well in certain venues, because they can't adapt to local expectations. I have an East Coast friend who wouldn't spend the money to see Little Milton again, yet LM has never let me down. What do you think? Denise ========================================================================= Date: Mon, 14 Aug 1995 22:56:54 GMT From: j.mac@METRONET.COM Subject: Re: Acoustic Strings > L W writes: > I'm going to change the strings on my Gibson acoustic. I have been using > Daddario (sp) Semi-flats, but gosh they are expensive. > > Any recomendations? You use semi-flats on an acoustic? That must be interesting. The only people I've seen use any type of flat- or semi-flat wound strings are jazzers playing archtops. I use flatwounds on my Epiphone Emperor, but I use that as a jazz guitar and like the muted sound (and lack of finger noise) that flatwounds produce. I don't think they would sound good on an acoustic and they are a bit too muted for blues. You didn't mention what guages you use. I like D'addario phosper bronze strings for acoustic starting with an .012" high E string. Heavier than that should not be used on a wooden guitar unless it has a trapeeze tailpiece. I've seen the bridge pulled off an acoustic guitar (and a good one too) when .014 strings were used for slide. Martin silk and steel are nice, but they give too much for some people, myself included. If you have a store nearby that sells strings 2-for-1 (i.e., they double the price and sell two sets for the "price of one") see if they will let you mix and match. Try several different strings and guages and see what you like best. A lot of string choice is a matter of personal taste. One tip - listen carefully to the strings when new and listen carefully to them as they age. Some strings are great when first installed but "age" quickly. You may not like the sound as much a week later. Then again, you may like it better! JMAC "There's a great big mystery, And it sure is worryin' me. It's Diddy-Wah-Diddy. Diddy-Wah-Diddy. I wish somebody would tell me what Diddy-Wah-Diddy means." - Blind Blake ========================================================================= Date: Mon, 14 Aug 1995 18:58:52 -0400 From: Ari Eisinger Subject: Re: Blind Willie Johnson On Mon, 14 Aug 1995, James Leftwich wrote: > My 2 cents worth, > > Yazoo's _Praise God I'm Satisfied_ has all the essential BWJ. All songs > feature his slide playing, whereas the rest of his work is basically > repetitive fingering an alternating bass line. > > Jim Leftwich > leftwich@cloud9.net > "I'm on cloud9!" :) > > Yes, _Praise God_ is definitely the better of the two, but I like them both. I especially like "Church I'm Fully Saved Today" on the other one. ARI EISINGER ==Blues and Ragtime Guitarist and Singer== ==Guitar Teacher== ========================================================================= Date: Mon, 14 Aug 1995 23:00:07 GMT From: j.mac@METRONET.COM Subject: Re: Acoustic Strings > Andy Synyszyn writes: > > I recently discovered 'Michael Messer National Guitar Strings' here > in the UK. They're hand wound by Newtone Strings and I've found them > to be great. > > They come in two guages: > > Heavy: .016 .018 .027w .039 .049 .059 > Light: .015 .017 .026w .036 .046 .056 Yipes! Either of those guages would work well on a Dobro (because the string pull is on the tailpiece which is anchored at the base of the guitar at the endpin) but could pull the bridge off a standard wooden guitar. Tuned to concert pitch they would certainly warp the top over time. If you use strings that heavy (which would work GREAT for slide) think about tuning below concert pitch (EADGBE). ========================================================================= Date: Mon, 14 Aug 1995 19:11:19 -0400 From: Lynn Moncrief Subject: Re: guitar jr & others who played w/ Muddy Waters In a message dated 95-08-14 14:19:29 EDT, GEORGEM%TEMPLEVM.BITNET@BROWNVM.BROWN.EDU (george morales) writes: > >Thanks to those who repsonded to my previous query regarding those >artists.I heard a live track by Pinetop Perkins over the weekend.The dj >said he has a new cd out "Pinetop Live" or something to that effect. You may be talking about Pinetop's new CD called "Livetop". I just heard a cut from it weekend before last on the Wagman's show on KLON and the harp playing on this particular cut was just awesome! (Wonder who that was!!!!!) So, it's definitely on my buy list for my next record-store excursion. (in a few days as it's been two weeks since I last bought CDs--going into withdrawal here.) Lynn ========================================================================= Date: Mon, 14 Aug 1995 18:19:11 -0500 From: Michael Baseflug Subject: Re: Purists > Garry said: (edit edit) > > >Backstage after the show I > >said to the bass player (sorry cant remember name) " Wow you are a great > >blues singer, really enjoyed your opening tunes. " He glared at me and > >said" I'M NOT A BLUES SINGER ! I play and sing all kinds of music ,country > >jazz whatever .Right now I happen to be working in a blues band thats all." This guy's response bothers me. OK, he can sing other stuff too, but at that particular moment that night, he WAS a great Blues singer (i.e. somebody that sings the blues great) right. Why was it so bane to be associated with the blues? Nobody said "hey, you are a great BLUESMAN, did they?" -- mike B) have llama, will travel ========================================================================= Date: Mon, 14 Aug 1995 18:21:43 -0500 From: Michael Baseflug Subject: Re: young blues player (was Re: BB) > There was one teenage blues guitarist who was/is highly touted in the > mags. He is in remission from leukemia. That's enough living the blues > in my book. YES! Take it from somebody who's been there. It IS LIVING HELL, let alone the blues, whatever age you are... -- micahel B) have llama, will travel ========================================================================= Date: Mon, 14 Aug 1995 19:39:57 EDT From: Philippe Heinrichs Subject: ??Grinnin' Jim Johnson Hello all, Anybody know anything about a fella by the name of Grinnin' Jim Johnson? Supposedly a blues-fusion player? Any clues, leads, ideas or heckles? Any and all info much appreciated! Thanks, philippe h. ========================================================================= Date: Mon, 14 Aug 1995 19:39:11 -0400 From: Steven Heath Subject: Robert Johnson covers I would be interested in hearing from anyone out there with information as to other artists (current day performers prefferably) who have covered any Robert Johnson songs. Having relatively recently becoming familiar with Robert Johnson's music, I have begun to seek out any other artists who have recorded his songs. I've come across quite a few, but am interested in acquiring as much as possible. Please reply directly, as I'm not currently a subscriber to BLUES-L. I'd be more than happy to share my list of covers to anyone interested. ========================================================================= Date: Mon, 14 Aug 1995 16:53:56 -0800 From: James Carmin Subject: PINETOP PERKINS (Was: guitar jr & others w/ Muddy Waters) George M. says: >Thanks to those who repsonded to my previous query regarding those >artists.I heard a live track by Pinetop Perkins over the weekend.The dj >said he has a new cd out "Pinetop Live" or something to that effect. I just got this; it's LIVE TOP by Pinetop Perkins (Deluge DEL D 3010) and it's pretty good. This a complete set of music recorded live -- from start to finish -- at Bowdoin College in Maine (along with the last track on the disc thrown in from a previous night's closing at a local club). Pinetop is backed by THE BLUE FLAMES, a Maine-based band (I'm guessing) which includes Doug Wainoris on guitar (not bad), David DW Gill on harp (pretty good) and Jack Tukey, bass, and Bongo Bob Noyes on drums. It has a number of Pinetop's standards including "After Hours", "Mumur Low (aka Big Fat Mama)," and opens up with Ike Turner's instrumental "Chicken Shack." This is not Pinetop's best cd; I'm not sure what that would be, but my favorite 'Top disc -- by far -- is PORTRAIT OF A DELTA BLUESMAN, a solo cd on Omega. Nevertheless, for a bluesman who is now 82 years young and still tickling those ivories like he was 20 (well, maybe 25), this is still a fine disc and worthy of collections that groove on Pinetop's boogie sound. If you want to support one of this country's living legends, check out this disc. James C. jcarmin@teleport.com ========================================================================= Date: Mon, 14 Aug 1995 20:23:55 -0400 From: Garry Segal Subject: Re: Regional Preferences Denise Tapp recently posted; > I have an East coast friend that wouldnt spend the money to see Little Milton again < Yikes.. his loss I guess, but to each his own. Her post mentioned how some artist vary their style to fit a certain area ( Kenny Neal playing differently in NOLA than say NYC) The East coast comment really struck home as I tour with my band mainly in that area. Ive found a larger emphasis on guitar driven styles in Eastcoast bands then soul vocal stuff up here. We have a great guitar player but my set lists consists of plenty of Ray Charles, Bobby Blue Bland, OV Wright, Sam & Dave in with Muddy, Little Walter, BB a bunch of originals etc.. I'm wondering what part of the country the emphasis is on soultunes and upfront vocals more than contemp guitar stuff...... I start packing as soon as I get the info ! :--) Take Care, Garry Bandpage http://www.island.net/~blues/BlueSngr.html " Death Dont Have No Mercy In This Land" Rev. Gary Davis ========================================================================= Date: Mon, 14 Aug 1995 17:57:40 -0800 From: Don Cicchetti Subject: Re: Apology Jim Miller said: > I think the idea that somehow those critical of Jerry Garcia somehow owe the >list an apology is simply wrong. I completely was in love with Albert Collins' >music. When he died I was heartbroken. A friend of mine told me soon after he >died that he thought Albert was overrated etc. I didn't appreciate it but >instead of getting in a shouting match we ended up having a rather civilized >debate. I did not demand he apologize. As long as we don't personalize our >attacks on members of this list I believe apologies are not in order. Therefore >, telling someone to get a life is too personal and I believe inappropriate but >this was said in response to posts that generally said you cannot critique Mr. >Garcia at this time so shut up. Telling someone to shut up in this case is not >appropriate. This debate was not worthless because a lot of people were exposed >to the Dead's connection to blues (brought up by those defending Garcia being >mentioned on this list). We should NEVER make these people into gods beyond the >scope of reasonable critique. Over the years we have had controversies >considering such questions as: Is SRV more blues or rock? Is SRV innovative? >What does Garry Moore have to do with the blues? Was Robert Johnson overated? >Has this music become too retro? Are purists full of it? Will popularity kill >the Blues? Maybe some of this is too negative for some of you but if all we >did >was praise there would be no standards (everybody is wonderful and if they >believe they are playing blues then so be it) and we would simply be some >mindless fan club promoting platitudes. So when someone says that Blues is >great >music because it is honest I want to know what the hell that means. And if >someone says that in today's world that statement is complete bullshit and >gives >good reasons for it, it makes our list have some element of true discourse. I >love it. And by the way, I do believe Jerry Garcia was someone who used Blues >in >a creative way and is totally relevant to this list and he will be missed by >myself. BUT NOBODY OWES ME AN APOLOGY! You are welcome to take this position if you like. the discussion is not about "restricting the debate" or any other such nonsense. it is about MANNERS and kindness to others who may feel badly. If I'm having a boo-hoo cuz Jerry died, and you come up to me and say "He SUCKED, and the Dead was BULLSHIT!" You might have a sudden pain in your posterior where I planted my boot.... But here on the net we can be rude and uncivilised eh??? really?? not in my world. sorry Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 14 Aug 1995 21:02:08 -0400 From: Garry Segal Subject: Re: Purists In reply to my anecdote about the bass player who didnt appreciate me complimenting him as a Blues Singer. My point was he didnt want to be thought of exclusively as one and would have preferred it if I said youre a good singer. I didnt apologize to him and personally think someone telling you you are a good blues singer is the highest compliment available to vocalists. The story was in the context of "labels"(purists etc,) sometimes not being a good thing, the bass player had a right to correct me if that was his personal feeling. Also the rest of the story was, he lightened up and we got a good buzz on. Garry " Are You Going Where Im Coming From, Have You Been Where Im Trying To Go" OV WRIGHT ========================================================================= Date: Mon, 14 Aug 1995 18:07:28 MST From: Bill Breen Subject: Re: BB, Etta Jones, Irene Reed ---------------------------------------------------------------------------- -- On Mon, 14 Aug 1995, L W wrote: > > I've heard of Etta Jones, but I don't know about Irene Reed..? > >If not mistaken, Irene Reed is the lady that toured with Lyle Lovett's >Large Band. A good singer of several styles! > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu Isn't that Francine Reed?? --bill-- ========================================================================= Date: Mon, 14 Aug 1995 19:25:50 +0100 From: Byron Foulger Subject: Re: None Please read with tongue - somewhat- in cheek ! Dear Mr. Tony Burke and all others involved in the Blues-l bitterness corres. I would be grateful for some advice from you all, as I have been perusing the recent correspondance on the blues-l mailing list/web site, and noticed the various items of mail relating to what should/ should not count as related correspondance. I have had a problem as to whether to post some 'news' or not to post it, but here goes: Just over twenty years ago I purchased a budgerigar. I called it Snooky, this being because the night before the purchase, I had seen Snooky Pryor and was mightily impressed. I was very very fond of the budgerigar, and when it died, approximately eight years ago I was somewhat saddened. As I called it after a blues icon (IMHO), am I entitled to post this on blues-l because of a thin, very thin thread relating the bird to blues? (as it happenes the bird was green, should I have called it Peter?) My problem is that because I am deeply involved with blues, I don't really realise what is happening on other non-blues music and of its relevance. To illustrate this I would point out that on reading the 'Atlantic and Godfathers of Rock And Roll' book a few years ago I read of a band called 'Foreigner' which had apparently been the biggest selling group in the world for a period of a few years - I had never heard of them! Am I living in a 'blues vacuum', but quite happy there, just reading and listening to blues news and music, regardless of what is happening in the budgerigar world, or even the greater cockatoo world? In summary then, my problem is, do I post the sad news of my feathered friend's demise on blues-l ,because I don't think anyone who subscribes to the list will know of the fact, on budgerigar-l, or even perhaps on cockatoo-l? I would appreciate your comments, or perhaps should I post this question to other members on the blues-l listing, who think items such as Jerry Garcia's death should be mentioned on blues-l? Well hope I didn't offend anyone, just trying to get a point over! Byron Foulger > ========================================================================= Date: Tue, 15 Aug 1995 09:35:43 +0700 From: "Peter E. Beal" Subject: Re: unknown tune On Mon, 14 Aug 1995, Bonnie Kalmbach wrote: > A stranger just called me - on the advice of a friend - and asked if I > knew the (alleged) blues tune that contains the lyrics: > > "I told you I love you - now get out!" > > Anybody know?? > > -Bonnie > The name of the song is "I Told You I Love You - Now Get Out!". My recording of it was by Woody Herman's Second Herd in 1947. The composer credits are "J. Frigo, L. Carter and H. Ellis" but I don't know who they are, with the possible exception that "H. Ellis" could be Herb Ellis. ========================================================================= Date: Mon, 14 Aug 1995 22:59:35 -0400 From: POXY MAN Subject: Re: Blues-L meeting in SA - REVIEW/"Today I Started I may be wrong but I think "Today I started loving you again" was originally a Merle Haggard song. ========================================================================= Date: Mon, 14 Aug 1995 23:14:31 -0400 From: Tom Freeland Subject: Re: Blues-L meeting in SA - REVIEW/"Today I Started In a message dated 95-08-14 23:07:39 EDT, poxyman@AOL.COM (POXY MAN) writes: >I may be wrong but I think "Today I started loving you again" was >originally a Merle Haggard song. > > songwriting credit is Merle Haggard and Buck Owens. Tom Freeland ========================================================================= Date: Mon, 14 Aug 1995 23:41:24 -0400 From: MMADSEN1 Subject: Re: Blues-L meeting in SA - REVIEW >One question: he did that old country tune, "Today I Started Loving You >Again." Who did the original? I'm pretty sure Merle Haggard wrote it and was the first to record it. IMHO Merle Haggard is one hell of a good bluesman. I'm sure there would be some contrary opinions by other members of blues-l, but I'd be willing to bet my old socks that not many of the big time bluesmen would disagree. adios for now MICHAEL L. MADSEN, BLAINE, WASH. ========================================================================= Date: Mon, 14 Aug 1995 23:41:51 -0400 From: Garry Segal Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! >Byron recently posted the death of his budgerigar (some kind of pet I guess)named Snooky to the list, comparing its importance to any recent deaths of rock musicians whos blues import is at the least debatable. < Sorry to hear of the passing of " Snooky ". 8 years ago. Although his output was small, he influenced many to happily block out other musical influences not 100% blues, even though some of his favorite blues artists were influenced by classical, jazz and gospel music. Actually many rock musicians mourn Snookys demise because they shared the same love of blues and helped bring it to a wider audience, many of whom went back to the original blues artists and supported them also . Certainly glad to see this important passing noted on Blues L. Sorry it took 8 years to get your obit. out to the world . Now......what the hell is a budgerigar, Byron ? Your "point" is pretty obscure, just say what you mean bro' . :-) Garry " Death dont have no mecy in this land..." Rev. Gary Davis ========================================================================= Date: Mon, 14 Aug 1995 20:22:27 -0400 From: DormRA@AOL.COM Subject: Fwd: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles --------------------- Forwarded message: Subj: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles Date: 95-08-14 17:16:37 EDT From: DormRA To: DormRA Hi fellow 'netters, My name is Samantha Ellery and I recently started using a magazine subscription club in the USA that has a FREE 1 yr. magazine subscription deal with your first paid order- and I have been very pleased with them. They have over 1,500 different USA titles that they can ship to any country on a subscription basis. As for computer magazines from the USA, they more of a selection than I ever knew even existed. They have magazines for most every area of interest in their list of 1,500 titles. Within the USA, for their USA members, they are cheaper than all their competitors and even the publishers themselves. This is their price guarantee. Overseas, on the average, they are generally around one-fourth to one-half of what the newstands overseas charge locally for USA magazines. On some titles they are as little as one-tenth of what the newstands charge. They feel that mgazines should not be a luxury overseas. In the USA, people buy magazines and then toss them after reading them for just a few minutes or hours. They are so cheap in the USA! Well, this company would like to make it the same way for their overseas members. They are also cheaper than all their competitors in the USA and overseas, including the publishers themselves! This is their price guarantee. Around one-half their business comes from overseas, so they are very patient with new members who only speak limited English as a 2nd language. Their prices are so cheap because they deal direct with each publisher and cut-out all the middlemen. They will send you their DELUXE EMAIL CATALOGUE (around 400K-big and juicey) !)...if you completely fill out the form below. It has lists of all the freebies, lists of all the titles they sell, titles broken down by categories and detailed descriptions on nearly 1000 of the titles that they sell. Please do not email me as I am just a happy customer and a *busy* student. I don't have time to even complete my thesis in time, let alone run my part-time software business! Email them directly at: catdove@freenet.fsu.edu *------------cut here-----------------------------------------------* REQUEST FOR MORE INFO: please copy this section *only* and email to: catdove@freenet.fsu.edu (sorry, but incomplete forms cannot be acknowledged) Name: Internet email address: Smail home address: City-State-Zip: Country: Work Tel. #: Work Fax #: Home Tel. #: Home Fax #: Name of USA mags you currently get on the newstand or in the store: Name of USA mags you currently get on a subscription basis, through the mail: Name of USA mags you would like price quotes on when we call you: {NOTE: We have 2 options for sending you our catalogue (will automatically send 22-part email message unless you choose attached file option)} Do you want our catalogue as a 22-part email message (~400K)?: (will work for any computer) Do you want our catalogue as an attached file to an email message?: (sent uncompressed as a ~400K file formatted in Microsoft Word for a mac- if you use another computer platform, you will have to know how to convert it) How did you hear about us (name of person who referred you or the area of the internet that you saw us mentioned in): Samantha Ellery 081495XDVGV *------------cut here-----------------------------------------------* They guarantee to beat all their competitors' prices. Sometimes they are less than half of the next best deal I have been able to find and other times, just a little cheaper - but I have never found a lower rate yet. They assured me that if I ever do, they will beat it. They have been very helpful and helped me change my address from the USA to Finland and then back again when I moved last month. They are very knowledgeable about addressing mags worldwide. They have a deal where you can get a free 1 yr. sub to a new magazine from a special list of over 300 popular titles published in the USA. They will give you this free 1 yr. sub when you place your first paid order with them to a renewal or new subscription to any of the over 1,500 different popular USA titles they sell. They can arrange delivery to virtually any country and I think they have clients in around 35 or 36 countries now. Outside the USA there is a charge for foreign postage and handling (on both paid and freebie subs) that varies from magazine to magazine. I have found their staff to be very friendly and courteous. They even helped me with an address change when I moved from one country to another. The owner thinks of his service as a "club" and his clients as "members" (even though there is no extra fee to become a member - your first purchase automatically makes you a member) and he is real picky about who he accepts as a new member. When he sets you up as a new member, he himself calls you personally on the phone to explain how he works his deal, or sometimes he has one of his assistants call. He is kind of quirky sometimes - he insists on setting up new members by phone so he can say hi to everyone (I sure wouldn't want to have his phone bills!), but you can place future orders (after your first order) via E-mail. He has some really friendly young ladies working for him, who seem to know just as much as he does about this magazine stuff. If you live overseas, he will even call you there, as long as you are interested, but I think he still makes all his overseas calls on the weekends, I guess cause the long distance rates are cheaper then. He only likes to take new members from referrals from satisfied existing members and he does virtually no advertising. When I got set-up, they had a 2-3 week waiting list for new members to be called back so that they could join up. (Once you are an existing member, they help you immediately when you call. ) I think they are able to get back to prospective new members the same day or within a few days now, as they have increased their staff. I am not sure about this.........but if you email the above form to them, that is the way to get started! They will send you some FREE info. via E-mail (the short version (around 40K) of their catalogue, or if you request it the DELUXE LONG VERSION (around 400K-big and juicey) !)...if you fill out the form near the top of this message. They then send you email that outlines how his club works and the list of free choices that you can choose from, as well as the entire list of what he sells; and then they will give you a quick (3-5 minute) friendly, no-pressure no-obligation call to explain everything to you personally and answer all your questions. Once you get in, you'll love them. I do. For more info, just fill out the form near the top of this message and email it to: catdove@freenet.fsu.edu Sincerely, Samantha Ellery ========================================================================= Date: Tue, 15 Aug 1995 00:06:18 -0400 From: "...... Poxyman" Subject: Re: Blues-L meeting in SA - REVIEW/"Today I Started And a damn fine song I might add! Pat Seay ========================================================================= Date: Tue, 15 Aug 1995 00:18:24 -0500 From: Kevin Boyle Subject: Re: Saffire Advice Terry said: >The wife and I are thinking about going to see Saffire in near-by Knoxville TN and was wondering if any blues-lers had any recommendations. Go or No Go? I say GO! I have seen and listened to Saffire since their first CD and found them to entertaining to say the least! Their sense of humor and energy will leave a lasting effect on your psyche (which, perhaps, many 'zellers could use lately...) Anyway, I digress, These women are wonderfully talented and I guaran-damn-tee you that this is one blues group that your little lady will enjoy! Thats Right, the Women Are Smarter... Peace! Kevin B. ========================================================================= Date: Tue, 15 Aug 1995 00:24:13 -0500 From: Patti Bowman Subject: Re: Purists I AM A PURIST! Patti -who defines "purist" as regarding only music that speaks to my heart & soul regardless of genre or influence. All other combinations of notes are not "pure" to me & are left dangling in the universe for someone else to enjoy. ========================================================================= Date: Tue, 15 Aug 1995 00:24:19 -0500 From: Patti Bowman Subject: Re: Saffire Advice >The wife and I are thinking about going to see Saffire in near-by Knoxville >TN and was wondering if any blues-lers had any recommendations. Go or No >Go? Do they do a good show? I have heard a few things they do but not >much. >Any comments are welcome. >Terry Terry, in a word, GO! -Patti ========================================================================= Date: Tue, 15 Aug 1995 00:24:25 -0500 From: Patti Bowman Subject: Re: Purist/NOT a Blues Singer >> Garry said: (edit edit) >> >> >Backstage after the show I >> >said to the bass player (sorry cant remember name) " Wow you are a great >> >blues singer, really enjoyed your opening tunes. " He glared at me and >> >said" I'M NOT A BLUES SINGER ! I play and sing all kinds of music ,country >> >jazz whatever .Right now I happen to be working in a blues band thats all." Sounds like this guy was sufferin' from PMS (Pissed-off Musician Syndrome) Try again in a week. -Patti ========================================================================= Date: Tue, 15 Aug 1995 02:55:04 GMT From: George Myers Subject: Re: Duarte in Omaha/Lincoln If you just can't get enuf, roll on down to the Grand Emporium in K.C. 10/5 ========================================================================= Date: Tue, 15 Aug 1995 05:18:04 GMT From: brad gekler Subject: Hollywood Fats/ "Rock This House" On a more positive note, I just pulled out a CD that a friend gave me about a year ago and thoght I'd put in a plug for one of the greatest blues guitarists the west coast has ever enjoyed. Sadly, Hollywood Fats left us way to soon(32 years old). The more I listen to this guy the more I know where I'd like to go with my playing. It was cut in '79 and reissued as a CD on BlackTop (BT-1097). He worked with James Harmon(along with Kid Ramos) and Rod Piazza in the '80's. Fats also worked (while very young)with Muddy, ShakeyJake and many others including Albert King who took him under his wing for a time. If you play guitar or like great rockin'blues and shuffles done with taste, give it a listen. I know you'll be glad you did. BTW I'm not affiliated with BT records(and all that jazz) BRG ========================================================================= Date: Tue, 15 Aug 1995 01:29:01 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: John Lee Hooker's car stolen <> I was worried -- I thought he lost that 1952 Buick with the "Mr. Lucky" plate... is/was that his? Turtle ========================================================================= Date: Tue, 15 Aug 1995 03:32:26 -0400 From: Tony Burke Subject: JESSE THOMAS - A GREAT BLUESMAN PASSES Just when you thought I wouldn't happen. Afetr the all the discussion about Garcia and his place on Blues-L - a blues artist of REAL importance has passed on. Jesse Thomas - one of the last of the great Texas bluesmen and I mean GREAT! Brother of Willard Ramblin' Thomas, he started making records back in the late 20's and was still making 45's until a coupla years back. In between he owned his own record labels (Red River) as well as cutting some stunning Texas country blues and R&B for Roy Milton's Miltone label, Club, Freedom, Modern, Specialty, Downbeat, Elko, Hollywood. He tried his hand at every blues style including sax lead R&B, but it is for his excellent downhome sides that blues fans will remeber him. If time allowed I would write a lot more. I hafta travel for a coupla days, so when I get back I guess Eric, Dick and the guys will have posted obits on this truely remarkable blues artist. TB ========================================================================= Date: Tue, 15 Aug 1995 21:26:29 +1300 From: MIKE GARNER Subject: Geoff Muldaur A while back we were posting details of blues siblings etc and (this shows how slow I am!), I was reminded of Geoff and Maria Muldaur. I have Maria's recent stuff on CD, but also have an ancient copy of Geof and the Nightlights which I used to play all the time; now I've discovered it's still great! Anyone know what happend to Geoff? Mike Garner The New Zealand Blues Society ========================================================================= Date: Tue, 15 Aug 1995 06:02:23 -0400 From: robbd@VYGER.ENET.DEC.COM Subject: Irma Thomas CD I'm looking for the cat. # for the "Time Is On My Side" compilation (EMI/ Capitol?) .. can anyone tell me if this is a USA-only title, or was it also released here in the UK?? Cheers, - Dougie (no longer in Ottowa) ========================================================================= Date: Tue, 15 Aug 1995 10:53:03 +0000 From: Pat Hertel Subject: Re: Fwd: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles I invite all 'zellers to respond to catdove@freenet.fsu.edu and tell her your thoughts on this post. In no uncertain terms....... phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/8/95 6:39 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 15 Aug 1995 20:51:26 +1000 From: Andy Turner Subject: Re: Australian CD's On 11 Aug 95 at 13:47, Michael Hewitt wrote: > Does anyone know of a source for Australian issued CD's? There > are a couple of artists whose work I like, but they are > apparently unavailable through my normal stores (can't even be > special ordered). I am especially interested in the work of > Jimmy Barnes and 12-year-old blues prodigy Nathan Cavalari. > Don't know if Nathan has recorded yet, but I'm assuming he has > since he had a U.S, tour this year. And Jimmy's "Soul Deep" > features some great R & B covers. Thanks in advance for the > help. > > Michael Hewitt Michael, one source is Polyester records in Melbourne, Australia. It has an international mailorder service, and anything not on its catalogue will be hunted up for you. You can access its web page (incl. catalogue, but not of everything it has) at http://www.polyester.com.au/PolyEster/index.html. alternately, its e-mail address is fools@polester.com.au. BTW, I interviewed Brownie McGhee today, and I'll put an expurgated version on blues-l soon. He's every bit as entertaining to talk to as he is to hear perform. As he put it, "I'm not a musician. I'm an entertainer". He sure is! All the best, Andy Turner ********************************************************** "It's a sad and beautiful world" ********************************************************** ========================================================================= Date: Tue, 15 Aug 1995 06:49:11 -0500 From: Roger Struve Subject: Re: Elmore James lyrics -HELP please. -Reply I think John Hammond sings a song with these lyrics, but in his song...it goes: ...if i can't find her in west helena, then she'll be in east monroe, i know... then he also talks about: ...she's a no good phoney, they shouldn't let her out on the street.... and he also sings about: ...I'm gonna call up China, see if my good gal is over there.. and now my memory is fadin', but there is a part where: " if she ain't in ......, she'll be in Ethiopia, i know." regards, delta doc roger ========================================================================= Date: Tue, 15 Aug 1995 07:47:00 EDT From: Debra Eisert Subject: Re: Saffire Advice Terry -- my husband won tickets to a Saffire show several years ago. The timing was terrible. I worked until 9, drove an hour to the venue. My feet were sore, I was grouchy and really just wanted to sleep. At the club there was no place to rest my aching feet (and I was still in my heels.) And who were these folks anyway? Well, they came on. The musicianship, humor and energy revitalized me, and I have heard them every subsequent chance I have gotten. I own all their CD's and wait eagerly for more. GO!!!! */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ debra @ iglou.com Librarians know how Debra Lee Eisert to find the most fun! Cincinnati, Ohio USA */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ ========================================================================= Date: Tue, 15 Aug 1995 08:04:54 EST From: "Steven G. Toney" Subject: Re: Memphis blues Yeah, but just because Elvis and the Beatles came along doesn't mean that the others went away...they were still there. It was just a different style of music and the general public went gonzo with it. I will ALWAYS love the Beatles' music and I will ALWAYS love Elvis music. I don't think history was forgotten, as you state in your post Chris, I just think that the time wasn't right for these guys, for whatever reasons we can speculate. I'd hate to think, however, that the blues lovers of the world, or the black musicians who didn't "hit the big time" think that the Elvis or the Beatles stole their show. I don't think that is true. My personal opinion is that rural Americana wasn't mature enough at the time to embrace a music form that originated in the fields of the delta and propogated itself for years through the black American heritage. Unfortunately, nothing or nobody can make the worlds attitudes change in a day. Steve Toney ______________________________ Reply Separator _________________________________ Subject: Memphis blues Author: Chris Adams at INTERNET Date: 8/14/95 5:36 PM According to Peter Guralnick, "Memphis in the 1950's was an incredible cauldron of musical activity, rivaled only by New Orleans for its variety of music and by Chicago for the intensity of its blues feeling. Probably never before had there been the creative interaction of so many different black styls, and that interaction-- and its concomitant commercial success-- might very well still be going on today if Elvis Presley had not walkded into the Sun studio after graduating from high school in 1953, to make a birthday recording for his mother." I guess I knew that Elvis changed the course of music, but this quote really emphasized to me how easily styles are influenced and how quickly history is forgotten. The same thing happened with the Beatles. The sad thing is, I liked Elvis when he first came out, and I liked the Beatles (with some reservations). Just think of the forgotten musicians and producers who were shut out of the business almost overnight. I guess we should be thankful for CD technology because I'm not sure all the reissues we are seeing would have happened with LP's and cassettes. I bet more people know Howlin Wolf's music now than they did in 1970. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Tue, 15 Aug 1995 07:40:48 -0500 From: Craig Edmundson Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! A budgerigar is an Australian parrot. I am under the impression they are affectionately known as "budgies." Back in the late '70s there was a pretty decent power trio from the U.K. named Budgie. I also seem to remember a Monty Python reference to "having to put the budgie down." Budgies are famous for their ability to hit the blue note. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Mon, 14 Aug 1995, Garry Segal wrote: > > Now......what the hell is a budgerigar, Byron ? Your "point" is pretty ========================================================================= Date: Tue, 15 Aug 1995 12:59:10 -0500 From: Jeff Seale Subject: Re: Merle Haggard was Today... On Mon, 14 Aug 1995, MMADSEN1 wrote: > >One question: he did that old country tune, "Today I Started Loving You > >Again." Who did the original? > > I'm pretty sure Merle Haggard wrote it and was the first to record it. > IMHO Merle Haggard is one hell of a good bluesman. I'm sure there would > be some contrary opinions by other members of blues-l, but I'd be willing > to bet my old socks that not many of the big time bluesmen would disagree. I was in Blockbuster last night and looked in the catalog to find out who did this. It WAS Merle Haggard. Perusing the Merle section there was a disc by him that was called something like Old Country Blues (or something similar). Today wasn't on it, but there were a bunch of songs with the word Blues in the title. Anyone heard this - opinions? -Jeff (and don't tell me MH doesn't belong on this list) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Tue, 15 Aug 1995 13:06:48 -0500 From: Jeff Seale Subject: Re: Fwd: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles On Tue, 15 Aug 1995, Pat Hertel wrote: > I invite all 'zellers to respond to > catdove@freenet.fsu.edu and tell her > your thoughts on this post. > In no uncertain terms....... Well, I tried bouncing that message to this person with a nuclear flame attached and guess what - it bounced right back - no such user at AOL. Go figure... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Tue, 15 Aug 1995 09:19:37 -0400 From: Lynn Moncrief Subject: Re: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles In a message dated 95-08-15 07:35:05 EDT, you write: > I invite all 'zellers to respond to >catdove@freenet.fsu.edu and tell her >your thoughts on this post. > In no uncertain terms....... hehehe! I already did. :-) BTW, her address is DORMRA@AOL.COM. That catdove address is the one she gave to direct replies away from her own mailbox. Does she think that just because we love the blues, we're also into eating spam? ;-) Lynn ========================================================================= Date: Tue, 15 Aug 1995 08:13:31 EDT From: george morales Subject: upcoming blues in Phila PA I picked up a flyer at the recent show by Luther "guitar Jr" Johnson and wanted to pass along the info: At a blues club called Warmdaddy's (215-627-2500) these artists will be performing: July 17-19 Sonny Rhodes July 20 Jim McCarthy July 23 Kenny Neal July 24 Clarence Spady Blues Band July 25-26 Mose Allison July 27 CJ Chenier & the Red HOt Louisana Band July 30 Frankie 'The SOulman" Alstin & His blues Revue Aug 1-2 JIMMY DAWKINS When i went to see Luther Johnson the cover charge was $10 Any info on JIMMY DAWKINS? Is he a guitarist and did he play with Muddy Waters? Thanks, George ========================================================================= Date: Tue, 15 Aug 1995 08:43:25 -0500 From: Bruce Roberts Subject: Victory Grill A couple of weeks ago the Victory Grill reopened. This East Austin bar was a hotbed of Blues activity for many years. As well as being the starting ground for local talents like "Blues Boy" Hubbard, WC Clark, and TD Bell, it was also the club that gave Bobby Blue Bland his start. The reopening of this club is much more than just another Blues club in Austin. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Tue, 15 Aug 1995 09:53:25 -0400 From: Hugh Hardy Subject: Aplogy/etiquette I must say that I totally agree with Jim Miller on this. I sent the "Garcia-Schmarcia" message about soooo much Garcia on the list. Geeze...I loved that guy and his attitude..but people on this list can be sooooo serious , that they forget how to... :-) I think it is the perfect right of anyone on this forum to be ignorant, opinionated, and unreasonable. What right does Don C. have to suddenly decide that his rules require an apology... that is arrogant ... of course the irony is that both Garcia and I are (were) involved with the Seva Service Society - a charity - and I loved his spirit. But it doesn't matter... even if I was genuinely insensitive, this is a democracy. So lighten up people (although you have the right not to!). Hugh H. P.S. I understand that Mickey Mantle played a mean blues harp...how 'bout some discussion. ;-)> ========================================================================= Date: Tue, 15 Aug 1995 10:09:43 -0400 From: Peter Welch Subject: Radio Playlist Here's last Friday's (8/11) playlist from my show, "Nothin' But the Blues" on WTJU-FM 91.1, Charlottesville, Virginia. Down in Virginia: Smokey Wilson (Smokey Wilson w/Wm. Clarke Band; Black Magic CD) Crazy Girl: Phillip Walker (From the Bottom of the Top; Hightone LP) Keep it to Yourself: William Clarke (Rockin' the Boat; Rivera Records LP) Cross Your Heart: Shakey Jake (The Key Won't Fit; Murray Brothers LP) Help Me: Sonny Boy Williamson #2 (The Essential Sonny Boy Williamson; MCA/Chess CD) Worry, Worry: B.B. King (My Sweet Little Angel; Virgin/Flair CD) Phonebill Blues: James Harman (Do Not Disturb; Black Top CD) That's My Life: Roomful of Blues (Live at Lupo's Heartbreak Hotel; Varrick LP) She's Dynamite: B.B. King (One Nighter Blues; Ace(UK) LP) The Thrill is Gone: Roy Hawkins (Why Do Everything Happen to Me?; Route 66 LP) Going Down Slow: B.B. King (The Best of B.B. King, Vol. 1; Ace(UK) LP) My Baby Don't Work: Robert Ealey (Texas Bluesmen; Topcat CD) Give Me Back My Wig: Hound Dog Taylor (Hound Dog Taylor & The House Rockers; Alligator CD) Lemonade: Sam Myers w/Anson Funderburgh & The Rockets (Rack 'Em Up; Black Top CD) Lemon Squeezin' Daddy: Nappy Brown (Tore Up; Alligator CD) Streamline Woman: Muddy Waters (Blue Sky; Sony/Epic/Legacy CD) Bad Bad Whiskey: Sonny Rodgers (They Call Me The Cat Daddy; Fattening Frogs CD) Love is a Cold Shot: Lee "Shot" Williams (Cold Shot; Black Magic CD) Cold Shot: Stevie Ray Vaughan (Couldn't Stand the Weather; CBS/Epic CD) U.P. Express: U.P. Wilson (Wild Texas Guitar; Double Trouble CD) Slow Dance: Cal Valentine (The Texas Rocker; Black Magic CD) Just One More Time: Lowell Fulson (Tramp/Soul; Ace(UK) CD) I was a Fool: Kid Ramos w/Lynwood Slim (Two Hands, One Heart; Black Magic CD) I Gotta Find My Baby: Percy Strother w/RJ & Kid Morgan Blues Band (Ready to Go!; Blue Moon CD) Oil Can Harry: Big Rhythm Combo (Too Small to Dance; Black Magic CD) I Got a Feeling: R.J. Mischo (Gonna Rock Tonight; Blue Moon CD) Now or Never: Big Rhythm Combo (Too Small to Dance; Black Magic CD) Roll Mr. Jelly: Kid Ramos w/Lynwood Slim (Two Hands, One Heart; Black Magic CD) -Peter W. ========================================================================= Date: Tue, 15 Aug 1995 09:11:00 CDT From: Paul Garon Subject: Re: Blues Lemons >Besides the following, does anyone know any more blues/r&b >songs with "lemon" in the title: > >Lemon Queezin' Daddy - Nappy Brown >Lemonade - Sam Myers w/A. Funderburgh >Lemon Squeezer - J.B. Lenoir / Jimmy Rogers > >Any more? > >Thanks, > >Peter W. > Let Me Squeeze Your Lemon, by Charlie Pickett ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email, postal mail or ftp: ftp.mcs.com/mcsnet.users/beasley _______________________________________|______________________________________ ========================================================================= Date: Tue, 15 Aug 1995 14:35:31 +0000 From: Pat Hertel Subject: Re: upcoming blues in Phila PA On Tue, 15 Aug 1995, george morales wrote: > > Any info on JIMMY DAWKINS? Is he a guitarist and did he play with Muddy Waters? > This question (no reflection on the questioner) speaks VOLUMES. I am just can't understand why Jimmy Dawkins isn't one of the biggies. Is it his reputation for being "crusty"? BTW, he is a guitarist, hotdog you bet. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/8/95 10:13 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 15 Aug 1995 08:47:14 -0600 From: Watterworth Jay Subject: Re: Geoff Muldaur Boy, what a shot from the past. I remember Jeff & Maria from the Kweskin Jug Band. It seems that the old jug bands were a welcome relief from the squeeky clean hootenanny folk singers of the 60's. Other than his work with Butterfield's Better Days, some stuff with Amos Garret, and his solo effort Blues Boy (a lot of fun -- nice cover of some classic stuff including an inspired "Walkin' to New Orleans") of the late 1970's, I haven't heard from him either. Thanks for the memories! Jay Watterworth CU Boulder On Tue, 15 Aug 1995, MIKE GARNER wrote: > A while back we were posting details of blues siblings etc and (this > shows how slow I am!), I was reminded of Geoff and Maria Muldaur. > I have Maria's recent stuff on CD, but also have an ancient copy of > Geof and the Nightlights which I used to play all the time; now I've > discovered it's still great! > > Anyone know what happend to Geoff? > > Mike Garner > The New Zealand Blues Society > ========================================================================= Date: Tue, 15 Aug 1995 08:48:52 -0600 From: Watterworth Jay Subject: Re: Fwd: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles Already have. I have a nice file of about 2000 msgs I thought I would send her to read. I know I haven't had a chance to. Jay Watterworth CU Boulder On Tue, 15 Aug 1995, Pat Hertel wrote: > I invite all 'zellers to respond to > catdove@freenet.fsu.edu and tell her > your thoughts on this post. > In no uncertain terms....... > > phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca > Local Time [15/8/95 6:39 AM] > "Tuesday's just as bad..." > ========================================================================= Date: Tue, 15 Aug 1995 09:48:27 CST From: JBards Subject: Re: JESSE THOMAS - A GREAT BLUESMAN PASSES Tony- Please make that "Louisiana Bluesman". Jesse was born outside of Shreveport in Logansport, lived here until the early 30s when he moved to California, and moved back to Shreveport in the 50s and lived and played here continually since then. To the best of my limited knowledge he never lived in Texas. -Jim _______________________________________________________________________________ Subject: JESSE THOMAS - A GREAT BLUESMAN PASSES From: Tony Burke at INTERNET-SH Date: 8/15/95 2:52 AM Just when you thought I wouldn't happen. Afetr the all the discussion about Garcia and his place on Blues-L - a blues artist of REAL importance has passed on. Jesse Thomas - one of the last of the great Texas bluesmen and I mean GREAT! Brother of Willard Ramblin' Thomas, he started making records back in the late 20's and was still making 45's until a coupla years back. In between he owned his own record labels (Red River) as well as cutting some stunning Texas country blues and R&B for Roy Milton's Miltone label, Club, Freedom, Modern, Specialty, Downbeat, Elko, Hollywood. He tried his hand at every blues style including sax lead R&B, but it is for his excellent downhome sides that blues fans will remeber him. If time allowed I would write a lot more. I hafta travel for a coupla days, so when I get back I guess Eric, Dick and the guys will have posted obits on this truely remarkable blues artist. TB ========================================================================= Date: Tue, 15 Aug 1995 10:51:55 -0400 From: Ross Whitwam Subject: Re: Purists I wrote: The main criterion for being a purist seems to be that you don't like what I like. Then Don Cicchetti replied: > >No, as I said above, one of *my* definitions of a purist as someone who is >hostile to change, and feels the need to vocally criticize others' tastes >in order to uphold a tradition they value. This act is counter-productive >however. > <...snip...> >IMO, the act of considering people to have intelligence/artistic >sensibility in the precise proportion that they agree with you to be one of >the defining acts of a "purist"... I'd say most people who label someone else a purist don't probe that person's tastes extensively enough to make that judgement. It's not enough that you do. For a term to have value it has to have a definition excepted by all who use it. Language isn't much use if everyone defines and uses words differently based on their inclinations. The only consistent feature I see associated with "purist" is its use as an insult and as a justification to cut off discussion. > >Or, the person who thinks SRV "sucks" may have just said that any blues >recorded after 1959 is "whore music" and not "real blues", in which case >he IS a purist.... Personally, I've never heard anyone talk in these terms, except when being deliberately provocative. Perhaps you've experienced a great many of them, but certainly I've never encountered such an attitude on the blues-l. Yet the term purist comes up here regularily. Usually used pre-emptively by people praising something they're afraid others might disdain -- "Purists might not like this but..." In such a case, the term is not used in any meaningful way except to convey the message that, if you don't agree with me fine, but you're a goof too. So there. That doesn't really serve the cause of tolerance or open- minded discussion very much, so why use the term at all? >BTW, "purist" can also be a great compliment..... > Only if even *your* definition is so flexible as to make the term meaningless. There wasn't anything complimentary in the definition you provided above. (Saying: >Yes there are positive sides, one of them being that purists maintain the >memory and tradition intact is not the same as a great compliment, IMHO.) Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Tue, 15 Aug 1995 08:53:58 -0600 From: Watterworth Jay Subject: Cleaning and de-warping vinyl (fwd) This might prove useful to some of you. Jay Watterworth CU Boulder ---------- Forwarded message ---------- Date: Tue, 15 Aug 1995 10:34:53 -0400 (EDT) From: Ken Freedman To: exotica@xmission.com Subject: Cleaning and de-warping vinyl Oringally From: Ken Freedman Here's my suggestions for cleaning and de-warping vinyl. Cleaning - After years of trying any manner of solvents, I am convinced that good old ivory soap and warm water works best of all. De-warping - Get two plates of good quality glass, and stick the vinyl in between. Leave it out in the sun for a few hours on a warm (not hot) day. If the record is extremely warped, you may end up with grooves that will wow and flutter, but this method works real well for minor and moderate warps. -ken !*************************!************************! Ken Freedman - Station Manager, Family Man, Red Sea Pedestrian, Vinyl Hound. WFMU PO Box 1568 Montclair, NJ 07042 (201) 678-8264 Fax: (201) 659-7487 WFMU web site: http://wfmu.org -- For help using the list software (sub/unsub, list users, etc.), email majordomo@xmission.com with HELP on a line by itself in the message. ========================================================================= Date: Tue, 15 Aug 1995 10:00:41 CST From: JBards Subject: Re: JESSE THOMAS - A GREAT BLUESMAN PASSES Tony, apparently you just don't /get/ it, do you? The mention of Garcia is not about blues, it is about the passing of a notable, some would say great, musician who played across a variety of musical idioms, one being blues. As eclectic as Jesse was, I know he would be the first to tell you that good music is just good music. You treat this list as if it were some sort of invitation-only gentleman's club, and in the same breath you pull a factual boner like calling Jesse a Texas bluesman. Lighten up, quit being so arrogant, and get your facts straight. -Jim _______________________________________________________________________________ Subject: JESSE THOMAS - A GREAT BLUESMAN PASSES From: Tony Burke at INTERNET-SH Date: 8/15/95 2:52 AM Just when you thought I wouldn't happen. Afetr the all the discussion about Garcia and his place on Blues-L - a blues artist of REAL importance has passed on. Jesse Thomas - one of the last of the great Texas bluesmen and I mean GREAT! ========================================================================= Date: Tue, 15 Aug 1995 15:09:14 GMT From: keith abel Subject: World Mourns Passing of Jesse Thomas - the Blue Goose Bluesman (Shreveport, LA) It is with great sadness that I report the passing of a truly great bluesman, Jesse Thomas. Jesse passed Sunday evening from a massive heart attack he suffered while at his home. Jesse called the ambulance himself and died later at the hospital. Jesse was the last of an era and his passing is a blow to all who love the blues. Jesse recorded his first sides for Victor Records in 1929 at the Jefferson Hotel in Dallas. One of the songs was his "Blue Goose Blues" which was about a section of Shreveport that contained barrel houses, grocery stores and the like and was home to entertainers like Jesse, his brother Ramblin' Willard Thomas, Oscar Woods, the Black Ace and others. Jesse was the last of a class, he recorded for Victor a full ten years or better before Robert Johnson Jesse was the troubadour of the Shreveport guitar sound and his loss is tremendous. Jesse's passing marks the closse of an era. I was fortunate to have known Jesse as a friend. He was truly a consumate bluesman, playing festivals and recording right up until his death. This past June I saw Jesse play two (2) gigs in the hot Louisiana sun at the Louisiana Folklife Festival in Monroe. Then he left and went to the club (Enoch's) and jammed with the band. He played his last gig in Shreveport about three weeks ago and was in stellar form. Over his life Jesse recorded for numerous labels including Modern, Specialty, Swingtime, Jewel, his own Red River Records and most recently Top Cat Records. The Top Cat releae is out now in France and a release date in the US is pending. His Jewel sides have never been released. Jesse was a mainstay at the New Orleans Jazz and Heritage Festival and the Eureka Springs Blues Festival and he was recently featured at the Long Beach Jazz and Blues Festival and on Steve Cushing's "Blues Before Sunrise." Jesse moved to California in 1936 and became a contemporary of a coupla upstarts by the names of T-Bone Walker and Nat "King" Cole. Jesse was one of the first to fuse jazz and blues, a move that gained his two contemporaries notoriety. We will bury Jesse Saturday, August 12, 1995. Services will be held at Good Samaritan Funeral Home with the burial at Carver Cemetery to follow. The Red River Blues Society will be setting up a memorial account later today with the proceeds to go to Jesse's widow Miss Bessie Levon Thomas. A benefit is scheduled for August 17, 1995 @ 9:00 pm at Tommy's Place, 1606 Marshall, Shreveport, La 71101. Local blues players, patrons and friends will honor Jesse with the music he so loved. The world is a lesser place with the passing of Jesse Thomas - the Blue Goose Bluesman. "So long there my old friend, here we go down this road again with your song to carry us through, till we meet again the world is blue." ========================================================================= Date: Tue, 15 Aug 1995 10:14:55 CST From: William Shute Subject: latest batch of Document releases From: Bill Shute Be sure to check the full-page ad from Document Records in the brand- new Blues Revue, as there are yet more gems coming out: 4 volumes of Mamie Smith (see the interesting letter about Ms. Smith from "Adam" of Satan and Adam) 6 or 7 volumes of Clara Smith a volume of obscure Hokum Blues artists many more volumes of early Black vocal groups pianists Tiny Parham and Fletcher Henderson in support of "classic blues" vocalists I should have the M. Smith, Parham, and Henderson sets in a week or two and will try to report on them. Until then, you should RUN to get the two volumes of Sister Rosetta Tharpe released by Document a few months ago. I don't think this lady has received her due from today's blues community. Even if you forget her role in bringing black "gospel"-based music to a larger community and even if you forget her important role in showing the unity of the myriad forms of African-American musical traditions (in a way, she bridged the spiritual/secular chasm years before people like Little Richard and James BRown began investigating this area), this lady could play a guitar in a rocking manner that kicks ass (pardon the profane description!) and should interest fans of the early John Lee Hooker and Lightnin- Hopkins. Like the also-not-adequately-discussed Arthur Crudup, she began doing rockin' electric guitar small-group recordings in the early 40s and was quite different from the jazz/soloist leanings of electric players like T-Bone Walker. I bet people like Henry Qualls or Lil Son Jackson or John Lee Hooker (or anyone who ever stomped on a piece of plywood and delivered rockin' electric-guitar boogie either solo or in a small group) realize/realized Sister Tharpe's importance. And on the larger-group tracks, often backed by Lucky Millender's band, she swings like a distaff Wynonie Harris or Louis Jordan, even when doing Christian material! It's hard to think of any music more life-filled and joyous than Sister Rosetta Tharpe's. Get her two Document CDs and, as she says, "you can't sit down!" Bill Shute San Antonio, TX ========================================================================= Date: Tue, 15 Aug 1995 10:24:26 GMT-6 From: Eliot Williams Subject: Re: Blues Lemons > From: Peter Welch > Besides the following, does anyone know any more blues/r&b > songs with "lemon" in the title: > > Lemon Queezin' Daddy - Nappy Brown > Lemonade - Sam Myers w/A. Funderburgh > Lemon Squeezer - J.B. Lenoir / Jimmy Rogers Lemon Man - Dan Pickett Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 15 Aug 1995 11:28:11 -0400 From: Mary Katherine Aldin Subject: Re: Geoff Muldaur Geoff and Maria and not siblings, though--they are (ex) husband and wife. Geoff lives in Northern California, is doing very well. We had a discussion about computer tech stuff a year or so ago. Mary Katherine ========================================================================= Date: Tue, 15 Aug 1995 15:34:59 -0500 From: Jeff Seale Subject: Re: upcoming blues in Phila PA On Tue, 15 Aug 1995, Pat Hertel wrote: > This question (no reflection on the questioner) speaks > VOLUMES. I am just can't understand why Jimmy Dawkins > isn't one of the biggies. Is it his reputation for > being "crusty"? I wonder the same thing. All For Business on Delmark is one of my picks for 95. I know it didn't come out this year (originally recorded in 1971), but I bought it recently and can't get it out of the cd player. Excellent guitar work (even some by that Rush fellow ;-) ). So this begs the question: turn me on to some "newer" Jimmy Dawkins that smokes like All for Business. -Jeff (any Jimmy Dawkins/Merle Haggard collaborations?) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Tue, 15 Aug 1995 15:37:13 GMT From: B Foster Subject: Re: Tab Benoit In article <40j02a$lfc@newsbf02.news.aol.com>, CATBAUER wrote: > Just received a tape of Tab Benoit's upcoming release from Justice Records > . It includes 6 originals and 6 covers. It was recorded live to two-track > and mixed on the spot "to capture the spontaneity of the moment." Haven't > time to go into detail now but one song in particular that caught my > attention was a duet with Willie Nelson called "Rainy Day Blues." I > believe it will be out @ Sept.12th. Cat Tab played here in St. Louis a couple of weeks ago. I talked to him for a while, and he was pretty excited about the Willie Nelson song. Said he recorded it at Willie's studio, and played at his picnic this year. As a fellow coon-ass (transplanted in Mid-'Merica), I'd say Tab's a pretty good guy. Does Justice have an internet site? ========================================================================= Date: Tue, 15 Aug 1995 15:18:26 +0000 From: Martin Adamson Subject: Re: None > illustrate this I would point out that on reading the 'Atlantic and Godfathers > of Rock And Roll' book a few years ago I read of a band called 'Foreigner' > which had apparently been the biggest selling group in the world for a period of > a few years - I had never heard of them! You're a lucky man, Byron. Martin ========================================================================= Date: Tue, 15 Aug 1995 09:08:02 -0700 From: Chris Adams Subject: Re: Geoff Muldaur(also Koerner, Glover, Ray) Geoff was in the Northwest a few years ago, playing and speaking about the "jug band days" in the 60's. He was planning a "blues" recording, that was to feature cello and accordion, but haven't heard anything about it. He has appeared on several Austin area recordings, so could be he is living in that area. Anyone who wants to see where Geoff got lhis unique vocal style should check out some of the Document recordings of string band music. Geoff has also done the aforementioned recording, which I believe is on Hannibal/Shanachie, but I don't know if it is on CD. It is a mix of up tempo R&B, swing and jump blues- very good. Geoff also did the country blues thing in the 60's (along with his infamous membership in the chemically influenced Kewskin Jug Band) and can be heard on the compilation "The Blues Project" (LP out of print), as well as another solo, also out of print. On the subject of "The Blues Project" (the album, not the group), fans of Koerner, Glover, and Ray should jump up and down, but first buy the reissue on Red House Records, "Blues, Rags, and Hollers". These guys could play for a bunch of young, white college kids. They never tried to just do the "black blues thing", but were respectful of their influences, while developing their own unique style of countrly blues. This re-release has added cuts and has been rated highly by several publications. Give it a listen Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 15 Aug 1995, MIKE GARNER wrote: > A while back we were posting details of blues siblings etc and (this > shows how slow I am!), I was reminded of Geoff and Maria Muldaur. > I have Maria's recent stuff on CD, but also have an ancient copy of > Geof and the Nightlights which I used to play all the time; now I've > discovered it's still great! > > Anyone know what happend to Geoff? > > Mike Garner > The New Zealand Blues Society > ========================================================================= Date: Tue, 15 Aug 1995 12:00:12 -0400 From: Tom Morgan Subject: Re: Blues Lemons > > From: Peter Welch > > > Besides the following, does anyone know any more blues/r&b > > songs with "lemon" in the title: > > > > Lemon Queezin' Daddy - Nappy Brown > > Lemonade - Sam Myers w/A. Funderburgh > > Lemon Squeezer - J.B. Lenoir / Jimmy Rogers > > Lemon Man - Dan Pickett How about Lemonade by Louis Jordan. Tom My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture WebMaster: Dave Matthews Band ========================================================================= Date: Tue, 15 Aug 1995 11:07:02 -0500 From: David Webb Subject: WC CLARK What can I expect from this man in a live show? It will be in a small bar, probably standing room only. As I don't smoke or drink and have a weak back, I wan't to be sure he's worth the one hour drive and parking hassles as well. Understand he was a considerable influence on the Vaughan brothers and the whole Austin scene. I've seen Monster Mike Welch and Chris Duarte recently and would love to hear something less "masturbatory" in the way of guitar work ;^). I'm starting to prefer a slower, more acoustic, earthy sound with heart-felt vocals. Does this mean I'm a "purist"? ========================================================================= Date: Tue, 15 Aug 1995 11:20:25 CST From: JBards Subject: Jesse Thomas : corrections Sorry, I must have been a little rattled yesterday. Correction #1: I misspelled Jesse's name as "Jessie" twice. I don't want to confuse anyone, as there may be a "Jessie Thomas" somewhere out there in bluesdom, and we want to keep the facts straight. Thanks to Pen and Brenda Bogert for calling this to my attention. Correction #2: I referred to Mrs. Thomas as "Bessie Mae". God only knows where I got this from, maybe some of that bad acid back in '69....anyway, her name is "Bessie Levon" , and one of Jesse's latest works was a beautiful lovesong to her. Hope this helps, and sorry for the inaccuracies. -Jim ========================================================================= Date: Tue, 15 Aug 1995 12:43:11 EDT From: William Pollak Subject: Re: Bartender's Bop Playlist Tom Morgan writes >Here is the playlist from this afternoon's show. The show was primarily >played at 45 rpm with some pretty rare stuff thrown in, sorry not much >blues on today's show. > Tom > Title Group Year Label > -------------------- -------------------- ---- ------------- > Soul Heaven Dixie Drifters Roulette Tom's playlist for this show makes me wish that I lived in Charlottesille, which I am sure I haven't done since they closed that little diner on Main Street. A slight correction on this first item: The artist is "The Dixie Drifter," whose real name is Enoch Hawthorne Gregory. The Dixie Drifter was the morning disc jockey on WWRL in New York in the 1960s, and his specialty was the deep, gospel-drenched soul and blues sounds coming out of the southern studios back then. He would play something like "Sweet Dreams" by Mighty Sam or "How Can You Babysit a Man" by Ned Towns, then exclaim, "Now THAT's a Dixie Drifter record!" His theme song, which he played before and after each show, was "Last Date" by Floyd Cramer. "Soul Heaven" is a spoken tribute to Sam Cooke, Dinah Washington, and Nat "King" Cole, the Prince, Queen, and King of Soul respectively, who sit upon their thrones up in Soul Heaven. Thanks to Tom for reminding me of the man who kindled my love for soul music. Bill P. Bill Pollak Carnegie Mellon U., Software Engineering Institute Pittsburgh, PA 15213-3890 email: wp@sei.cmu.edu ========================================================================= Date: Tue, 15 Aug 1995 16:53:29 +0000 From: Pat Hertel Subject: Re: Purists I don't understand why the term "purist" has to take on such a negative aspect. What's wrong with being a musical "conservative". Granted we are talking context here but..... If I were to be called a "purist" (usually open to interpretation in any case), I would wonder what the point was. Aren't we kind of exploring our bellybuttons on this? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/8/95 12:45 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 15 Aug 1995 10:35:32 PST From: Mike McCourt Subject: S.F. Blues Fest and bicycle parking For those who may be going to the Blues Fest on September 23-24 /95 and are into bicycling. -- mmccourt@acuson.com ______________________________ Forward Header __________________________________ Author: Bill.Michel@Ebay.Sun.COM (Bill Michel) at ccUnix Hi Folks, Just wanted to point out that there are opportunities for bike parking for both participants, and valets. I helped park/guard bikes at the San Francisco Blues Fest last year & had an *excellent* time (volunteers got to take turns guarding bikes, & catching the show). If you want to cycle to the City for the festival, or take CalTrain & ride from there, the opportunity to have your bike watched while you're digging the tunes makes the bike a very attractive mode to catch the show. Bill ========================================================================= Date: Tue, 15 Aug 1995 17:32:18 GMT From: Dennis Miele Subject: Re: New Freddie King CD In article Smith_James_B/atc_mail1-id@ATC.ALCOA.COM writes: > I saw an ad for TopCat's new Freddie King release. Is it out yet >and has anyone heard it? Sounds like a good one. Where? When? How? I must have it!! ========================================================================= Date: Tue, 15 Aug 1995 13:11:38 -0400 From: Marcia Grodsky Subject: R. L. Burnside & Jon Spencer Blues Explosion? Well, as my local club is in its last week I'm scrounging around trying to find live music after it closes. A larger, showcase-type club is advertising a show with R.L. Burnside opening for the Jon Spencer Blues Explosion. I've never seen Burnside live but I do have one of his cds, and I'm curious enough that I'd go, but I don't have a clue as to who this main act is. If we've ever discussed it I must have blocked it somehow. So tell me, do I want to go? ---Marcia ========================================================================= Date: Tue, 15 Aug 1995 12:10:50 CST From: William Shute Subject: Kweskin/Muldaurs/Koerner,Ray, Glover (query) From: Bill Shute Speaking of the Jim Kweskin/Geoff & Maria Muldaur/Koerner,Ray,Glover axis of the early and mid60s, I have a friend who has been researching for many years the role of Mel Lyman in these circles (and elsewhere). I just noticed the other day (as I was enjoying the reissue of the original Audiophile label version of the classic first Koerner, Ray, Glover album)that Lyman is cited as a major inspiration by Glover in the acknowledgements. I've heard some of the Lyman-related recordings that came out of this circle, and they are quite odd. If anyone could give me further information about Lyman to pass along to my friend or if anyone was around during his Boston daysor earlier/later and has anecdotes/stories, I would most appreciate hearing from you. Any information provided will be handled with discretion and your anonymity will be protected. Believe me, the last thing I would have asked Maria Muldaur about when I spoke with her last year was the Mel Lyman days!!! Many thanks in advance...private responses only, please. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 15 Aug 1995 13:14:12 -0400 From: Marcia Grodsky Subject: Music in San Diego? Some friends who are going to be in San Diego around Labor Day asked me to ask you about music there. They like blues, rockabilly, roots music in general. I think they're going to be there from about August 30 to September 4. Thanks for any help. ---Marcia ========================================================================= Date: Tue, 15 Aug 1995 11:08:28 PST From: Mike McCourt Subject: Re: Merle Haggard was Today... There was good interview last night (Mon) on NPR's "Fresh Air" with Merle Haggard. He talked a lot about his time in prison and how he turned his life around. He got as far as spending some time on death row before he decided he'd had enough. In the current scene where re-hashed 50's rock and roll passes as country music, Merle Haggard is the genuine article. He sings and writes many tunes with a lot of blues feeling, even if they don't fit a blues definition (whatever that is). Mike (gimme the Hag over Elvis anytime) ______________________________ Reply Separator _________________________________ Subject: Re: Merle Haggard was Today... Author: Jeff Seale at ccUnix Date: 8/15/95 6:34 AM -Jeff (and don't tell me MH doesn't belong on this list) ========================================================================= Date: Tue, 15 Aug 1995 13:32:03 -0400 From: DeniseTapp Subject: Re: Memphis blues In article <9507158085.AA808500297@ccmail.framatech.com>, "Steven G. Toney" writes: > I'd hate to think, however, that > the blues lovers of the world, or the black musicians who didn't "hit > the big time" think that the Elvis or the Beatles stole their show. This reminds me of a funny/sad story. A short while before Elvis' death, Jerry Lee Lewis was arrested for brandishing firearms at the gates of Graceland. He was in a drunken rage and had come to confront Elvis for stealing the limelight from him and the other local artists of merit. Denise ========================================================================= Date: Tue, 15 Aug 1995 13:31:10 -0500 From: VT Subject: Re: Kenny Neal - just an Observation There are many artists/entertainers who do adpapt themselves to their audiences. B.B. King is a prime example. I am sure that there are many blues artists who do modify their act for different regions. For example, how often have we heard about Buddy Guy's touring act verses his act at his own club - Legends? I have seen Little Milton at the House of Blues, Cambridge, MA and I really liked him there - perhaps my "taste" coincided with what he decided to to do that night in the NorthEast. I don't have any other reference to go by other than his 2 live albums "What It Is" and "Grits Ain't Groceries" - but I thought Little Milton's act was more or less in line with those two albums. That's not saying they were the same, but there wasn't too much of a radical departure from what I was expecting. Of course one has to look at those live albums' venues - one was in the Summit Club as part of the events during the StaxWatts festival and the other was from the Montreux Jazz Festival both from the early 70's. Regional differences could account for some differences, but artists who "read" the audience more may also introduce differences because of the audience reaction too. I am sure that Kenny Neal did not set out to play like the Allman Brothers (that was merely MY connection), perhaps he decided that night to do extended numbers and have more guitar solos - and I then made that strange connection........ Vincent p00061@psilink.com >DATE: Mon, 14 Aug 1995 18:29:00 -0400 >FROM: DeniseTapp > >In article <3017450321.1.p00061@psilink.com>, VT >writes: > >Regarding Kenny Neal: >>During the first set I kept wondering who they reminded me of...... >>when I did make the connection, it surprised even me. >> >>Because of the long numbers there were long instrumental breaks, kind of >>rocking and free flowing, and in some ways they reminded me of the >classic - >> >>Allmans Brothers Band from the Fillmore East era :-) >> >>Just thought you'd like to know :-) >> >>Anyone else noticed this (or am I out in left field again? :-) >> >Vincent, > >I saw Kenny two weeks ago at B.B. King's on Beale. His playing style was >very Memphis R&B, or so I commented to my date, who is a transplanted New >Orleans native and Delta blues writer. He told me that, if I heard Kenny >play in N.O. or another part of the country, the style would be noticeably >different, that pros like Kenny adapt to the prevailing regional >influence, or what pleases the crowd. This was not a topic I had ever >entertained, but seeing your remarks, I think it might have some validity. > This might also explain why certain talents are not received very well in >certain venues, because they can't adapt to local expectations. I have an >East Coast friend who wouldn't spend the money to see Little Milton again, >yet LM has never let me down. > >What do you think? > ========================================================================= Date: Tue, 15 Aug 1995 13:36:09 -0400 From: CATBAUER Subject: Blues radio I posted this last week but did not see it on the list so I thought I'd send it again. I'm not sure how many people are aware of this but Blues Stage is no more. NPR is limiting blues as are numerous PBS stations across the country. According to Jim McGrath even WXXI in Rochester (which has produced a number of the Blues Stage shows, including the Robert Cray one which was used for his live recording) is now debating the fate of blues programming here. Please call your station and ask for more information on their plans and offer your support, let the station management know we do care whether they eliminate blues programming...esp. people in Rochester...call, fax or write WXXI before we lose what little blues radio we have left. Cat Catbauer@aol.com Catbauer@vivanet.com ========================================================================= Date: Tue, 15 Aug 1995 13:48:54 -0400 From: Ross Whitwam Subject: Re: R. L. Burnside & Jon Spencer Blues Explosion? Well, *I* like them both -- and I know I'm not alone -- but generally speaking, their audiences don't overlap much. It ought to be an interesting mix in the crowd. :) The Jon Spencer Blues Explosion isn't a blues band. I think Spencer is sincere in his admiration of blues performers like Charley Patton and Hound Dog Taylor, but his real musical influences are the Velvet Underground, The Ramones, and Sonic Youth. His songs are usually constructed around repetive riffs (some a bit bluesy) with minimal lyrics, mostly of a whimsical/self-mocking nature. The band just consists of two guitars and drums (no bass, just like The Houserockers); sometimes Spencer will bring out his theremin (sp?), an antiquated synthesiser. They are an aquired tasted, but if you like hardcore music at all, it might well grow on you. Also, I'd expect a packed house. The JSBE is quite big in indie-rock circles (though Spencer recently signed to a major label.) The big commercial break-through that is often predicted for the group never quite happens, though. They are bit too off-the-wall for that, I suspect. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University MARCIAG@VMS.CIS.PITT.EDU wrote: >Well, as my local club is in its last week I'm scrounging around trying to >find live music after it closes. A larger, showcase-type club is advertising >a show with R.L. Burnside opening for the Jon Spencer Blues Explosion. I've >never seen Burnside live but I do have one of his cds, and I'm curious enough >that I'd go, but I don't have a clue as to who this main act is. If we've ever >discussed it I must have blocked it somehow. So tell me, do I want to go? > ---Marcia ========================================================================= Date: Tue, 15 Aug 1995 17:54:15 +0000 From: Pat Hertel Subject: Re: New Freddie King CD On Tue, 15 Aug 1995, Dennis Miele wrote: > In article Smith_James_B/atc_mail1-id@ATC.ALCOA.COM writes: > > > I saw an ad for TopCat's new Freddie King release. Is it out yet > >and has anyone heard it? Sounds like a good one. > > Where? When? How? I must have it!! > TOPCAT RECORDS, P. O. BOX 670234, DALLAS, TX 75367-0234 tel/fax: (214) 484-4141 e-mail: topcat@computek.net www: http://www.texasblues.com/topcat (www doesn't seem to be working yet) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [15/8/95 13:47 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 15 Aug 1995 13:58:11 -0400 From: Tom Morgan Subject: Re: Bartender's Bop Playlist hIn another time and place, William Pollak said: > > Tom Morgan writes > > >Here is the playlist from this afternoon's show. The show was primarily > > Title Group Year Label > > -------------------- -------------------- ---- ------------- > > Soul Heaven Dixie Drifters Roulette > > > A slight correction on this first item: The artist is "The Dixie Drifter," > whose real name is Enoch Hawthorne Gregory. The Dixie Drifter was the morning > disc jockey on WWRL in New York in the 1960s, and his specialty was the deep, Thanks for the info. I bought a collection of 45s a while back and that was in it. Boy, I love that song. Now I can say something about it the next time I play it. :) I also have "Blues Heaven" on 45 by Koko Taylor. Does anyone know if that ever made it out on CD? > "Soul Heaven" is a spoken tribute to Sam Cooke, Dinah Washington, and Nat > "King" Cole, the Prince, Queen, and King of Soul respectively, who sit > upon their thrones up in Soul Heaven. Thanks to Tom for reminding me of the > man who kindled my love for soul music. My pleasure, Bill ! Tom "When it comes to soul, Sam Cooke wrote the book." - The Dixie Drifter ========================================================================= Date: Tue, 15 Aug 1995 13:01:09 -0500 From: Dave Daubard Subject: Re: upcoming blues in Phila PA Jimmy's newest release is "B Phur Reel". I like the one before it a little more. It's called "Kant Shek Deez Blus". You can't go wrong with either one. He definitely lives up to the name "Fast Fingers". They can stay in one place when they need to. ========================================================================= Date: Tue, 15 Aug 1995 13:57:08 -0400 From: Neil Cassidy Subject: 2 CENTS WORTH OF "PURE" Although admittedly new to the purist discussion, one thing that immediately occurs to me is that R. Johnson, Son House, Patton et al were all working performers of their day and, as such, played all the popular music of the day. Just how pure is this? neil ========================================================================= Date: Tue, 15 Aug 1995 12:32:45 -0600 From: Watterworth Jay Subject: Re: Geoff Muldaur(also Koerner, Glover, Ray) Hear, hear! to your comments. The Blues Project LP was instrumental (pardon the pun) in my early listening days, along with Kerner, Ray, and Glover (You neglected to mention Dave Ray's execellent lp "Snaker's Here!" and "Blues, Rags, and Hollars, Vol II), and John Hammond, along with the whole NY/Boston axis. One other compliation disks that I really enjoyed was "What's Shakin'" featurning Butterfield and a post Yardbirds Eric whatshisname. Boy, them was the days! Jay Watterworth CU Boulder On Tue, 15 Aug 1995, Chris Adams wrote: > Geoff was in the Northwest a few years ago, playing and speaking about > the "jug band days" in the 60's. He was planning a "blues" recording, > that was to feature cello and accordion, but haven't heard anything about > it. He has appeared on several Austin area recordings, so could be he is > living in that area. Anyone who wants to see where Geoff got lhis unique > vocal style should check out some of the Document recordings of string > band music. Geoff has also done the aforementioned recording, which I > believe is on Hannibal/Shanachie, but I don't know if it is on CD. It is > a mix of up tempo R&B, swing and jump blues- very good. Geoff also did > the country blues thing in the 60's (along with his infamous membership > in the chemically influenced Kewskin Jug Band) and can be heard on the > compilation "The Blues Project" (LP out of print), as well as another > solo, also out of print. On the subject of "The Blues Project" (the > album, not the group), fans of Koerner, Glover, and Ray should jump up > and down, but first buy the reissue on Red House Records, "Blues, Rags, > and Hollers". These guys could play for a bunch of young, white college > kids. They never tried to just do the "black blues thing", but were > respectful of their influences, while developing their own unique style > of countrly blues. This re-release has added cuts and has been rated > highly by several publications. Give it a listen > > Christopher Adams > Automated Systems > Oregon State Library > chris@sparkie.osl.state.or.us > > > On Tue, 15 Aug 1995, MIKE GARNER wrote: > > > A while back we were posting details of blues siblings etc and (this > > shows how slow I am!), I was reminded of Geoff and Maria Muldaur. > > I have Maria's recent stuff on CD, but also have an ancient copy of > > Geof and the Nightlights which I used to play all the time; now I've > > discovered it's still great! > > > > Anyone know what happend to Geoff? > > > > Mike Garner > > The New Zealand Blues Society > > > ========================================================================= Date: Tue, 15 Aug 1995 14:29:00 EDT From: Robert Page Subject: Blues in Chicago this weekend? I'll be in Chicago this weekend (Friday and Saturday evenings), and was hoping somebody could clue me in on what blues acts are performing in town those nights. Any info is greatly appreciated. Bob Page rpage@umsa.umd.edu ========================================================================= Date: Tue, 15 Aug 1995 12:51:16 -0700 From: Ron Wack Subject: Re: Acoustic Strings Item Subject: Message text JMAC writes: > You didn't mention what guages you use. I like D'addario phosper bronze strings > for acoustic starting with an .012" high E string... I use these strings as well. In my limited experience, I find they seem to "last" quite well. I borrowed a friend's guitar and restrung it with the .012's - converted him to using them. (He was using .011's - brand unknown to me) They're worth a try. RW ========================================================================= Date: Tue, 15 Aug 1995 19:03:26 GMT From: byron Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! Just in case any one is really interested, a budgerigar is a small Australasian parakeet, very popular in the UK amongst anoraked blues fans - just trying to create a little bit of humour on the list and lighten the Garcia thread, but the budgerigar story is actually true! ========================================================================= Date: Tue, 15 Aug 1995 12:23:06 -0800 From: Don Cicchetti Subject: Re: Purists Ross Whitwam said: (edit edit) >the term purist comes up here regularily. Usually used >pre-emptively by people praising something they're afraid >others might disdain -- "Purists might not like this but..." >In such a case, the term is not used in any meaningful way >except to convey the message that, if you don't agree with >me fine, but you're a goof too. So there. > >That doesn't really serve the cause of tolerance or open- >minded discussion very much, so why use the term at all? True, good point. People are too sensitive about expressing themselves and will say things like that because they think it makes them flame-proof, and yes "purist" has no meaning in that context. >>BTW, "purist" can also be a great compliment..... >> > >Only if even *your* definition is so flexible as to make the >term meaningless. There wasn't anything complimentary >in the definition you provided above. Nonsense, I have friends in the Jazz world who preserve and restore old recordings and maintain accurate information about artists, and they are purists to the bone, and thank God for 'em! Jeez, Ross I wasn't providing a "comprehensive definition" for you to "lawyer to death", I was merely pointing out one of the negative aspects of purists. Here's one of the many positive ones. >>Yes there are positive sides, one of them being that purists maintain the >>memory and tradition intact > >is not the same as a great compliment, IMHO.) the heck you say... I could give 4 hour speeches about how great some of these guys are and it would still be inadequate. Not a great compliment? How would YOU like it if there were no Robert Johnson recordings available today? Let me tell ya, the guys doing thoses releases are PURISTS, and where would we be without them?? Yes, they aren't always audio purists, (a sick bunch if there ever was one) ;-] but they are for dang sure BLUES PURISTS! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 15 Aug 1995 15:55:18 -0400 From: Dick Waterman Subject: Re: Geoff Muldaur(also Koerner, Glover, Ray) I'd like to add a footnote to this footnote - making it a two feet note - by saying the John Koerner made a sweet little gem of an album with Willie Murphy called "Running, Jumping, Standing Still." Bonnie Raitt listened the grooves right off of that sucker and covered "I Ain't Blue" on her first album which Willy produced. dick waterman ========================================================================= Date: Tue, 15 Aug 1995 16:00:51 -0400 From: Dick Waterman Subject: Re: Elmore James lyrics -HELP please. -Reply I think maybe we are confusing the lyrics of Robert Johnson and Elmore James. I listen to both often enough that it all begins to blend together. In Robert's version, he definitely says: I'm going to call up China, See is my good gal over there If I can't find her in the Phillipine's Islands She must be in Ethiopia somewhere To add some historical context, I think that Italy invaded Ethiopia around that time, thus putting the name of the country into a more general sphere of knowledge. dick waterman ========================================================================= Date: Tue, 15 Aug 1995 15:43:35 CDT From: L W Subject: JB Lenoir Questions Me, my wife and another couple have made a blues crossword puzzle. Some of it is very hard (not for some of you, though)....Anyway one of the answers is JB Lenoir, however, we need a reall good clue that will make it easier to get the answer....I don't want it to be TOO HARD, there are plenty of hard ones already, I'd like to make this one as easy as possible.....any suggestions LW yes you can get a copy via snail mail ========================================================================= Date: Tue, 15 Aug 1995 17:16:00 CDT From: Bonnie Kalmbach Subject: Re: JB Lenoir Questions How about?: 1) Who is Byther Smith's first cousin? 2) Who wrote a blues about James Meredith? 3) Who wrote the "Eisenhower Blues"? Bonnie the K. >Me, my wife and another couple have made a blues crossword puzzle. Some of >it is very hard (not for some of you, though)....Anyway one of the answers >is JB Lenoir, however, we need a reall good clue that will make it easier to >get the answer....I don't want it to be TOO HARD, there are plenty of hard ones >already, I'd like to make this one as easy as possible.....any suggestions > >LW > >yes you can get a copy via snail mail ========================================================================= Date: Tue, 15 Aug 1995 15:18:36 -0800 From: Michael Hewitt Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! Hmmm...may have to sit down and compose the "Dead Budgie Blues"...kinda has a certain ring to it.... Woke up this mornin' Found my budgie lyin' there Woke up this mornin' Found my budgie lyin' there Laid out flat on his back His feet stuck in the air (Chorus) What a way to find my budgie Sprawled out 'cross the daily news What a way to find my budgie Sprawled out 'cross the daily news Forced to start the day moanin' Got those ol' dead budgie blues Had to find me a shoebox For to put my budgie down Had to find me a shoebox For to put my budgie down Said goodbye to my budgie And put him in the ground (Chorus) Can almost hear my budgie singin' Like a birdie upon a wire Can almost hear my budgie singin' Like a bird upon a wire I'll bet he's somewhere singin' With the angel choir (Chorus) I know this was pretty bad, but I just couldn't help myself...:-/ Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Tue, 15 Aug 1995 15:21:40 -0800 From: Don Cicchetti Subject: Re: Aplogy/etiquette Hugh said: >I must say that I totally agree with Jim Miller on this. innat convenient! >I sent the >"Garcia-Schmarcia" message about soooo much Garcia on the list. Geeze...I loved >that guy and his attitude..but people on this list can be sooooo serious , that >they forget how to... :-) Let's see you :-) when someone does something truly rude and insensitive to you next time... hmmm Not getting "serious" are ya? >I think it is the perfect right of anyone on this forum to be ignorant, >opinionated, and unreasonable. What right does Don C. have to suddenly decide >that his rules require an apology... that is arrogant ... Tell you what Hugh, you be nice and show a bit O' kindness when somone's hero dies, and watch that evil ole arrogance just melt away, and I will turn into a pussycat before your very (virtual) eyes! WHOSE rules?? Don's rules? Oh yeah, like I'm the only bugger in the world who thinks you should be sympathetic when someone is grieving... How very unreasonable of me.... >of course the irony is >that both Garcia and I are (were) involved with the Seva Service Society - a >charity - and I loved his spirit. >But it doesn't matter... even if I was genuinely insensitive, this is a >democracy. Yes, bro, and in a democracy people will bust your hump for being unkind to others. Jeez, was all this pasta necessary, when a simple "I'm sorry" would have done the job so well? >So lighten up people (although you have the right not to!). Don't need to lighten up, never got heavy, never lost my smile, never got mad at you, not mad at you now, I just had to call you on it. Hope that's ok, after all it IS a democracy! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 16 Aug 1995 08:25:21 +22303754 From: David Blanken Subject: Jimmy Dawkins On Tue, 15 Aug 1995, Jeff Seale wrote: > I wonder the same thing. All For Business on Delmark is one of my > picks for 95. I know it didn't come out this year (originally recorded > in 1971), but I bought it recently and can't get it out of the cd player. > Excellent guitar work (even some by that Rush fellow ;-) ). I wholeheartedly AGREE!! All For Business is on my personal list of desert island discs. Excellent guitar work as you mention, but what about Andrew "Big Voice" Odum's VOICE!!! > So this begs the question: turn me on to some "newer" Jimmy Dawkins > that smokes like All for Business. One that I unconditionally recommend is "Kant Sheck These Blues" on the Earwig label. His latest work is on the Ichiban label and is supposed to be excellent too. -Dave- ----------------------------------------------------------------- David Blanken D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Tue, 15 Aug 1995 22:35:30 GMT From: Jim Chivers Subject: J.J. Cale Hi: I'm trying to locate J.J. Cale. Anybody have an address or phone number? Thanks. JC. ========================================================================= Date: Tue, 15 Aug 1995 19:31:35 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! Think of it as a parakeet. In any case, they're pretty much too small to barbecue, and thus might not be of great interest to people on this list who enjoy good barbecue. I, for one, miss Snooky. He lent me money to buy my first harp, let me sleep on the bottom of his cage when times were tough, and he and I used to sit up nights drinkin' whiskey an' playing ol' Sonny Boy and Bukka White tunes, me honkin' away, him scratchin' on his blues cuttlebone and adding in an occasional chirp at the end of a phrase. Turtle _____ Reply Separator _____ Author: INTERNET:BlueSngr @ AOL.COM@CISHUB Received: 08/14/95 11:06:00 PM Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! >Byron recently posted the death of his budgerigar (some kind of pet I guess)named Snooky to the list, comparing its importance to any recent deaths of rock musicians whos blues import is at the least debatable. < Sorry to hear of the passing of " Snooky ". 8 years ago. Although his output was small, he influenced many to happily block out other musical influences not 100% blues, even though some of his favorite blues artists were influenced by classical, jazz and gospel music. Actually many rock musicians mourn Snookys demise because they shared the same love of blues and helped bring it to a wider audience, many of whom went back to the original blues artists and supported them also . Certainly glad to see this important passing noted on Blues L. Sorry it took 8 years to get your obit. out to the world . Now......what the hell is a budgerigar, Byron ? Your "point" is pretty obscure, just say what you mean bro' . :-) Garry " Death dont have no mecy in this land..." Rev. Gary Davis ========================================================================= Date: Tue, 15 Aug 1995 17:10:41 -0700 From: Mark Gentry Subject: Blues Fest - B.B. King/Jimmie Vaughan Hello All, Saw B.B. King and Jimmie Vaughan this weekend as their tour rolled through town. I'm a big Jimmie Vaughan fan so I was looking forward to seeing him. Unfortunately, we were about 300 yards from the stage so it was like watching ants from a distance. Luckily, we had free tickets so that made it ok. From what I could hear, Jimmie Vaughan put on a good show. Still had the same band from the last time I saw him. The great George Rains on drums, Denny Freeman on piano, the three back-up singers, and the B-3 player whose name I can't remember. I believe I read back in July that one of the singers had unfortunately passed away so this was obviously a new line-up in that regard. Unless I'm mistaken, I think I read somewhere that the B-3 player on the cd used to play with Freddie King. Perhaps someone who knows more on this can fill me in. I was a little disappointed to see him change his approach on "Six Strings Down". Last time I saw him, he played it with just the hollowbody and the back-up singers and did the entire song like the recorded version. This time he played it on the strat with the entire band backing him up. Plus, the feel of the song was completely different from the recorded version. Oh well. The band also played D/FW which I had seen them play before. Both times I've noticed the audience seems suprised to see Denny Freeman get up from the piano and play great lead guitar. For some reason, Denny wasn't using the Marshall I'd seen him use in the past. Not sure why he switched because he used to get a scorching tone with the Marshall. I didn't care as much for the tone he was getting out of the bassman he was using for this show. Over all, Jimmie put on a great show. He has some great songs with that double shuffle feel, which I love. However, I talked to some other folks at the show who were unimpressed with Jimmie. It seems they weren't familiar with him and were expecting to hear another SRV. It's really a shame. I like SRV but it's a shame that people can't appreciate the subtlety in Jimmie's approach. It seems they all though he was dull. An analogy that comes to mind is the way people so whole heartedly embrace action movies these days over movies based more heavily on a story line and less on special effects. I'm not saying action movies are bad mind you. It just seems that people are gravitating towards more flash and less towards subtlety in popular culture today. Look at the way MTV blasts their images on the screen. It's as if they believe everyone watching has an attention span deficit disorder. Even in sports, the trend is more towards flash and self importance and less emphasis on teamwork. Hollywood is becoming more dependant on special effects then on story. This whole flashy trend thing really troubles me. B.B. King still amazes me after all of these years. He works so damn hard on stage but he makes it look so easy. The way he reaches back into his gut to bellow out a loud vocal line is just unbelievable. I've read several times that he spends a fair amount of time practicing on the guitar. I would tend to believe it since he seems to come up with a few new licks every time I see him. I've noticed that some players seem to lose a little bit as they get older but I haven't noticed B.B. losing anything (weight included). The routine he seems to be following these days is to stand and play for a while and then play while seated. With out a doubt, he's giving it everything he's got. B.B. King is a national treasure. Regards, Mark Gentry ========================================================================= Date: Tue, 15 Aug 1995 17:11:45 -0800 From: Don Cicchetti Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! Michael Hewitt said: >Hmmm...may have to sit down and compose the "Dead Budgie Blues"...kinda has >a certain ring to it.... > > >Woke up this mornin' >Found my budgie lyin' there (edit edit) >I know this was pretty bad, but I just couldn't help myself...:-/ Actually..... that wasn't too bad. I've heard LOTS worse passed off as songwriting recently... Some of it by well known groups too. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 15 Aug 1995 19:51:00 CDT From: "" Subject: Re: Jessie Thomas, RIP In fact, Jesse told me that he did live in Dallas for a time, following his brother,'Ramblin' Willard Thomas to Deep Ellum. He recorded some in Dallas also. Even tho he was born and mostly lived in Louisiana, he played and recorded in Texas and was no doubt influenced by the likes of Blind Lemmon Jefferson, Leadbelly, T-Bone Walker, Lightnin' Hopkins and others while he did live in Dallas. Jesse was a really nice, simple man, but with enormous talent. As you correctly pointed out, even tho he couldn't pick like he used to before his stroke, what he did play these last several years was always the right note, at the right spot, with dead-on timing. I feel priviledged to have met him and even more priviledged to have recorded his last record. As luck would have it, I had just received some copies of our CD with Jesse from France, where it was released first. I sent him a copy and he called me up last Friday to tell me how much he liked it. I know he was very proud of the recording. It really is great. I consider myself very lucky to have known and been associated with oue of the true legends of blues music. God bless you, Jesse. We'll be seeing you soon. Richard Chalk TopCat Records ========================================================================= Date: Tue, 15 Aug 1995 21:11:38 -0400 From: Maria Wegscheid Subject: Re: Saffire Advice On Tue, 15 Aug 1995, Kevin Boyle wrote: > Terry said: > >The wife and I are thinking about going to see Saffire in near-by Knoxville > TN and was wondering if any blues-lers had any recommendations. Go or No Go? > > I say GO! I have seen and listened to Saffire since their first CD and > found them to entertaining to say the least! > > Thats Right, the Women Are Smarter... > Peace! Kevin B. > > I second Kevin's sentiment. I was privileged enough to see Saffire at the Mississippi Valley Blues Festival in July. Too bad in a way, I saw them Friday night and they pretty much ruined the rest of the fest -- nothing else could compare! I have since bought their most recent cd, will be purchasing the others as soon as I have the $, and have turned on several other people to their magic. Go. Go. Go. Don't miss it. Go. Maria wegsche@libby.rbls.lib.il.us ========================================================================= Date: Tue, 15 Aug 1995 18:10:06 -0800 From: Connie Dyer Subject: Re: Koerner, Glover, Ray Hurray! I joined this list just a few days ago and searched the archives to no avail for references to Dave Ray and Tony Glover. Can't believe good ol' KR&G came up today as a thread. I was just turned 17 when I went to college with a guitar and a couple reel-to-reel tapes full of Library of Congress recordings of delta blues and stuff I taped off WFMT's (Chicago) "Midnight Special" show. The first thing I heard was my new roommate's KRG albums--"Blues Rags, and Hollers" and "Lots More BR&H". I fell in love with all three guys--but especially 19-year old Dave Ray's splendid, deep, scary voice, his amazing 12-string style, and his sweet face--listen to his unaccompanied "Go Down Ol' Hannah" for an excellent example of his vocal range and sensibility at that time. And compare his "Jimmy Bell" then with a recent version with Glover on "Picture has Faded." He's still great. I lost all my old records and tapes from that time in a move a number of years ago, and by then everything was out of print and out of fashion. "Blues, Rags, and Hollers" is now available from Red House Records. And I've got Ray and Glover's more recent recordings , e.g., "Ashes in My Whiskey," and "Picture has Faded," but am trying to find older items *in any form*: On Elektra-- "Lots More Blues, Rags, and Hollers" "The Blues Project" "Snaker's Here"(Ray) "Spider Blues" (Koerner) "The Return of Koerner, Ray, and Glover" "Fine, Soft, Land" (Ray) "Good Old Koerner, Ray, and Glover" (Mill City) "Kid Man" (Ray-Mountain Railroad) >Boy, them was the days! >Jay Watterworth >CU Boulder You said it, Jay! Can anyone give me a line on any of these recordings? Thanks! Connie ========================================================================= Date: Tue, 15 Aug 1995 21:45:52 -0400 From: Lynn Moncrief Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! In a message dated 95-08-15 15:10:53 EDT, Byron wrote: >Just in case any one is really interested, a budgerigar is a small >Australasian parakeet, very popular in the UK amongst anoraked blues >fans - just trying to create a little bit of humour on the list and >lighten the Garcia thread, but the budgerigar story is actually true! Ah! There's that word "anoraked" again. :-D Does this mean parka-wearing blues fans? Please define. Thanks! BTW, I loved that 'budgie' parody (though true story)! ;-D TTFN, Lynn ========================================================================= Date: Tue, 15 Aug 1995 21:45:58 -0400 From: Lynn Moncrief Subject: Re: ==>FREE 1yr MagazineSub sent worldwide-309 Popular USA Titles In a message dated 95-08-15 09:12:51 EDT, you write: >Well, I tried bouncing that message to this person with a nuclear >flame attached and guess what - it bounced right back - no such user >at AOL. Go figure... > >-Jeff Same thing happened to me over and over until I finally remembered to pull that message out of my outgoing mailbox. Maybe just maybe AOL terminated her account since her spamming was in violation of AOL's Terms of Service. But darn I wished she had gotten my message which was attached to a biggggg one that was a copy of her spam pasted in a few times and hoped that she was running at only 2400 baud when that sucker downloaded. Hmmm. I just remembered that on AOL we can have multiple screen names. Betcha she's hiding under another and cancelled the dormra one. Lynn ========================================================================= Date: Wed, 16 Aug 1995 03:52:02 +0200 From: "HANS-ROGER STR.M M.TRUM-T&H" Subject: - --- Inkommet fren VPK.9031HRS 0500-475524 95-08-16 03:51 -> IN=blues-l(a)brownvm.brown.edu subscribe blues-l Hans-Roger Strvm ========================================================================= Date: Wed, 16 Aug 1995 03:19:25 GMT From: Zaphkiel Subject: Blues Cruise Anyone going on the Livin' the Blues Cruise, Sept 7-10? It a Big Red Boat cruise featuring blues, food & comedy. I'm curious if anyone from the Sarasota area is going. Or even Tampa area? I've never cruised before, never been on a trip where the travel agent tells me not to plan on getting a lot of sleep! I'll try to let ya'll here at Blues-L how it went. RL Adams ========================================================================= Date: Tue, 15 Aug 1995 23:34:11 -0400 From: "Terry L. Odor" Subject: Re: young blues player (was Re: BB) >> There was one teenage blues guitarist who was/is highly touted in the >> mags. He is in remission from leukemia. That's enough living the blues >> in my book. This would be Nathan Caveleri (sp) ... the same young man who plays with BB in the commercial. When he had leukemia he went to the Make a Wish Foundation, his wish was to play with BB, he did, and then went into remission. Terry Date: Wed, 16 Aug 1995 14:04:06 +1000 From: Peter Blanken Subject: Re: young blues player (was Reply to: RE>>young blues player (was Re: BB) >This would be Nathan Caveleri (sp) ... the same young man who plays with >BB in the commercial. When he had leukemia he went to the Make a Wish >Foundation, his wish was to play with BB, he did, and then went into >remission. >Terry I'm not really nit-picking, Terry (well, maybe I am :-), but when Nathan Caveleri (sp) went to the Make A Wish Foundation, his wish was to have a guitar lesson from Mark Knopler (sp) from Dire Straits, which took place. Pete. ========================================================================= Date: Wed, 16 Aug 1995 14:43:29 +22303754 From: David Blanken Subject: Re: young blues player (was Re: BB) On Tue, 15 Aug 1995, Terry L. Odor wrote: > >> There was one teenage blues guitarist who was/is highly touted in the > >> mags. He is in remission from leukemia. That's enough living the blues > >> in my book. > > This would be Nathan Caveleri (sp) ... the same young man who plays with BB > in the commercial. When he had leukemia he went to the Make a Wish > Foundation, his wish was to play with BB, he did, and then went into > remission. > > Terry That's not quite the correct version, Terry. About four or five years ago Nathan started to get noticed for being a young (he was about 7 or eight years old) guitarist with leukemia who played at shopping malls to raise money for his treatment. The Make-A-Wish Foundation offered him a wish and he wished for a chance to meet and jam with Mark Knopfler (Dire Straits), his favorite guitarist. Knopfler came out to Australia and jammed with Nathan amidst huge media attention. About a year or so later his leukemia went into remission and he was able to concentrate more fully on a music career. It was then he went on to meet Clapton, BB etc. ----------------------------------------------------------------- David Blanken E-mail: D.Blanken@nla.gov.au Phone: +616 2621473 ----------------------------------------------------------------- ========================================================================= Date: Wed, 16 Aug 1995 00:59:15 -0400 From: Garry Segal Subject: Brush With Muddy I received a bunch of private email after my Eddie Clearwater bass player story many asked what other shows Ive done with who etc. Many great shows through the years but this one stayed with me as my first time on a big time blues bill. One of the first blues bands I played in had the good fortune to open for Muddy Waters in the late 70s. We were beyond excited and told everyone etc. I couldnt wait for the ads to start with our name under Muddy Waters so I could clip and save them. At the last minute the bar owner decides to throw a band together just to open for Muddy. He said we could still play our set but there wasnt room in the advertising to list us. So he listed his one shot band in all the ads! Anyway we played, did fine, the bar owners band was trying to hard to be something they werent and Muddy was great. It was Bob Margolin on guitar and Carey Bell on Harp I think. Part of Muddys contract stipulated that there be 50 hamburgers ready for the band and his small entourage immediately after getting off stage. I seized the moment and asked the cook (who missed the show cooking burgers) if I could bring the huge platter of burgers to Muddy and Co. He said sure . I had a feeling for a brief moment I would have Muddys full attention. Bingo ! I walked in the room and all eyes were on me. I walked over to Muddy balanced the burgers and shook hands and told him we opened up blah blah I played harp blah. He said " I heard you blow son ! You could hear it up here, sound good ...uh do have any ketchup and you know.." I pulled a bottle of ketchup out of my back pocket and Muddy said " You always walk around with that bottle ? " I said " well not this bottle exactly..." and everyone cracked up I put the stuff down (finally) and said Bye. I was too cool at the time to get a picture or autograph and Im still kicking myself ! Anyone else have a brush with Muddy ? Garry BlueSngr@aol.com bandpage http://www.island.net/~blues/BlueSngr.html "Are you going where Im coming from... have you been where Im trying to go " OV WRIGHT ========================================================================= Date: Wed, 16 Aug 1995 05:38:04 GMT From: "Linda M. Rudell-Betts" Subject: Re: Help with Otis Rush's Cobra recordings Fred Sokolow (SokolowMus@AOL.COM) wrote: : There are three Otis Rush transcriptions ....... [snip] I just wanted to let you know I read your note. Do you know where I can find a song called "Catfish Blues"? I heard it on a National Public Radio story about catfish grabbing. I don't know the artist. Thanks, John Betts -- Linda R-B lrudell@netcom.com ========================================================================= Date: Wed, 16 Aug 1995 02:42:20 -0400 From: M McCracken Subject: Has anyone ever heard of Julius Brooks? Hooker/King sideman? This is a man who lives in Moulton Alabama and claims to have played guitar with John Lee Hooker and BB King. He's 76 years old now and is a preacher who teaches guitar lessons. He has a little shack behind his house which is decorated from wall to wall with posters of Hooker and King. I just wondered if anyone on the Blues-L had ever heard of him. Thanks, Mike McCracken ========================================================================= Date: Wed, 16 Aug 1995 02:58:57 -0400 From: Claudio Caponi MARNR Subject: RL's Dream - Review I just found this review while cruising the net, and as the book was mentioned on blues-l some days ago, I thought it could be of interest. The URL is http://www.iw.net/~mind/Review/mosley.html : : Hungry Mind Review : An Independent Book Review : : _________________________________________________________________ : : :RL's Dream By Walter Mosley Norton, $22.00 Pub. date: August : : : If you've ever wanted to walk in the skin of an old Delta blues man, : you now have your chance, as Soupspoon Wise, a skinny pile of : cancerous bones, shuffles you through his final days in Walter : Mosley's new novel RL's Dream. This novel of mood and memory is the : story of an unlikely friendship between the beautifully drawn : Soupspoon and a hard-drinking, young white woman named Kiki Roberts. : The ghost of blues' legend Robert Johnson hangs over Soupspoon's final : days, and may be the weak link in this novel. Johnson, as a shadowy : memory creature, just doesn't deliver the mystical force or epiphany : the novel seems to promise. Still RL's Dream is a fine read and will : do well, as the film of Devil in a Blue Dress, Mosley's first Easy : Rawlins mystery, is also to be released in August. (Bart Schneider) : _________________________________________________________________ : ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Wed, 16 Aug 1995 09:43:51 +0100 From: Bo Carlsson Subject: Re: Jimmy Dawkins >On Tue, 15 Aug 1995, Jeff Seale wrote: > >> I wonder the same thing. All For Business on Delmark is one of my >> picks for 95. I know it didn't come out this year (originally recorded >> in 1971), but I bought it recently and can't get it out of the cd player. >> Excellent guitar work (even some by that Rush fellow ;-) ). > >I wholeheartedly AGREE!! All For Business is on my personal list of desert >island discs. Excellent guitar work as you mention, but what about Andrew >"Big Voice" Odum's VOICE!!! > >> So this begs the question: turn me on to some "newer" Jimmy Dawkins >> that smokes like All for Business. > >One that I unconditionally recommend is "Kant Sheck These Blues" on the >Earwig label. His latest work is on the Ichiban label and is supposed to >be excellent too. > >-Dave- I would like to mention a record from Dawkins that don t smokes, but it contains some of his best work. He recorded it for the french Isabel label and it s called Hot Wire 81 (I hope I remember it correctly). It has some great, DEEP songs like the fantastic Cold aktion. This is a record for you who thinks that Dawkins tone on Kant Sheck... is a bit over the top. On this it is ...sublime. Great band too. Mr Bo ========================================================================= Date: Wed, 16 Aug 1995 09:57:42 +0100 From: Bo Carlsson Subject: Any Dizz material? I would like to thank everybody who reached out to help when I couldn t get of the list for my vacation. The problem was with the server I m conected to. So I had 3 000 letters from you guys waiting when I came back, I had too delete them.I might have missed answers to my pledge about Lefty Dizz-stories. If soo - please send them again! As I told you - I toured with Dizz in the early eighties and he was quite a caracter and a great performer. I m planning to write a tribute and want all kind of information and stories about him.I am also interested in recordings. I know he made a cassette for B.L.U.E.S, I m not sure if its good but I would like to find it anyway. Best Wishes Mr Bo ========================================================================= Date: Wed, 16 Aug 1995 05:07:38 -0400 From: Lynn Moncrief Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! ROFL!!!!!! :-D > >Woke up this mornin' >Found my budgie lyin' there >Woke up this mornin' >Found my budgie lyin' there >Laid out flat on his back >His feet stuck in the air > >(Chorus) >What a way to find my budgie >Sprawled out 'cross the daily news >What a way to find my budgie >Sprawled out 'cross the daily news >Forced to start the day moanin' >Got those ol' dead budgie blues > >Had to find me a shoebox >For to put my budgie down >Had to find me a shoebox >For to put my budgie down >Said goodbye to my budgie >And put him in the ground > >(Chorus) > >Can almost hear my budgie singin' >Like a birdie upon a wire >Can almost hear my budgie singin' >Like a bird upon a wire >I'll bet he's somewhere singin' >With the angel choir > > >(Chorus) > > >I know this was pretty bad, but I just couldn't help myself...:-/ > > > >Michael Hewitt mhewitt@telis.org >Region 7 Telementor MDH1953@aol.com >California Technology Project Troutbusters - Modesto, CA > > ========================================================================= Date: Wed, 16 Aug 1995 09:47:19 GMT From: Magnus Ensby Subject: Re: Help with Otis Rush's Cobra recordings "Linda M. Rudell-Betts" wrote: > > I just wanted to let you know I read your note. Do you know where I can > find a song called "Catfish Blues"? I heard it on a National Public > Radio story about catfish grabbing. I don't know the artist. > Thanks, John Betts > -- > Linda R-B > lrudell@netcom.com Below is a listing of the artists that best match your request. BLUES MASTERS BLUES MASTERS VOL. 8: MISSISSIPPI DELTA BL Catfish blues DOUGLAS, K.C. BIG ROAD BLUES Catfish Blues GREAT BLUESMEN NEWPORT FESTIVAL Catfish Blues GUY/WELLS ALONE & ACOUSTIC Catfish Blues HENDRIX, JIMI BLUES Catfish Blues RADIO ONE Catfish Blues HOOKER, EARL SWEET BLACK ANGEL Catfish Blues HOPKINS, LIGHTNIN' BLUES IN MY BOTTLE Catfish Blues COMPLETE PRESTIGE/BLUESVILLE R Catfish Blues IAN & SYLVIA SO MUCH FOR DREAMING Catfish blues JAMES, SKIP DEVIL GOT MY WOMAN Catfish Blues GREATEST OF THE DELTA BLUES SI Catfish Blues JELLY ROLL KINGS ROCKIN' THE JUKE JOINT DOWN Catfish blues JOHNSON, BIG JACK OIL MAN Catfish Blues JOHNSON, LUTHER ON THE ROAD AGAIN Catfish Blues KICKING MULE RECORDS VOL. 2-BEST OF Catfish blues LITTLEJOHN, JOHN CHICAGO BLUES STARS Catfish Blues LONESOME ROAD BLUES 15 YEARS IN THE MISSISSIPPI DE Catfish Blues MISSISSIPPI DELTA BLUES VOL. 1-BLOW MY BLUES AWAY Catfish blues VOL. 2-BLOW MY BLUES AWAY Catfish Blues OWENS/SPIRES IT MUST HAVE BEEN THE DEVIL Catfish blues WILLIAMSON, SONNY BOY GOIN' IN YOUR DIRECTION Catfish Blues ========================================================================= Date: Wed, 16 Aug 1995 12:17:40 +0200 From: Peter Gallagher Subject: Re: Elmore James lyrics -HELP please. I'd always heard that as "he'll be in Westminster, I know". I guess I got that one wrong, but "westminster" struck me as being quite possible, given all the "old-world" place-names in the States, like Birmingham in Alabama. Even such institutionalised names as Virginia and Hollywood came from Ireland. To get back to the subject, "She'll be in in East Munro, I know", is an often-used line, if not by Elmore himself. regards, PeterG > You wrote, > > > I have, 2nd verse as : I'm gonna write a letter, > > telephone every town I know. > > I'm gonna write a letter, > > telephone every town I know. > > If I don't find her in Mississippi, > > > She's ....something....something....I know > =========================================== > "She'll be in West Memphis, I know" -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 16 Aug 1995 10:58:45 GMT From: Peter Dwyer Subject: Re: Australian CD's Not THE Michael Hewitt who was in the Melbournee NetWare User Group??? Well Michael, the following store does mail order etc and even puts out a regular newsletter: Basement Discs 24 Block Place Melbourne, 3000 Australia fax - 61-3-9654-1734 Good Luck Peter Dwyer ========================================================================= Date: Wed, 16 Aug 1995 04:22:51 -0700 From: David Madara Subject: Capitol Blues Reissue Series I have just listened to a few of the new Captiol Reissue Series of Blues Artists and want to find out if y'all love them as much as I do. I've listened to the Sonny Terry, Chicago Blues Masters (Muddy and (Magic Slim?), Son House and Blues Revival (Lightnin' Hopkins, Sonny Terry and Brownie McGhee and Joe Turner. The artwork on the covers, to the liner notes, to the performances themselves are first rate. A highly impressive start to what may become a classic reissue series. ========================================================================= Date: Wed, 16 Aug 1995 08:22:14 -0400 From: REPIETRAS Subject: Smokey Wilson Itinerary Smokey Wilson is finishing his East Coast tour and these dates remain: 8/17 Rooster's Downtown. Fort Smith, Arkansas 8/18 Off Broadway. St. Louis, MO 8/19 Rajun Cajun. Oak Forest, IL 8/20 Spanky's. Moline, IL 9/30 Blues On The Waterfront. Sacramento, CA ========================================================================= Date: Wed, 16 Aug 1995 08:23:23 -0400 From: Barry Silverberg Subject: A Hobby Into a Venture. For the past 4 months I have been producing a newsletter to the trade and the response has been wonderful - the posts here "One Man's Opinion" are from the individual issues. I think it's now time to up the ante and turn it into a full blown venture. I am looking for partners who would like to participate. Yes I said partners and not hired hands. I think that a venture formed out of the core knowledge on this group would make a real dent tow- ards moving the blues. If anyone is interested in investigating this avenue with me please get in touch. The partners I need are individuals interested in doing reviews and individuals with contacts with many labels. The newsletter will have a high degree of blues integrity & it will only cover the blues. I have previously reviewed festivals, clubs etc. but the predominance of the content will be featuring CD's. The pur- pose of the newsletter is to move-the-blues so it's not a venue for personal attacks, gripes etc. Again if you'd like to start a conversation about joining me - let me know. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 16 Aug 1995 07:35:17 CST From: William Shute Subject: Lee McBee and the Passions CD From: Bill Shute LEE MCBEE AND THE PASSIONS '44' Red Hot Records RHR 5001 (Kansas City)cd McBee--vcl, hca, leader Anson Funderbergh--gtr Kid Ramos--gtr Well known for his fine work as "frontman" for (Mike Morgan and) The Crawl, Lee McBee steps to the mike as leader on this smoking set of harp-drenched early-50s flavored urban blues. Regular Passions gtrist Marvin Hunt steps aside on 12 of the 13 tracks and allows guest star gtrists Kid Ramos and Anson Funderburgh (talk about a dream-team or tag-team or whatever!!!) to blaze away, and they certainly do. As raw and exciting a project as this one must have been a ball from Anson and the Kid to do as a sideline to their regular gigs! The "sound" of this CD is not unlike, say, those early 50s Walter Horton sessions recorded for Sam Phillips in Memphis; or those 50s west coast sides by George Harmonica Smith; or some J.O.B. session by the likes of John Brim or Little Hudson or JB Lenoir (w/o JB's vocal style or a saxophone). And for an all-digital (DDD) recording, there's a nice raw edge,a slightly dirty tone that they somehow get, which adds to the excitement of the session. This music CANNOT be recorded in a squeaky-cleanmanner!!! It's mostly covers, but well-chosen ones beginning with Snooky Pryor's classic "Boogie Twist" and running through Eddie Taylor, Lightnin Slim, Howlin Wolf, etc. You get the general drift here... raw, over-amplified early 50s harmonica drenched urban blues. If James Harman and band decided to do an album of covers, it might sound something like this...which isn't surprising since some of the bandmembers and Ramos have a Harman connection. Still, this ain't deriv. of Harman (no "thank you, baby" between songs), only in the same vein...and that's a vein I certainly cannot ever get enough of. Send and IRC or (in the US) a SASE to Red Hot Records of Kansas City, PO Box 10256, Kansas City, MO 64171 for ordering info. or call 913 648 8747. I had to order mine through the mail as I haven't seen this stocked anywhere, but it's well worth taking the time to order if you like any of the names I've dropped above to give you an idea what it sounds like. I'm gonna give a tape of this to 2 of our local club owners and DEMAND that they book McBee if possible. These guys are probably EVEN BETTER live! BTW, the regular Passion lineup, w/ Marvin Hunt on gtr, appear on three new tracks on a Red Hot label comp of various Kansas City artists that's fine also. It's called KANSAS CITY BLUES;the nineties, vol. 1. Actually, that's the second comp I've gotten in the last few months of Kansas City artists...there's also one from the Kansas City Blues Society of various working bands from the area. If anyone's interested, I can listen to the two back-to-back and post some comments. Kudos to Mr. Lee McBee for making such a HOT album. Do I need to say that I'm in no way affiliated with artist/label/etc? And unlike SOME, I actually pay for the items I review. Not only is it good to listen to, but is it worth twelve hard-earned bucks (or however much) I could have spent on impressing a date, paying off my credit cards, or buying a few six-packs of Frio beer. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 16 Aug 1995 08:43:03 +0600 From: Rage 'n Records Subject: BB King B-Day I just heard that for BB Kings 70th Birhtday, they are shutting down Beale street and having a party. Should be in September sometime. ========================================================================= Date: Wed, 16 Aug 1995 07:54:48 CST From: William Shute Subject: Joe Jones' roulette sessions From: Bill Shute Fans of new orleans R&B and fans of 60s rocknroll both know Joe Jones for his classic hit "You Talk Too Much," which is instantly recognizable and has that inimitable laid-back Crescent City feel. Jones recorded a full lp to cash in on the hit, although before that he had done a few singles for Roulette and after the album did some more recordings. In all, the UK sequel label has turned up 26 roulette era tracks, a number unissued also, circa l958-61, and they will find a happy home in any Nawlins R&B fans collection. While some of the numbers are gimmicky and have a novelty feel, New Orleans artists can usually get away with that better than most--I just attribute it to the goodtime, 24 hr a day party feel of the place. Certainly, something like Eddie Bo's "Check Mr. Popeye" would be ginchy in anyone else's hands, but is sublime in the hands of a NO artist. As waylon jennings once said about himself, "I couldn't go pop with a firecracker in my mouth." To some extent, that's true of people like Joe Jones. I cringed when I saw a cover of "indian love call" (remember Nelson Eddy and Jeanette McDonald--"when I'm calling yoooooo-oo-oo-oooooo") among the unreleased tracks, but thankfully it's a hot instrumental number by the Jones band. Actually, JOnes is no one-hit artist--he has a fascinating history as bandleader, music contractor, operator of his own studio, etc. And John Broven's long liner notes, a reprint of an article from blues unlimited, tell his fascinating story. Rocknrollers will also find fascinating his original version of Calilfornia Sun, well-known from the Rivieras hit cover. The lazy but insistent second-line beat, the slow but insinuating vocals, those unique horn sections that are all-ways funky, it's all here. This probably isn't the best place to start your investigation of early 60s New Orleans R&B--try one of Rounders Ric & Ron label comps-- but those already hooked will want this solid and surprising collection of classic material...all served up with a smile by this VERY entertaining man. He considered Fats Domino his main man musically, and if you like the "spirit" of the Fat Man, Joe is similar, although his music is not to me that much Domino=like.If you've heard his hit, you know what you will be getting. JOE JONES "you talk too much; the best of joe jones" Sequel (UK) NEM CD 672 26 songs by the way, the original version of "you talk too much" is on here too (you can read all about that controversy in the liner notes). It's much faster and, to me, not anywhere near as memorable as the hit version. The slow, loping beat is essential to the song's power and distinctiveness...to me at least. Little Walter DeVenne was involved with this release, so you know the sound is exemplary. Bill Shute San Antonio, TX (anyone on the west coast know what happened to Joe's son, Ronnie Jones, who is described by dad as a piano player in the Huey Smith vein?) ========================================================================= Date: Wed, 16 Aug 1995 09:08:52 -0400 From: Garry Segal Subject: WC HANDY AWARDS Here are the 1995 Handy Awards Winners for those interested: Blues entertainer- Buddy Guy Blues Band- Charlie Musslewhite Contemp. Blues Male artist-Otis Rush Contemp. Blues Female Artist- Etta James Soul/Blues MaleArtist-Little Milton Soul/Blues Female-Irma Thomas Trad. Blues Male-Pinetop Perkins Trad,Blues Female- Katie Webster Country Acoustic Blues-John Hammond Male Vocalist- Charles Brown Female Vocalist-KoKo Taylor Blues Instrumentalist-Buddy Guy Blues Instrumentalist Harmonica- Charlie Musslewhite Blues Instrumentalist Piano- Pinetop Perkins Blues Instr.(other) -Gatemouth Brown fiddle Contemp Blues Album- Slippin' In Buddy Guy Soul/Blues Album- Live at HOB Solomon Burke Trad.Blues Album- Blue Bird Jimmy Rogers Country/Acoustic BluesAlbum- Keb' Mo' Reissue Album-MCA, One More Mile Muddy Waters BluesSong-Aint Enough Comin' In Otis Rush Crossover Artist- Eric Clapton Dere Ya go ! Wadda ya think ? Garry ========================================================================= Date: Wed, 16 Aug 1995 08:20:03 -0500 From: Bruce Roberts Subject: Erbie Bowser Barrelhouse Blues piano player Erbie Bowser died of cancer yesterday at the age of 77. Born in Davila, Texas and moved to Palestine, Texas at age 5. He grew up in a musical family and at a young age was playing piano and singing in the church choir. During his summer vacations in high school, he toured the South with the North Carolina Cotton Pickers Revue. After graduation he joined the Sunset Entertainers based in Tyler, Texas. He met up with T.D. Bell in 1942 in the oil fields of West Texas. They came back to Austin after WWII and were an East Austin favorite. He came out of semi-retirement in the 80's. He recorded "It's About Time" with T.D. Bell and "Texas Piano Professors" with Roosevelt "Grey Ghost" Williams and Lavada "Dr. Hepcat" Durst. This one really hurts. My wife and I used to go see him regularly at the Continental Club for his friday happy hour show with T.D. Bell. He was always friendly and happy. He was an energenic performer who was always the last musician off the stage (usually still playing as the rest of the band was packing it up). He will be missed. I also worry about who is carring on the Barrelhouse Blues piano tradition. I know plenty of young and talented harp and guitar players playing the Blues, but I can't think of any young and talented piano players. Feel free to prove me wrong (please!). Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Wed, 16 Aug 1995 08:26:00 CDT From: L W Subject: WC HANDY AWARDS ----------------------------Original message---------------------------- >Dere Ya go ! Wadda ya think ? Garry I think that's why I waited on the Living Blues awards, The Handys are a as bad as the Grammy's...it's a popularity contest...it sounds like something out of MAD magazine....You asked and thats MHO Lonnie Pitchford or Honey Boy Edwards not winning country blues album of the year, lends more truth to the "marketable imgae" theory....IMHO The one that won has more easy listening pop oriented music than blues LW "IMHO and I'm entitled to it' ========================================================================= Date: Wed, 16 Aug 1995 08:32:15 CST From: William Shute Subject: Louisiana Red "Rising Sun Collection" cd From: Bill Shute LOUISIANA RED "The Rising Sun Collection" Just In Time/Just A Memory RSCD 0006 recorded live in Montreal, Quebec, l980 Red: vcl, gtr Doug MacLean: hca (and "smoking partner") Tim Andrews: bass more than 45 minutes, less than an hour Louisiana Red is often described as "over-recorded" or "derivative," but some of those critics ought to sit down with the complete works of most pre-war artists to see that the majority of them were working with a well-known vocabulary and often created "new" songs by combining pieces from here and there and giving the end result their own "stamp" by virtue of recording it! What I like about Red is that he is a no- bulls-it artist! Talk about someone who couldn't go commercial if he wanted to!!! At the risk of being sacrilegious to some, I'd like to say that to me people like Red are carrying on the Lightnin Hopkins and much-older tradition of the itinerant bluesman doing different versions of similar material and basically "living the blues life." This relaxed and comfortable set finds Louisiana Red with an omnipresent harp player, who sounds good to me, and a bassist who basically keeps the heartbeat of the rhythm going as Red will lay out from the gtr for ten or fifteen seconds here and there to make some aside to the audience or to sing or just to lay back. Red and his harp player also offer us a paean to the mighty ganja weed on one track (and with the odd non-rhymes and breaks in meter, it seems as Red's critical acumen went up with the proverbial smoke on this tune--no, his work achieves a transcedence here not unlike that master Jerry Garcia, the man who according to Bob Dylan was able to bring so many disparate styles together by the force (farce?) of his genius--I'm reminded of the sublime and technically-brilliant playing of the master clarinet player and fellow herbalist Mezz Mezzrow-- his too was a "life well spent," right? ((note to non-jazz fans: borrow a record (don't buy one!) with Mezzrow's abysmal playing on it and you'll GET the joke)) ). Getting back to a REAL artist for a minute, Louisiana Red on the OTHER material is his usual self, rooted in electric Southern country blues, but a man of the modern world. This little trio work really well together, intuitive playing, if one could sing WHILE playing harp and play the guitar while playing the bass, it could well be one musician. It's not AT ALL like those sessions where a lost rhythm section tries to keep out of the way of John Lee Hooker or Lightnin' Hopkins. Along with the reissue of his Roulette material, this may also be an ESSENTIAL disc to own from this distinctive artist. I see that JSP has another Red disc coming out...I'll have to check that out. Anyone seen that euro movie that red appears in, one that stars Eric Burdon? Why are not there trashy cable networks where I can see that kind of thing or Operation Kid Brother at 3 am when only something as absurd and simultaneously hard-boiled as that would "make sense." Red's music makes sense to me. The heck with that reviewer who thought there were too many autobiographical details in his latest album and that it was too harrowing! That guy probably didn't "have a life " himself. I do, Red does, and you probably do--if so, spend an hour with him here until you can see him in the flesh. Bill Shute San Antonio, TX I've seen live albums in this series from Nina Simone, John Lee Hooker, Big Mama Thornton, Archie Shepp, and now Louisiana Red. What others, if any, exist? The three I've got are all great--I'll be gettin' the Hooker next time I see it. ========================================================================= Date: Wed, 16 Aug 1995 08:31:05 CDT From: L W Subject: Charles Brown B'day Dan Caron left me a message that CB's 73rd birthday is the same day he plays B'ham and I think Dan wants to do a party. Sounds fun to me...73 yrs old.....thats great LW btw: You think it would mean anything if all the CB fans sent me CB b'day wishs (short no paragraphs, private mail) with your name,city,state and I could print them off and give them to CB..... It may not mean anything to him, who knows....? ========================================================================= Date: Wed, 16 Aug 1995 10:04:58 -0400 From: Peter Welch Subject: Re: WC HANDY AWARDS You know, I get the impression that a lot of these winners have come from people who read the category, and select the first name that comes to mind rather than actually thinking about it. But, like the baseball All-Star game, it's the people's choice, I guess. -Peter W. According to Garry Segal: > > Here are the 1995 Handy Awards Winners for those interested: > Blues entertainer- Buddy Guy > Blues Band- Charlie Musslewhite > Contemp. Blues Male artist-Otis Rush > Contemp. Blues Female Artist- Etta James > Soul/Blues MaleArtist-Little Milton > Soul/Blues Female-Irma Thomas > Trad. Blues Male-Pinetop Perkins > Trad,Blues Female- Katie Webster > Country Acoustic Blues-John Hammond > Male Vocalist- Charles Brown > Female Vocalist-KoKo Taylor > Blues Instrumentalist-Buddy Guy > Blues Instrumentalist Harmonica- Charlie Musslewhite > Blues Instrumentalist Piano- Pinetop Perkins > Blues Instr.(other) -Gatemouth Brown fiddle > Contemp Blues Album- Slippin' In Buddy Guy > Soul/Blues Album- Live at HOB Solomon Burke > Trad.Blues Album- Blue Bird Jimmy Rogers > Country/Acoustic BluesAlbum- Keb' Mo' > Reissue Album-MCA, One More Mile Muddy Waters > BluesSong-Aint Enough Comin' In Otis Rush > Crossover Artist- Eric Clapton > > Dere Ya go ! Wadda ya think ? Garry > ========================================================================= Date: Wed, 16 Aug 1995 15:03:58 GMT From: Dennis Miele Subject: Musicians and Computers I find more "compute people" who are musicians than musicians who are into computers. See the difference? ========================================================================= Date: Wed, 16 Aug 1995 10:21:34 +0000 From: "P.W. Fenton" Subject: Re: WC HANDY AWARDS On16 Aug 95, L W had this to say... > > I think that's why I waited on the Living Blues awards, The Handys are a as bad > as the Grammy's...it's a popularity contest... What awards aren't? Doesn't it come down to how many people like a certain artist? If fewer people agree with you, does that make their choice bogus? What makes you think Living Blues' awards are any less a popularity contest? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 16 Aug 1995 09:40:49 -0400 From: Willy Evans Subject: Re: Charles Brown B'day On Wed, 16 Aug 1995, L W wrote: > > LW > > btw: You think it would mean anything if all the CB fans sent me CB b'day > wishs (short no paragraphs, private mail) with your name,city,state and I > could print them off and give them to CB..... > It may not mean anything to him, who knows....? > I think that it would be a good thing. Everybody likes to be remembered! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Wed, 16 Aug 1995 10:02:04 EWT From: "CATHI N." Subject: Flash On Tues. 8/15, Mark Gentry said (among other things): "It just seems that people are gravitating towards more flash and less towards subtlety in popular culture today. Look at the way MTV blasts their images on the screen. It's as if they believe everyone watching has an attention span deficit disorder. Even in sports, the trend is more towards flash and self importance and less emphasis on teamwork. Hollywood is becoming more dependant on special effects then on story. This whole flashy trend thing really troubles me." It's hard to tell, Mark. Hard to tell whether flash is a) overpowering quality in general, b) just a phase, c) a sales technique run amok, d) a sign of degenerating cultural spirituality, or just e) good clean fun. It's certainly noisy and bright, I'll give you that. It's the biggest "flash" in the 1,000 points of light (sorry -- couldn't help myself)...the noisiest hairdo at the revival. But I've discovered, much to my amazement, something that people used to refer to as the "silent majority." There are a LOT of people out there who know the difference between sh*t and shinola. Oh yes, they're there. They're the middle zeros in the the 50,000 copies sold. They're the people in the audience covering their smiles when I wear my sequin jumpsuit. They're the reason flame wars on this list die out. They don't have to shout. I prefer to call them the "quiet authority." Which isn't to say you shouldn't keep watching, listening, thinking. That's the "authority" part. We are all, by nature, part lurker. I was talking with an old farmer last week, worrying about the extremes we'd been seeing in the last five years. "Wonder if the ozone layer..." I mumbled. "Ump um," he said, rubbing his nose with a big red bandana, "don't live long enough to predict a trend." I was pondering this remark when we both spotted an overweight man with soup stains down his shirt, emerging from a nearby hamburger joint. As he passed, he pulled out an air filter mask and adjusted it to his head. I looked at the farmer. He looked at me, and said "When the atom bomb drops, take me with you." Pollyanna Norton ========================================================================= Date: Wed, 16 Aug 1995 11:17:32 -0400 From: Garry Segal Subject: Re: WC HANDY AWARDS Whoa there Big Fella : you wrote > According to Garry Segal < then the winners of the Handys followed. I just copied that info from the Handy news letter and shared it with the list for discussion. IMHO they missed alot of folks who deserve some recognition. Although Im a big Charlie Musslewhite fan and was glad to see him there, but maybe he should have just carried the Harmonica category. Take it ez, Garry ========================================================================= Date: Wed, 16 Aug 1995 15:19:50 CST6CDT From: Sara Oxton Subject: Re: Erbie Bowser >I also worry about who is carring on the Barrelhouse Blues piano tradition. >I know plenty of young and talented harp and guitar players playing the >Blues, but I can't think of any young and talented piano players. Feel >free to prove me wrong (please!). I regard Matt McCabe from Roomful of Blues, and Sonny Leland, formerly of Anson & the Rockets, as excellent - and young - blues piano players. Has anyone ever heard Harry Connick play blues? I was just wondering as I know he learned his stuff from James Booker. Sara ========================================================================= Date: Wed, 16 Aug 1995 10:24:57 CDT From: L W Subject: Re: Erbie Bowser ----------------------------Original message---------------------------- >I also worry about who is carring on the Barrelhouse Blues piano tradition. >I know plenty of young and talented harp and guitar players playing the >Blues, but I can't think of any young and talented piano players. Feel >free to prove me wrong (please!). >I regard Matt McCabe from Roomful of Blues, and Sonny Leland, formerly of >Anson & the Rockets, as excellent - and young - blues piano players. Has I agree I think when Matt was with Anson/Sam & Rockets they were at their best I also think Miss Honey deserves mentioning in this category LW ========================================================================= Date: Wed, 16 Aug 1995 11:36:33 -0400 From: Rick Miller Subject: Allmans Revisited Jeez, is anybody just DIGGIN' this remastered 2 cd set of the Allman Brothers Band Fillmore Concerts as much as I am?!! :) :) :) Goddamn! These guys really REALLY cook it up!! And there shorely is plenty o' blues (a la Duane) to be had in this extended set of music. The longer version of Stormy Monday, now with harp solo included makes me wet my pants. :o I love my good old more traditional blues artists, but Duane's guitar work just gives me goosebumps. This blows the original Live At the Fillmore album right outa the water. :) :) :) :) :) Riffin Rick (((( oo-) /- There's a man down there might be your old man, I don't know. ps. Thanks for all the help with Dust My Broom lyrics. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Wed, 16 Aug 1995 10:46:53 CST From: William Shute Subject: blues awards From: Bill Shute I don't want to rain on anyone's parade, but I don't really see a need for "awards" of this type. Often, the justification for them is that other genres/arts have them, so let's not get left out!Generally, those who win them are already at the point in their careers where they are well known, and this is just another feather in the cap. There's usually an "up and coming" category, but these too often have someone who's actually been around for years or someone who's presently being overhyped and bankrolled by some management firm. Hey, don't get me wrong, it's great to see elder statespersons like Etta James or Otis Rush or Jimmy Dawkins get awards...better late than never! However, when I get a blues magazine with an awards listing, I turn to the record review section first or maybe the new artist profiles. These awards may have some value in "breaking open" the blues to the general audience, but don't we already all know that BB King is a master and that Etta James and Koko Taylor are queens of the blues? I'd like to see an award limited to greats who are presently in a career slump or who need some re-exposure to new, younger audiences. Wouldn't it be great if the Clapton and SRV fans who buy blues magazines (or the House of Blues patrons/managers!) could get into Johnny Otis, Noble "Thin Man" Watts, Homesick James, John Brim, Joe "Guitar" Hughes, Roy Head. How many "awards" had Erbie Bowser and Jesse Thomas won recently? Personally, I will continue to see gigs, tell musicians in person how much I appreciate and enjoy their work, spread the word about worthwhile record releases, PURCHASE the works of living artists who can actually benefit from my purchase (in person, if possible, as they make more money that way), generously drop money into the tip jars of T.D. Bell and Blues Boy Hubbard, and try to give those artists I love the two best kinds of awards/ rewards an artist can get: MONEY and appreciative fans with open ears and open minds. Actually, shouldn't the Clapton category be changed from "best crossover" to "best career move"? I'm not "opposed" to the Handy awards or any other award the way Marlon Brando was/is opposed to the Oscars--they are fine with me. I'm sure the accompanying concert is nice. To me, it's just irrelevant. As far as the country blues category is concerned, I'd like to second the comments about that...now John Hammond is a fine artist, but he'd probably be the first to point out that one of the many "authentic" performers still active would have been a better recipient...although Mr. Hammond would be a fool to turn down such an award and the resultant publicity, more gigs, better pay for each gig, recording offers, etc. As far as these blues awards go, most blues-l people and blues devotees in general "know better" and most of the general audience couldn't care less. So the award basically gives record labels something to write on a sticker to attach to the shrinkwrap on an album. 'WINNER 1995 %%% *&& %$ & &** Blues Awards' I mean, to cite a local example, the LEAST significant thing about Flaco Jimenez's career is that he has won a Grammy. Bill Shute San Antonio, TX As my dad,lifelong union man, used to say, "I don't want an award; I want a raise." ps, did I read that piece here on blues-l about the problems Frank Zappa's widow had with awards organizers who wouldn't even give tickets to all FZ's children and wouldn't allow Johnny Guitar Watson to accept the award? If Mr. Zappa's own children can't see this "event," one wonders for whom such awards events are organized. I think I know the answer. By the way, I don't mean to imply that the Handy awards are on this level. ========================================================================= Date: Wed, 16 Aug 1995 11:49:38 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: FS: Freddie King CD Item Subject: Message text I'm selling my "Live at Antibes 1974" by Freddie King CD. I'm asking $18 ppd in US, which is less than I paid from CDEurope awhile back. I'll entertain offers for cash or trade, but prefer $$ so I can buy some more CDs. I'll also take offers higher than $18 until Friday and will notify the person via email on Monday Aug 21. Payment should be in the form of a Money Order. Thanks. Jim Smith smith_jb@atc.alcoa.com ========================================================================= Date: Wed, 16 Aug 1995 15:52:34 GMT From: "James A. Work" Subject: Re: John Lee Hooker's car stolen I thought he lived in San Mateo which is in the bay area. -- -- James A. Work -- A major skew. jimwork@netcom.com ========================================================================= Date: Wed, 16 Aug 1995 11:17:32 -0400 From: Dick Waterman Subject: Re: WC HANDY AWARDS I have finished my final term on the Executive Board of The Blues Foundation and am no longer connected with them in any way. I'm not on the Board of Directors or Advisory Board, and I am unaware of what happens at quarterly Board meetings because I have been dropped from the mailing list. The voting process may be flawed but the Foundation was forced to adopt its present system when 'Living Blues' very abruptly stopped being the ballot mailer/counter and announced their own awards. I don't think that anyone has a legitimate gripe unless they are a part of the process. That's what deocracy is all about. I am pleased to be away from the Blues Foundation after some years because it became far too poltical for me. I'd rather just hang with the musicians instead of worrying about whether corporate funding was coming or if the Memphis City Council was going to OK annual money or if H.O.B. was going to make an offer to televise the Blues Awards. Too many suits and ties for Jinxblues to cope with. If you would like to inquire about becoming a voting member of The Blues Foundation, contact them at: 174 Beale Street, Memphis, Tenn. 38103. Their fax is (901) 529-4030. They have added two people to their staff and can now accomodate requests for information. I again return to my original point that I no longer have any connection with who belongs or what makes the wheels turn. However, as a person who was involved in the process, I can tell you that virtually every voting catagory is ultimately decided by less than five votes since so few eligible voters return their ballots. It reminds me a story regarding LJB when he became President following the JFK assassination. Since all Cabinet level members serve at the descretion of the President, it is protocol that they all offer to resign. FBI Director J. Edgar Hoover was much feared and hated so LBJ's advisors told him to seize the opportunity to get rid of Hoover by actually accepting his resignation. He refused to do this and explained his decision by saying, "I'd rather have him inside the tent pissing out than outside the tent pissing in." Words to live by . . . . . dick waterman "Look on yonder's wall / Hand me down my walking cane." ========================================================================= Date: Wed, 16 Aug 1995 18:29:33 -0400 From: Thorsten Jakobsson Subject: Fab. Thunderbirds in Goteborg Last night was a hot and steamy night at the White Corner Pub as The Fabulous Thunderbirds entered the stage at 10.30. Just 30 minutes behind schedule (Probably, because the Pub expected to sell more beer that way). LINEUP Kim Wilson, of course - Vocals, harp. Kid Ramos - Guitar Gene Taylor - Keyboards ? - Bass Fran Christian - Drums I like Kim Wilson a lot since the last time I saw him with his own band here in Goteborg in April. I haven't listened to any of The Fab. T-birds records but many in the audience apparently had, since they were singing the words during many of the songs. I found a place to watch close to the sound-system. They appeared to play very loud since some of the people next to me had their fingers in their ears. I had my lucky ear-plugs, so I didn't mind (Is it just me, or is the soundlevel at concerts adjusted so it will be just perfect with earplugs. It was perfect sound with earplugs anyway). I watched the guitarist Kid Ramos as close as I could. I liked what I saw. His rythm-playing was standard blues-rythm and sounded just right to me. He had a couple of longer solos. He didn't overplay, which I like. Kim Wilson played an enormous solo without the rest of the band. I felt like he played for something like 5 minutes, but I didn't time him of course. Over all it was happy, pumping boogie/shuffle-blues. Everybody was having a good time. Well folks, I'm busy today, so that is all of review you get today. The played for 1 hour 45 minutes by the way. Thorsten Jakobsson Goteborg (Gothenburg), Sweden. thorsten@axiell.se ========================================================================= Date: Wed, 16 Aug 1995 11:34:42 -0500 From: Jeff Seale Subject: Re: Erbie Bowser The fact that we have spent more time discussing the death of that Garcia fellow than that of Erbie Bowser speaks VOLUMES about what the public preceives as the blues. -Jeff (flames ignored, I'm a purist) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Wed, 16 Aug 1995 16:24:30 GMT From: B Foster Subject: Re: WC CLARK In article <199508151607.LAA10302@iac1.ltec.net>, David Webb wrote: > What can I expect from this man in a live show? It will be in a > small bar, probably standing room only. As I don't smoke or drink and have a > weak back, I wan't to be sure he's worth the one hour drive and parking > hassles as well. > Understand he was a considerable influence on the Vaughan brothers > and the whole Austin scene. I've seen Monster Mike Welch and Chris Duarte > recently and would love to hear something less "masturbatory" in the way of > guitar work ;^). > I'm starting to prefer a slower, more acoustic, earthy sound with > heart-felt vocals. Does this mean I'm a "purist"? WC is the heart of the Austin Sound (according to the Antones home page). He's the one that got the Austing blues scene started. He's a real nice guy. I saw him in Columbia, MO about three years ago. Nobody knew who he was, so the crowd was sparse. Great voice. Not a bad guitarist. If you're a purist, you'll like him. I'd see him again. ========================================================================= Date: Wed, 16 Aug 1995 12:57:57 EDT From: nntp@DRAPER.COM Subject: Newsgroups: bit.listserv.blues-l Path: man4515.draper.com!MarkA.Nasson From: MarkA.Nasson@draper.com (Mark A. Nasson) Subject: Santana and Ronnie Earl! Message-ID: Lines: 7 Sender: nntp@draper.com (NNTP Master) Nntp-Posting-Host: man4515.draper.com Organization: Draper Laboratory X-Newsreader: Trumpet for Windows [Version 1.0 Rev A] Date: Wed, 16 Aug 1995 17:55:12 GMT Not lucky enough to have been at the Santana/Jeff Beck show this past weekend at Great Woods (Mansfield, MA), I would LOVE to read somebody's description of Ronnie Earl's surprise appearance on-stage with Santana. The review in the Boston Globe barely had enough to make me feel terrible for missing the show. Thanks! Mark ========================================================================= Date: Wed, 16 Aug 1995 12:07:33 CDT From: L W Subject: Re: Erbie Bowser ----------------------------Original message---------------------------- The fact that we have spent more time discussing the death of that Garcia fellow than that of Erbie Bowser speaks VOLUMES about what the public preceives as the blues. -Jeff (flames ignored, I'm a purist) ____________ I'm with Jeff on this one. To be honest the only Erbie Bowser I have is TD BEll and Erbie Bowser that Jeff sent me. It's ironic I was listening to it just yesterday. I wonder if Erbie will make the cover of People Magazine....maybe a tribute on the HO? show......Could we maybe start a rumor that Erbie used to play with Blues Traveller, then maybe HO? would consider a tribute to him. LW ========================================================================= Date: Wed, 16 Aug 1995 17:22:08 GMT From: Tony Burke Subject: Re: Jessie Thomas, RIP Well done Richard! I agree Jesse was a fine talent and yes!!! he did live in Texas and IS reagrded as a Texas bluesman (by us in Europe anyway!!) TB ========================================================================= Date: Wed, 16 Aug 1995 13:30:11 -0400 From: Joyce Ann Moon Subject: Re: R. L. Burnside & Jon Spencer Blues Explosion? On Tue, 15 Aug 1995, Marcia Grodsky wrote: > Well, as my local club is in its last week I'm scrounging around trying to > find live music after it closes. A larger, showcase-type club is advertising > a show with R.L. Burnside opening for the Jon Spencer Blues Explosion. I've > never seen Burnside live but I do have one of his cds, and I'm curious enough > that I'd go, but I don't have a clue as to who this main act is. If we've ever > discussed it I must have blocked it somehow. So tell me, do I want to go? > ---Marcia > > I saw R.L. Burnside at Mississippi Valley Bluesfest for the first time this year. Great Delta sound!! Don't miss it! E-mail: jmoon@libby.rbls.lib.il.us Joyce Ann Moon ** Phone#: (309)797-4141 Tech Services (( Fax#: (309)797-0480 Moline Southeast Library #### Moline, Il. 61265 ####### ( C ) ( H ) ( I ) ( L ) ( I) \*/ ========================================================================= Date: Wed, 16 Aug 1995 13:45:36 -0900 From: Mike Annis Subject: Rounder Blues Artists On Tour Tour dates for 8/16/95 to 8/31/95. Please contact venues for specific information. All dates subject to change. Ball, Marcia, 08/18/95, Houston, TX, Satellite Lounge Ball, Marcia, 08/19/95, Lafayette, LA, Grant Street Dancehall Ball, Marcia, 08/23/95, Dallas, TX, Hard Rock Cafe Ball, Marcia, 08/24/95, Little Rock, AR, Juanita's Guido Ball, Marcia, 08/27/95, Fayetteville , AR, LJ's Restaurant & Bar Block, Rory, 08/18/95, Cambridge, MA, HMV in store Bluestime, , 08/18/95, Moline, IL, Mark Of The Qu Bluestime, , 08/19/95, Cleveland, OH, Nautica Stage Bluestime, , 08/20/95, Mansfield, MA, Great Woods Bluestime, , 08/21/95, Lenox, MA, Tanglewood Bluestime, , 08/22/95, Vienna, VA, Wolftrap Bluestime, , 08/23/95, Detroit, MI, Fox Theater Bluestime, , 08/24/95, Toronto, Ont., , Kingswood Bluestime, , 08/25/95, Hartford, CT, Meadows Bluestime, , 08/26/95, Hagerstown, MD, Fairgrounds Bluestime, , 08/27/95, Camden, NJ, Blockbuster Bluestime, , 08/29/95, Buffalo, NY, Pilot Field Bluestime, , 08/30/95, New York , NY, Paramount Boyack & The Prowlers, Pat, 08/19/95, Iraan, TX, Two Dog Saloon Boyack & The Prowlers, Pat, 08/22/95, Dallas, TX, Greenville Bar & Grille Boyack & The Prowlers, Pat, 08/25-08/26/95, Des Moines , IA, The Grand Boyack & The Prowlers, pat, 08/30/95, Corpus Christi, TX, Doctor Rockit's Clark, WC, 08/18/95, Lawrence, KS, Jazzhause Clark, WC, 08/19/95, Keokuk, IA, Rolling On The River Fest. Clark, WC, 08/21/95, Reed Springs, MO, Happy's Clearwater, Eddy, 08/16/95, Chicago, IL, B.L.U.E.S Funderbergh, Anson, 08/25/95, Berwyn, IL, Fitzgerald's Funderbergh, Anson, 08/31/95, Louisville, KY, Jim Porter's Tavern Funerbergh, Anson, 08/24/95, Pontiac, MI, 7th House Funerbergh, Anson, 08/26/95, Milwaukee, WI, The Up & Under Pub Funerbergh, Anson, 08/30/95, Dayton, OH, Gilly's Harman, James , 08/19/95, Dana Point, CA, Harbor Lights Brewing Harman, James , 08/23/95, Kelso, WA, Peter's Red Harman, James, 08/25/95, Corvallis, OR, The Peacock Harman, James, 08/26/95, Oregon City, OR, Trails End Holmes Brothers, , 08/18/95, Cleveland, OH, Cleveland Museum of Art Hoy & The Bluefish, Johnny, 08/28/95, Sylvan Beach, NY, Harpoon Eddy's Hoy & The Bluefish, Johnny, 08/31/95, Columbus, OH, Ludlow's Bar Johnson, Luther "Guitar Jr." , 08/17/95, Salem, MA, Noon Time Concert Series Johnson, Luther "Guitar Jr." , 08/18/95, Antrim, NH, The Rynborn Johnson, Luther "Guitar Jr." , 08/31/95, Cleveland, OH, Wilbert's Bar & Grille Kubek, Smokin' Joe, 08/19/95, Arlington, TX, Fatso's Kubek, Smokin' Joe, 08/26/95, Lampey, MO, Black Oak Mt. Theater ( with Clarence "Gatemouth" Brown) Little Buster, , 08/17/95, Bayshore, NY, Continental Club Little Buster, , 08/18/95, Westbury, NY, CJ Maples Little Buster, , 08/19/95, Valley Stream, NY, Franklin Cafe Little Buster, , 08/24/95, Wantagh, NY, Lily Flanagans Little Buster, , 08/25/95, Manhasset, NY, Aiden O'Hora Little Buster, , 08/26/95, Farmingdale, NY, Changing Times Morgan, Mike, 08/19/95, Dallas, TX, Schooners Morgan, Mike, 08/25/95, Waco, TX, Buzzards Billy's Morgan, Mike, 08/26/95, Dallas, TX, Mucky Duck Nelson, Tracy, 08/25/95, Denver, CO, Listen Uptown Concert Series Parker, Bobby, 08/19/95, Richmond, VA, Festival Parker, Bobby, 08/26/95, Alexandria, VA, Fleetwood"s (record release party) Rishell & Little Annie, Paul, 08/19/95, Groton, MA, Dunstable w/ John Sebastian Rishell & Little Annie, Paul, 08/20/95, Nantucket, MA, The Brotherhood Rishell & Little Annie, Paul, 08/26/95, Danbury, CT, Ives Center Roomful of Blues, , 08/19/95, Warwick, RI, Palladium at Rocky Point Roomful of Blues, , 08/20/95, Block Island, RI, Spring House Hotel Roomful of Blues, , 08/21/95, Provincetown, MA, Governor Bradford Roomful of Blues, , 08/26/95, Norfolk, CT, Yale Music Shed Roomful of Blues, , 08/28/95, Matunuck, RI, Ocean Mist Tony Z, , 08/16/95, Boston, MA, Scullers ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Wed, 16 Aug 1995 13:44:16 -0400 From: Dick Waterman Subject: Re: blues awards I'm certainly not going to take issue with Bill Shute's appraisal of blues awards since anyone who shares San Antonio with David Robinson is OK in my book. The point that being on Blues-L and being aware of the continuing greatness of Koko, Etta, Buddy, John Lee, et al is proving nothing to anyone outside of the already-educated. This is called 'preaching to the choir.' Winning a Handy or 'Living Blues' honor serves little purpose in helping a career because those who read about it are already knowledgeable in this field. Therefore, it is more important to take advantage of the Grammy's televised visibility to accomplish this. When Eric Clapton won the Grammy in the "Best Traditional" category, I am of the opinion that he was well aware that it was at the expense of some other artist to whom it would have been a major career boost. If, for example, it had gone to Otis Rush for "Not Enough Coming In" (i.e. 'jinxblues' personal choice), major chains such as Tower Records and Sound Shop might have re-ordered to keep it in stock, the record label would have wanted to do a followup album and Otis's personal appearance price would have jumped significantly. Would any of you like to approach Mister Rush with the viewpoint that award shows are meaningless because you already know how great he is? I think not . . . dick waterman I can't quit you, babe, But I got to put you down for awhile. -Otis Rush ========================================================================= Date: Wed, 16 Aug 1995 13:16:53 CST From: JBards Subject: Re[2]: Jessie Thomas, RIP Well, I understand that one's sense of geography and affiliation could be different from the other side of the Atlantic, but.... Jesse was born in Louisiana and lived here until he was 20. He travelled to an in Texas to record and perform, may have stayed there for periods, but never established anything like a long term residence in Texas. He moved out to California in the mid - 20s, stayed there till the 50s, returned to Louisiana and lived here till his death. Now while it is true that some of us north Louisianaians condsider Shreveport to be culturally closer to East Texas than Baton Rouge, we have not yet been annexed by our neighbors to the west. I'm sorry if your were laboring under the misunderstanding that Louisiana was Texas or that Jesse was a Texan, but I'm glad we've had the opportunity to set the record straight. If you still want to " regard Jesse as a Texas Bluesman", then I guess we'll have to include Fats Domino, Dr. John, and Louisiana Red in the same basket. -Jim _______________________________________________________________________________ Subject: Re: Jessie Thomas, RIP From: Tony Burke at INTERNET-SH Date: 8/16/95 12:58 PM Well done Richard! I agree Jesse was a fine talent and yes!!! he did live in Texas and IS reagrded as a Texas bluesman (by us in Europe anyway!!) TB ========================================================================= Date: Wed, 16 Aug 1995 18:01:15 EST From: Jim Miller Subject: World Music/Blues I have some interest in the world music scene and would like to know if anyone has some information concerning Blues and other cultures. We have spent some time on this list discussing the blues connection with rock , western swing and jazz and even rap, but what about genres outside the U.S.? For one thing both rock, rap and jazz have been utilized by various developing music styles throughout the world (country to a much lesser extent ). What about blues? I know that Ali Farka Toure is one good example (I believe he was influenced by John Lee Hooker) of someone who has taken blues and mixed it with his own musical traditions. I also have an CD with Ry Cooder and an Indian musician who has developed a guitar like instrument conducive for playing slide . I forget his name as well as the name of the CD (today is one of those bad brain days). I do remember a song title "Ganges River Blues". Other than these two folks that is all I've come up with. Anyone know of specific blues contributions to this rapidy and incredibly rich world of music? Also I know that rhumba was influential on some blues recordings, particularly in the 50's but can anybody give any other examples of other music traditions from outside the U.S. influencing paricular blues tunes? I read a review of a Kinsey Report CD several years ago saying that some their tunes reflect a developing reggae/blues synthesis but I think the reviewer was too intent on reading Donald Kinsey's bio into the music ( he played for Bob Marley). ========================================================================= Date: Wed, 16 Aug 1995 13:45:08 CDT From: L W Subject: CB's B'day Since I've recieved a few B'day greetings for Charles Brown, I will start collecting them until Sept 12th.......So if you have any b'day grettings for Charles send them private mail include city and state....etc I will print them all out and give them to Charles on his B'day THANKS LW ========================================================================= Date: Wed, 16 Aug 1995 19:47:38 GMT From: Tony Burke Subject: WC HANDY AWARDS Both Dick Waterman and Bill Shute make very valid points about Awards.=20 The problem is that whilst every organisation, society etc. has some=20 system for recognising status or marking achievement, the WC Handy=20 Awards have become irrelevant to what is really going down in the blues=20 world. Firstly, they are so predictable it is untrue. You can name who is going=20 to win what six months in advance. It may be correct in saying that=20 those who vote just stick down the first person who comes to mind, and=20 that may also be the case with the people who do the nominations. Like Dick, B&R has ceased to associated with the WC Handy Awards - the=20 reason, pretty similar to Dick=B9s, however, the fact that the same peopl= e=20 win the same categories every year like clockwork and don=B9t bother to=20 turn up for the award shows that the whole thing has become a=20 predictable bore. We used to ensure that every year we nominated new, up-coming artists=20 like Joe Louis Walker, Larry Garner etc.; that we nominated some of=20 excellent blues/R&B reissues emanating from the UK in the album section;=20 that we nominated in the contemporary album/artist section some of the=20 fine new recordings made by smaller labels. And what happened? yep, you guessed! Apart from Joe Louis doing really=20 well one year, the same old faces won, no recognition was given to what=20 was going down on the reissue front etc. Its as though they never=20 existed! The categories are also in need of revamping - I mean how may times in=20 Gatemouth going to be win an award in the misc. category for his violin=20 playing!! Its just crap!! I don=B9t even believe the musicians take this=20 sorta thing seriously. And it gets worse! All it seems you need to get an Award from the WC=20 Handy crowd is issue a CD on a label that has lotsa advertising in the=20 Blues press as well as in rock mags and bingo! you get a Handy, no=20 matter what the critics have said. So if Buddy Guy does another album=20 this year - you can bet your bottom dollar, no matter how mediocre it=20 might be it=B9ll win!! I have long thought that the larger companies with bigger advertising=20 budgets influence the Awards, even though it would seem half the artists=20 don=B9t bother showing up. After all, how would the corporate sponsors=20 etc. feel if European labels like Black Magic, Ace, Sequel, Charly,=20 Indigo won a few Awards, Nah! It don=B9t work like that do it? So, as far as B&R is concerned we will of course report the winners, but=20 it wouldn=B9t matter a jot if we didn=B9t. The WC Handy Awards and now t= he=20 LB Awards are a complete waste of time, as they do not reflect what is=20 happening in the real blues world - among the avid record collectors,=20 the people who loyally turn up at the gigs and festivals to listen to=20 what is going down rather than the types for whom blues is this years=20 flavour - next year it=B9s something else! In the UK our good freinds at the British Blues Connection run the=20 British Blues Awards - the same thing happens. We have artists winning=20 awards in the same catagory, year in year out. The whole thing becomes=20 an embarrasment. To all those who think this is a purists point of view I can assure you=20 that it is well shared by those who care about the music. So what do we do about it? Well, basically not much, cos these things=20 are hard to stop once they get started. Perhaps we could get a few ideas from Blues-L land about what should be=20 done! ========================================================================= Date: Wed, 16 Aug 1995 18:20:43 GMT From: Andy Synyszyn Subject: Re: Acoustic Strings In article <40okhn$gqg@feenix.metronet.com> j.mac@METRONET.COM writes: > > Andy Synyszyn writes: > > > > I recently discovered 'Michael Messer National Guitar Strings' here > > in the UK. They're hand wound by Newtone Strings and I've found them > > to be great. > > > > They come in two guages: > > > > Heavy: .016 .018 .027w .039 .049 .059 > > Light: .015 .017 .026w .036 .046 .056 > > > Yipes! Either of those guages would work well on a Dobro (because the string > pull is on the tailpiece which is anchored at the > base of the guitar at the endpin) but could pull the bridge off a standard > wooden guitar. Tuned to concert pitch they would > certainly warp the top over time. If you use strings that heavy (which would > work GREAT for slide) think about tuning below > concert pitch (EADGBE). > I use the light guage strings on my custom made acoustic with no ill effect. Apparently, because of the round central core they exert no more pressure than strings of say 13 guage. I do use open tunings a lot and have to say that I wouldn't take the acoustic up to open E!, but as you say the Dobro is fine!. But, if you want thick strings, Kent DuChaine uses 20-59 guage on his old National Lead Bessie!... and tunes up to F sharp!!. He told me that he bought Johnny Shines' Style O a while ago and strung the guitar with his 'fence wire' but the tailpiece broke when he tried to tune it up!! -- Andy Synyszyn... ---------------------------------------------------------------------------- andy@synyszyn.demon.co.uk 'I've been down so long looks like up to me' ========================================================================= Date: Wed, 16 Aug 1995 16:32:53 -0900 From: Mike Annis Subject: Rounder New Releases The following are the August 15, 1995 Rounder Records Group Blues releases. For more information please contact the address(es) below. Bullseye Blues 9558 Lowell Fulson "Them Update Blues" BLUES New release. Black Top 1119 Bobby Parker "Shine Me Up" BLUES New release. Okra-Tone 4961 John Mohead "Lula City Limits" ROCK/BLUES New release. ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Wed, 16 Aug 1995 16:38:56 -0400 From: Steve Levine Subject: Dave Sherman & The Nightcrawlers I saw Dave Sherman and The Nightcrawlers, featuring Blues-l's own Leo 'The Scatman' Aspiras on bass, this weekend. The Nightcrawlers are a great band to see if you're in the Washington DC area. They are a trio fronted by Sherman on guitar with Leo on bass and a drummer whose name I forgot. I don't know if it's becuse they were playing a smallish room, or because there is only one guitar, but they really kept the volume at a low, but listenable level. I don't know if they have any originals, but they play songs by most of the classic blues artists - Muddy, Elmore James, Magic Sam, etc. and some modern stuff (Stevie Ray Vaughan is one I can remember from this weekend). Leo told me that they will be at the Oxford Tavern/Zoo Bar in DC (on Connecticut Ave, across the street from the National Zoo), August 31 and September 30. See them if you get a chance! -Steve ========================================================================= Date: Wed, 16 Aug 1995 16:51:28 -0400 From: Garry Segal Subject: Re: WC HANDY AWARDS/Contests Tony has many a valid point in his disgust with Handy Awards. Although Im not one to be quite as bitter about it because many folks will be introduced to the likes of Katie Webster and Charlie Musslewhite via those awards. However (yikes I feel the bitterness welling up) I am really sick of music in any form having to be boiled down to contests and name recognition awards. Blues is not a sport , there are no winners and losers. There is blues I like and blues I dont like. Its called taste. Now part ll : The Blues Foundation sponsors an annual contest for bands to compete in. Preliminarys are held in cities by blues societys then they send the winner to Memphis to compete . Or you can take your band down and compete in prelims Oct 6&7. In my experience with these they are riddled with politics at the local level but the national winner many times gets a label deal. Many if not most of these bands have been really good and deserving of the recognition they got by winning. The other bands are supposed to learn and network and get "exposure" blah blah. My problem: I am torn as to whether to take my band down there and give a whirl for the exposure , fun, hearing other bands, or not because I hate music being a competition. Papa Chubby won some sort of radio blues contest and now is on a major label and getting airplay on commercial rock stations with "Goddess of Love and Beer" not really a blues tune. Got nothing against the Chubster always glad to see folks break through and he played alot in NYC before winning. But is that the best shot a band has? To have to win a contest on some really nebulous criteria ? So , Dear Abbey should I go or just keep putting out my own CDs and hope some label picks it up and stay on the road building up fans the old fashioned way. Garry ========================================================================= Date: Wed, 16 Aug 1995 13:58:00 CDT From: Bonnie Kalmbach Subject: MS John Hurt's style I asked this question over a year ago - before Dick Waterman as well as many other folk joined the list. I've read that John Hurt may have been influenced by seeing some East Coast ragtime blues pickers (Blind Blake, etc) or hearing their recordings. But I always have thought - "what about Frank Stokes?". His style seems close to John Hurt's - and he was, of course, older and pretty well established as a major Memphis musician. He probably had family/friends in the Delta and may have travelled there (and perhaps died in Clarksdale) accordingto Bengt Olson's book on early Memphis blues. So - does anyone out there think Frank Stokes, Dan Sane, etc. influenced a younger John Hurt?? -Bonnie ========================================================================= Date: Wed, 16 Aug 1995 17:06:45 -0400 From: Maria Wegscheid Subject: Re: francine reed > >If not mistaken, Irene Reed is the lady that toured with Lyle Lovett's > >Large Band. A good singer of several styles! > > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > > Isn't that Francine Reed?? > > --bill-- Yes, it was (is) Francine Reed who tours with Lyle Lovett. She has a new solo cd out called "I want you to love me". What I've heard is pretty good. She's got a hell of a voice. Maria. ========================================================================= Date: Wed, 16 Aug 1995 16:10:14 -0600 From: Ranko Vujosevic Subject: Sherman Robertson Sherman Robertson will be playing Des Moines on 25th. Any experience with his live shows? Should I drive 2 hours to see him? I got his "I'm the man" Cd - pretty good, although at moments remains me too much of Robert Cray the way I don't want to listen to. So, to go or not to go? Help!!! Ranko ========================================================================= Date: Wed, 16 Aug 1995 21:19:47 GMT From: keith abel Subject: Burial Set For Blue Goose Bluesman (Shreveport, LA) Legendary Bluesman Jesse Thomas will be laid to rest Saturday, August 19, 1995 at 1:00 pm Funeral services will be held at the Good Samaritan Funeral Home Chapel, 2200 Laurel Street in Shrveport. A graveside ceremony will follow at Carver Cemetery, 798 Kinney Road also in Shreveport. ========================================================================= Date: Wed, 16 Aug 1995 16:22:37 -0600 From: Ranko Vujosevic Subject: Re: WC HANDY AWARDS/Contests > From: Garry Segal > Tony has many a valid point in his disgust with Handy Awards. Although Im not > one to be quite as bitter about it because many folks will be introduced to > the likes of Katie Webster and Charlie Musslewhite via those awards. However > (yikes I feel the bitterness welling up) I am really sick of music in any > form having to be boiled down to contests and name recognition awards. Blues > is not a sport , there are no winners and losers. There is blues I like and > blues I dont like. Its called taste. But, there are good musicians and there are lousy musicians, and there are good blues records and lousy blues records, and there is place for annual blues award to recognize good musicians and good albums. However, the problem is how to do it the right way. > So , Dear Abbey should I go or just keep putting out my own CDs and hope some > label picks it up and stay on the road building up fans the old fashioned > way. > > Garry > Garry, don't go and waste money, because "Blues Instigators," band from Iowa City who won Iowa competition, will win it all, and Kevin Burt (25 year old) will show the world that he is one of best blues vocals IN THE WORLD and future of the blues singing. He is black, big, and bad, and when he sings "Ghetto Woman," "Thrill is Gone," or "Ain't no Sunshine When She is Gone," man, that's unforgetable. I am skipping B.B King this weekend, but I ain't skipping "Blues Instigators" in Gunner's on Friday night. Remember that name guys ... Ranko ========================================================================= Date: Wed, 16 Aug 1995 14:23:47 -0700 From: Joe Lempkowski Subject: Club Info I am planning on being in Chicago on 8/25 and 8/26. Can anyone let me know what is happening that weekend in the clubs? Also are Billy Branch and the SOBs scheduled to be in town that weekend? Thanks for any assistance, Joe ========================================================================= Date: Wed, 16 Aug 1995 20:13:37 -29900 From: Michael Kaloyanides Subject: Re: "Dead Budgie Blues" Just added this to the set list for our next gig. Michael "Birdman" Hewitt, do you want to be publicly acknowledged for your composition? :) Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 16 Aug 1995 19:33:00 CDT From: "" Subject: Re: Re[2]: Jessie Thomas, RIP Geez dude, didn't mean to get yer dander up or start a flamefest or anything. I was just commenting on what very little I knew of Jesse and his life. Of course everything you have said is true. Actually, he spent more time in California than anywhere else. I for one certainly wouldn't want to be labeling him a 'California Bluesman'! Jesse would probably have preferred to be labeled a 'Louisiana Bluesman', though I still maintain (and he told me this) that he learned to play in Dallas trying to make some of that 'easy money' his brother was making in Deep Ellum at the time. He was definately very heavily influenced by the seminal bluesmen that inhabited and passed through Deep Ellum in Dallas at the time. But no doubt, his roots were definately deep in Louisiana. On a more personal note, could you please let me know all details about when and where his funeral is? I intend to come. Is it still Saturday? Thanks very much. Very best regards, Richard Chalk TopCat Records ========================================================================= Date: Wed, 16 Aug 1995 19:40:00 CDT From: "" Subject: Re: blues awards Right on the mark. All the awards go to the big names. The little guy has to either outlive the older guys and gain recognition thru attrition or die and gain recognition as a 'long lost unknown newly discovered but dead great bluesmen'! It's a damn shame. Richard Chalk TopCat Records ========================================================================= Date: Wed, 16 Aug 1995 21:20:24 -0400 From: Jim Armstrong Subject: Re: Aplogy/etiquette In a message dated 95-08-15 09:58:14 EDT, hhardy@BCONNEX.NET (Hugh Hardy) writes: >P.S. I understand that Mickey Mantle played a mean blues harp...how 'bout >some >discussion. ;-)> > > He plays a harp now. ========================================================================= Date: Wed, 16 Aug 1995 22:43:38 +0000 From: Ian Angus Subject: Colin Linden Tonight (Wednesday) Colin Linden was our guest on Blues Soul (CKLN-FM, 88.1, in Toronto). Host David Barnard kept him on for about 90 minutes, it was so interesting. Colin picked all of the music played: it came from his "road set," the CDs he carries with him to listen while touring. A great selection, ranging from Holing Wolf to early Aretha Franklin gospel to Bo Diddley. I hadn't met Colin personally before -- let me tell everyone that he is not only a great guitarist and a faithful bluezeller, he is REALLY knowledgrable about the history and roots of blues, and is a very nice guy, on top of it. And his new CD is very strong -- I think the best he's done to date. It's only available in Canada for now, but should have US distribution by year-end. Colin is about to go on tour opening for Colin James. I plan to see him at the Annandale Country Club, in Ajax, Ontarion, on September 7. Any bluezellers in the area who don't mind a drive to just beyond the Toronto suburbs? If so, let's meet at that concert -- Let me know. Colin will also be opening for Roberty Cray at Massey Hall in mid-September. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 16 Aug 1995 23:08:21 -0400 From: Ted Dames Subject: Re: blues in Philly >Date: Fri, 11 Aug 1995 08:34:51 EDT >From: george morales >Subject: blues in Phila PA > >I don't have any affiliation with the following venues or the performers >(I haven't even heard any music by them) but I thought it would be of >interest to those in the area that Luther "Guitar Junior" Johnson will >be performing at Warmdaddy's tonight(215-627-2500).The newspaper deems him >a legendary blues journeyman. >Big Jack Johnson will give a free show at Cooper RIver Park on Wed >Aug 10. > >Has anyone seen any of these artists in concert? Yes, Luther is a strong showman and bonified bluesman. Speaking of Big Jack, he was our unexpected celebrity guest at Bandana's Blues BBQ on August 13th. He was a big hit in the club house bar. Bought a very phallic novelty off the bartender (Marybeth) that said would get a lot of laffs on the road. tino Gonzales tried to get him to perform but he had just left. He was a very amiable guy. George, where were you? Ted bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Wed, 16 Aug 1995 21:38:26 -0700 From: Chris Adams Subject: Blind Blake question (Ari Eisinger, are you there?) I was recently reading an interview and he mentioned some music done by Blind Blake in collaboration with the New Orleans clarinet player Johnny Dodds, and a vibes player. Must have been done in the mid 20's-early 30's. Does anyone know what recording that might be on. Sorry I don't have more details, like the name of the cut. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us ========================================================================= Date: Thu, 17 Aug 1995 06:31:08 GMT From: brad gekler Subject: Re: fab t-birds review ? Robert Paul Schwippert wrote: > > The Fabulous Thunderbirds are coming to play here in Amsterdam ... > ...is it worth going? If you miss them you'll miss out. Their current guitarist is Kid Ramos(great). Yes, Kim still heads up the band. Enjoy, BRG ========================================================================= Date: Thu, 17 Aug 1995 02:33:16 -0600 From: Tom Rossen Subject: Billy Branch and hello yall Billy told me he had heard folks was talkin' 'bout him in cyberspace, so I've jumped back into this liveing 'zell with both feet to find out. By the way, I may have him online soon - I've whetted his appetite enough so that he's ready to pop for ############### WARNING: begin flame bait ################################ the best all-round computer: A Mac. ############### WARNING: end flame bait ################################ Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Thu, 17 Aug 1995 11:05:17 GMT From: Peter Dwyer Subject: Re: Blues Lemons "Besides the following, does anyone know any more blues/r&b songs with "lemon" in the title": How about "Let me squeeze your lemon" by Charlie Pickett recorded in NYC, August, 1937 - available on "The Sounds of Memphis(1933-1939)" on "Story of the Blues" label CD 3531-2. Peter Dwyer ========================================================================= Date: Thu, 17 Aug 1995 08:32:47 -0400 From: Tom Freeland Subject: Re: Blind Blake question (Ari Eisinger, are you there?) In a message dated 95-08-17 00:40:20 EDT, chris@SPARKIE.OSL.STATE.OR.US (Chris Adams) writes: >I was recently reading an interview and he mentioned some music done by >Blind Blake in collaboration with the New Orleans clarinet player Johnny >Dodds, and a vibes player. Must have been done in the mid 20's-early >30's. Does anyone know what recording that might be on. Sorry I don't >have more details, like the name of the cut. > > In April, 1928, Blake recorded three songs with Dodds: "Doggin' Me Mama Blues, C.C. Pill Blues, and Hot Potatoes. Dixon and Godrich credit a xylophone or vibes on the 1st and 3rd. The 2nd is available on the Yazoo Blind Blake; Document would would have all three, in sequence. Tom Freeland ========================================================================= Date: Thu, 17 Aug 1995 07:59:53 CST From: William Shute Subject: Lucky Millinder From: Bill Shute I mentioned Lucky Millender a few times recently in discussions of Bullmoose Jackson and of Sister Rosetta Tharpe, so here's an actual collection of his work you can easily find if so inclined. LUCKY MILLINDER "Ram-Bunk-Shush" Charly R&B CD Charly 288(UK) Released l991 original l950-1955 'King' recordings While Dave Penny's fine notes to this collection cite Millinder as "arguably THE progenitor of R&B" (let's not forget Johnny Otis, Tiny Grimes, and about 79 others!), after having listened to this disc a half-dozen times in the last week, I think the reason I don't really think of him as such and the reason he's not as well-known among today's fans as others of the period is that unlike Johnny Otis and others he never really adapted to (and, if this compilation is any indicator, never attempted to adapt to) the gtr orientation towards which R&B was headed. Much of this stuff rocks like crazy, but the band has its roots in the swing period. Millinder is sometimes compared with label-mate Tiny Bradshaw, but a listen to Millinder's hit "Ram-bunk-shush" and then to Bradshaw's "Train Kept-A Rollin'" will make clear the difference in approaches. Still, those who enjoy a big, full-sounding jump blues/proto-R&B ensemble with numerous vocalists for every occasion and style and with hot jumping solo choruses will become an instant Millinder fan after hearing this 20-track set. Millinder made a film in l948 called "Boarding House Blues" which I really like--if I can find it, I'll watch it again and say something about it. Let's hope that the CD revolution will encourage Decca and RCA/BMG to put out Millinder retrospectives (by the way, I'm assuming Decca hasn't yet--is there a Lucky volume in the Decca Jazz series on GRP?) also. Those of you who follow "family trees" in music might be interested to know that the Millinder band actually grew out of what was known circa l930 or so as Mills Blue Rhythm Band (mills as in irving). Check out the "Rhythm Spasm" Cd dedicated to their red-hot, solo-laden swing tunes on the Scotland-based "hep" label. Bill Shute San Antonio, TX I don't think I'm allowed in the neighborhood/community where David Robinson, George Strait, John Schneider, Vikki Carr, etc. live! although the admiral spoke at my son's elementary school a year or two back! ========================================================================= Date: Thu, 17 Aug 1995 08:00:02 CDT From: L W Subject: Re: WC HANDY AWARDS/Contests ----------------------------Original message---------------------------- >(yikes I feel the bitterness welling up) I am really sick of music in any >form having to be boiled down to contests and name recognition awards. Blues >is not a sport , there are no winners and losers. There is blues I like and >blues I dont like. Its called taste. Does this mean that if YOU won a Handy you would refuse it...? LW ========================================================================= Date: Thu, 17 Aug 1995 07:56:55 PDT From: rjbauman@IQUEST.NET Subject: Re: WC HANDY AWARDS/Contests I really like the idea of a best unsigned blues band contest that they are involved with. There is usually lots of interest at our local competition. The winner gets to play at the Handy's, right? I'd like to see a whole tent for several of the better unsigned bands on Handy night. That would help re-emphasize the up and coming talent. You guys have got me thinking about next year in Memphis already! ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 17 Aug 1995 08:41:46 GMT-6 From: Eliot Williams Subject: Merle Haggard/Jimmie Rodgers Much as I like him, I wouldn't normally plug a Merle Haggard record on this list. But I recently picked up a CD of his that is bluesy enough to make an exception for: "Same Train, Different Time" (Koch International), a reissue of the double album tribute to Jimmie Rodgers he recorded in the 70s or early 80s. If you like Haggard's singing and the "white country blues" of Jimmie Rodgers you should love this record. Haggard covers over 20 of Rodgers' songs in his own inimitable style. Very highly recommended. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 17 Aug 1995 08:42:37 EWT From: Andy Dillon ISHC Subject: blues for greeny Has anyone heard Gary Moore's (sue me) tribute album to Peter Green?= called Blues for Greeny? I brought a copy back from England last week and am quite impressed with it - very restrained, very PG-ish guitar sound. Just wondering if anyone here has heard it? Also, while in Europe I visited Rory Gallagner's grave in Cork. It is unmarked but unmistakable at this time. I didn't take a photo or a piece of dirt, just said a quiet goodbye. Then I went and bought a Rory Cd - YEs, Against the Grain is available on Cd (Hello Peter in Amsterdam!!) and still sounds good to my ears. Andy Indiana University ========================================================================= Date: Thu, 17 Aug 1995 08:46:58 CST From: William Shute Subject: Fab T-Birds bumper stickers From: Bill Shute No, I don't have any Fabulous Thunderbirds bumper stickers available, but your record store might. Last weekend in Austin, it seemed that every store had a stack of them with the cover design, band name, album title from the new album. Maybe it's just in Texas, but you might ask at YOUR store if they have received any (maybe there's a few under the counter), and if not, ask them if they can get some. By the way, and I haven't yet heard the album so it is not me sayingthis, the clerks at two Austin record stores (who know me and my tastes, but who also know the folks in the T-Birds circle) talked me OUT of buying a copy! They said "most of the guitar work is by Danny Kortchmar and David Grissom, whatever the credits say" and that the gtr was too slickly-recorded. Hmmm...well, I'll still pick up a cassette of it to blast in the car stereo as August fades into September and the 99-degree weather starts to subside. Kid Ramos is a SUPER talent, Kim Wilson is always worth hearing, and Gene Taylor (hope he's on the album too) has been a fave since The Blasters days. Bill Shute whose bumper is now FULL of stickers. Thanks to those (DT especially) who sent me some after I enquired about blues bumper stickers a few months back ========================================================================= Date: Thu, 17 Aug 1995 09:18:03 CST From: William Shute Subject: two by Tab Smith...and a dose of "Mr. Blues" From: Bill Shute Another entry in my one-man Lucky Millinder thread. One of the great tenormen in the Millinder band was Tab Smith. Tab's rich, delicious tone and masterful ability to develop a solo make his solo records some of my favorites. In that grey area between R&B and jazz (I'd like to think that music in this area possesses thebest qualities of each--the power and rhythm and booting feel of R&B with the creative improvisation and harmonic invention of jazz) is the material Tab recorded for the United record label. Delmark has a few volumes of these fine sides out now, including material that for economic reasons (ie, the label could only afford to release so much at a time)was unissued at the time. The one I have is ACE HIGH (DELMARK DD 455). Recorded l951-l957 after his stint with Millinder, this material is almost like what Lester Young might have recorded had he fronted a "jump" combo, altho Tab has a "bolder" tone. Great stuff! thanks to Delmark for reissuing it (also check out their fine Honkers and BAr Walkers albums and the collection of Willis GatorTail Jackson for more tenor-sax R&B at its finest). And what does Wynonie Mr. Blues Harris have to do with this (well,he sang with Millinder, but that wasn't what prompted this segue)? (various artists) "Shoutin, Swingin, and Makin Love" Chess-MCA 9327 This interesting but not-too-well-known Chess comp features material in the jump blues/jump ballad vein, and opens and closes with the Tab SMith band featuring Chick Young on vocal doing Jimmy Rushing's "Jimmy's Blues." So I dug it out after playing the above Smith comp, and REALLY enjoyed hearing the three later circa l964 recordings by Wynonie Harris. These must have been among Mr. Blues' last sessions--actually, checking the liner notes here, these WERE his last. That blistering yet sassy voice is still there, tho in older, a bit deeper, a bit more mature, a bit more understated form, and it's interesting hearing him with what sounds like an early-mid 60s "R&B lounge" combo, complete with 60s organ! "Buzzard Luck" is always great to hear and seems to fit MY week; "Conjured" is one of the novelty tunes he did with such panache; and his beautiful take on Joe Williams' "The Comeback" reminds us what a sensitive reading he could give to a number when needed. Mostly his uptempo sides have been reissued--when and if Bear Family 'or someone like that gets around to doing a comprehensive box set, we can hear the slower tunes too. Gee, I need another fix of Mr. Blues, WYNONIE HARRIS. I've got to dig out that four part "Battle of the Blues" that Harris did with Joe Turner in the late forties(I think). Bill Shute San Antonio, TX (voted 130th best city in America, I heard on the radio news this morning!) ========================================================================= Date: Thu, 17 Aug 1995 09:35:13 -0500 From: Roger Struve Subject: Lyrical question What does John Hammond mean when he sings..."and i'm gonna give that gal such a long old lonesome home"...i am assuming i heard the lyrics correctly here and remembering them right...and yes, they probably are someone else's lyrics, but i can't remember the exact song right now, just that these lyrics' meaning i've wondered about for many a year. thanks, d.d.r. ========================================================================= Date: Thu, 17 Aug 1995 08:37:05 -0700 From: Ron Wack Subject: Colin James Item Subject: Message text Hi Folks, There was a writeup in the local newspaper today about Colin James. He's co-headlining a fundraising concert this weekend in his hometown (Regina, Sk. Canada) with rocker Tom Cochran and others. There's a bit of a review of his new disc, Bad Habits, that says he's made a big turn to Delta Blues and Memphis funk. Appearing on the disc are guitarist Waddy Wachtal, harpist Kim Wilson, Reese Wynans on keyboards, John Ferreira on sax, Bobby King, Terry Evans, and Mavis Staples on background vocals. There's supposedly a dominate electric slide sound to the disc. CJ is quoted as saying, "I haven't played a lot of electric slide. It's a pretty finicky style, it's easy to sound bad." I haven't heard the disc yet but am going to pick it up this week. CJ is appearing in France with french star Johnny Halliday (anyone familiar with him?) early in Sept. He's doing a short tour with Robben Ford mid Sept. A cross Canada tour is in the works and several showcase concerts are being arranged in L.A. and New York. RW ========================================================================= Date: Thu, 17 Aug 1995 10:43:42 -0400 From: Dick Waterman Subject: Garry & Moodswingers ? I have lost the online name of Garry from Connecticut who has the group "Garry & the Moodswingers." Would he please contact me regarding a gig? dick waterman ========================================================================= Date: Thu, 17 Aug 1995 15:45:07 GMT From: George Van Wagner Subject: Long Beach Blues Fest So, what blues-l-ers are going to the Long Beach Blues Festival? My wife and I got the gold passes and are really beginning to anticipate the show. My only regret is that I'm not on the bill this year:-) I'm really looking forward to Otis Rush, whom I have never seen perform though he has always been a favorite (So Many Trains and You Know My Love have been in my personal repetoire for years). The Stax tribute on Sunday also sounds great. George ========================================================================= Date: Thu, 17 Aug 1995 14:49:33 GMT From: Todd Moye Subject: Lucinda Williams Does anyone out there know when the new Lucinda cd is due? I need to know. ========================================================================= Date: Thu, 17 Aug 1995 10:50:10 -0400 From: Tom Morgan Subject: Street Musicians I got an interesting e-mail yesterday asking for help and since I didn't have a good answer for the person, I thought I would share it with the rest of blues-l in order to find her an answer. Here is the relevant part of the e-mail I received: ///////////////////////////////////////////////////////// In attempt to generate some publicity for the Heineken brand around The Heineken Jazz and Blues Festival at the Paramount, we've hooked up with a group in New York called "Music Under New York," which I may have mentioned in my original note. They sponsor street musicians including Evelyn Chambers and Zanne Masse. A NY Post reporter is driving around with us tomorrow to interview these different street musicians (interview/take photos, etc). In order to link the story back to the Heineken Jazz and Blues Festival, he wanted to know if any of the muscicians performing got their start on the street? The following is the line-up of artists. Maybe you Jazz Festival, August 29th George Benson Roberta Flak Tito Puente and His all Star Band Blues Festival, August 30th BB King Jimmie Vaughan Etta James Jay Geils Magic Dick Elvin Bishop /////////////////////////////////////////////////// My initial thought was that none of these folks probably started off as a street musician but I am certainly not sure. Does anyone have any idea? Tom My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture WebMaster: Dave Matthews Band ========================================================================= Date: Thu, 17 Aug 1995 14:15:09 +0000 From: Martin Adamson Subject: Re: Looking for this cd > I realize that this may be going off-topic for this list, but I'd like to > ask a blues-related question. I'm looking for a cd of The Original > American Folk Blues Festival [on Polydor], which was the first in a series > of American Folk Blues Festival releases recorded in Europe. I have seen > it once, bought it, and love it. I'm looking for a copy (on cd) for a > friend but can't find it. No record store around here can seem to get it, > and I was wondering if anyone else has seen it. I'm afraid it might be > out of print. These American Folk Blues Festival records have been re-released on CD in Europe anyway. They are on a German label, I think it is Bellerophone. I've got a couple from 1963 and 1966 and they're both first class. Martin ========================================================================= Date: Thu, 17 Aug 1995 14:33:57 +0000 From: Martin Adamson Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! > Ah! There's that word "anoraked" again. :-D Does this mean parka-wearing > blues fans? Please define. Thanks! Anorak. Ah, yes, another British expression we always have to explain. I'm glad to see that more Americans seem to be catching on to "wanker" however. Right. Anorak. Well, as you say, anorak is a kind of coat, originally developed from an eskimo garment, I believe. Anoraks were introduced to Britain in about the 1960s, and they were the kind of warm, practical and hardwearing garment that your mother would buy for you to wear when you went to school. As such, they quickly became massively unfashionable and even people who did not balk at wearing 30 inch flares soon refused to wear anoraks. However, the anorak did find a following amongst the kind of spotty, nerdy misfit type of male who paid no attention to their lack of hip credibility, but appreciated that fact that they were warm, kept you dry and had big pockets. Such people tend to have strange and incomprehensible hobbies which often involve compiling lists of meaningless things like birds, planes, and, most of all, trains. These anorak-wearing trainspotters can often be seen at major railway junctions, standing at the ends of platforms as you pull out of the station, writing down the train numbers in their books, taking photographs, videos and even sound recordings . The thing about British trains, however, is that THEY ARE ALL THE BLOODY SAME so the term trainspotter and its kindred term anorak has come to be applied insultingly in Britain to anyone with an obsessive interest in trivia and facts and figures. Tragically, however, every British male who is faintly interested in music, football, films etc knows that, sneer at the anoraks though he may, deep in the dark recesses of his own soul there lurks the same passions and desires as those that motivate the despised trainspotter. Martin ========================================================================= Date: Thu, 17 Aug 1995 16:15:40 +0100 From: Andy Humberston Subject: Announce: TexasFlood Mailing List Texas Flood Mailing List Announcement ------------------------------------- This mailing list is dedicated to the discussion of issues relating to Stevie Ray Vaughan. All Music Guide - qoute: "Stevie Ray Vaughan was the most impressive blues guitarist to appear in the 80s, which made his death in a helicopter crash at the start of the 90s all the more tragic." October 3, 1954 - August 27, 1990 This list is a continuum of the SRV Digest, this list was originally started back in October 1993. I would like to thank the originator of the digest - Bensk (benjamin4@mdx.ac.uk). To subscribe send a mail message with the bodytext of subscribe to: texasflood-request@dmu.ac.uk List Maintainer - Andy Humberston (iah@dmu.ac.uk) http://www.dmu.ac.uk/~iah/srv.html ========================================================================= Date: Thu, 17 Aug 1995 11:17:39 -0400 From: Neil Cassidy Subject: JEFF SEALE/MERLE HAGGARD Merle has on several occasions referred to himself as 'just a poor guy playing the blues'. neil (formerly of San Antonio and med schhol area in particular) ========================================================================= Date: Thu, 17 Aug 1995 14:43:50 +0000 From: Martin Adamson Subject: Re: World Music/Blues > I have some interest in the world music scene and would like to know if anyone > has some information concerning Blues and other cultures. We have spent some > time on this list discussing the blues connection with rock , western swing and > jazz and even rap, but what about genres outside the U.S.? For one thing both > rock, rap and jazz have been utilized by various developing music styles > throughout the world (country to a much lesser extent ). What about > blues? Well, it's well known that early reggae was very much influenced by the rhythms of New Orleans, and many contemporary reggae singers like Jimmy Cliff and Toots Hibbert are very clearly influenced by southern soul. Many of the different kinds of music in English speaking Africa, especially in countries like Ghana, Nigeria and South Africa, have been very much influenced by American jazz and swing in the 40s and 50s, soul in the 1960s, funk in the 1970s, and rap / hip hop today. However, the musicians from these countries don't really bother much about producing exact copies of American music, and generally blend the new sounds they are hearing with their own local styles. One country which does follow American styles more closely however, seems to be Ethiopia, whose music is not as well-distributed over here as the others. I've heard Ethopian bands from the 60s whose introductions are almost exact pastiches of Wilson Pickett records - although as soon as they start singing there is no mistaking the fact that they are Ethiopian. One contemporary Ethiopian artists who sounds very blues-and-jazz influenced to me is a solo woman vocalist called Aster Aweke. She has a terrific voice, one that really gets under your skin, and her CDs have recently become fairly easily available in the World Music stores. Martin ========================================================================= Date: Thu, 17 Aug 1995 11:44:11 -0500 From: Patti Bowman Subject: Russian Blues Found a site that is "The home of russian blues about an artist named Yuri Naumov. Anyone heard him? He's been playing in NY. -Patti ========================================================================= Date: Thu, 17 Aug 1995 12:05:42 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Looking for this cd Item Subject: Message text >> I realize that this may be going off-topic for this list, but I'd like to >> ask a blues-related question. I'm looking for a cd of The Original >> American Folk Blues Festival [on Polydor], which was the first in a series >> of American Folk Blues Festival releases recorded in Europe. I have seen >> it once, bought it, and love it. I'm looking for a copy (on cd) for a >> friend but can't find it. No record store around here can seem to get it, >> and I was wondering if anyone else has seen it. I'm afraid it might be >> out of print. > >These American Folk Blues Festival records have been re-released on CD in >Europe anyway. They are on a German label, I think it is Bellerophone. >I've got a couple from 1963 and 1966 and they're both first class. > My local Camelot Music had most of them in their bargain bin for $6.99 not too long ago. Jim Smith ========================================================================= Date: Thu, 17 Aug 1995 12:29:20 EDT From: ron kraemer Subject: Re: Our first gig! It was GREAT! Thanks for asking, Ted. It was Friday night, Aug. 11th. I've been so damn busy I didn't post on it, but since you asked... It's a rather small bar, and we packed it with co-workers, friends, and relatives. After the first set, they asked us back for Friday night, September 1st. The owners were quite pleased with the turnout, the crowd was loving it, and I was in 7th Heaven. It's taken me 15 years to get a band together that I was happy with, and it was worth it. Learned a lot about being a 'band leader'. Much different in public than when practicing in someone's basement! And, I'm still running into people at work telling me how good we sounded! Then again, maybe their expectations were slim. :) Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ----------------------[Reply - Original Message]---------------------- So,......... how was it? Ted bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ===================================================================== ========================================================================= Date: Thu, 17 Aug 1995 12:05:23 CST From: William Shute Subject: anthology of scat singing l924-l933 From: Bill Shute If someone had asked me about the origins of scat singing, I would--like many jazz/blues fans--point to Louis Armstrong's famous l926 Hot Five recording of "Heebie Jeebies" and probably tell the story (apocryphal?) about Satchmo dropping the lyrics and coming up with the scat passages to "cover." Of course, I would have known that the roots are deeper and that that story is almost too good to have been true, but it's a convenient "handle" and jazz/blues historians/fans of history do like a recognizable "first" and a good story. Now, however, the French Media-7 Giants of Jazz label has come up with a 3-CD chronological set (I have volumes 1 and 2 running from l924 to l933, the third set presumably follows up from l933 on) of "early scat" that ought to be of interest to many on blues-l. CD one begins with an excerpt from Jelly Roll Morton's l938 Library of Congress sessions where he discusses the EARLY pre-Armstrong roots of this kind of singing and credits a man named Joe Sims, whose two recorded sides unfortunately do not document this skill. Jelly's discussion is a good place from which to start the actual recorded survey. The VERY thorough and fascinating liner notes provide a kind of "tease" in that they mention EVEN EARLIER examples of proto-scat singing in popular music dating from the teens. And thankfully, Cliff "Ukulele Ike" Edwards is credited also (has his Yazoo lp been reissued on CD? It ought to be).The great Coon-Sanders Nighthawk Orchestra are also credited (by the way, if you can EVER find the albums of their classic recordings from l923 on, on the "Broadway Intermission" label, you'll rewrite a lot of your assumptions about both jazz history and the roots of the swing era) The first example included is a l924 Don Redman vocal with the Fletcher Henderson band called"My Papa Doesn't Two-Time No Time." ARmstrong's "Heebie Jeebies" follows, and though you've no doubt heard it many times before, the description of how Armstrong's vocal was meticulously transcribed for the sheet music form of the song is priceless (a sample: "Skeep! Skipe! Skoop! Brip Ber Breep ber la bah Bree, heeb, bee doo, la doo"---reads like the lyric transcriptions on Japanese albums where they faithfully transcribe some spontaneous interjection from a song! you haven't lived until you've seen a James Brown grunt transcribed on a Japanese album's lyric notes!). >From there, you're taken on a roller-coaster ride through early Bing Crosby (who picked up on this quite early), Clarence Williams, Hoagy Carmichael, Jabbo Smith, Blind Blake, more Don Redman, Ethel Waters, Count Basie himself (!!!) with the Bennie Moten band, and obscure little units like The Washboard Serenaders, the State Street Ramblers, the fascinating Three Keys featuring one Slim Furness scatting, and the ultimate master for me, Cab CAlloway beginning with "trickeration" (evidently volume 3 has lots of Calloway...and let's hope Gaillard,and Diz). And of course one of the pioneers of wordless vocals, Duke Ellington with his various singers (Adelaide Hall is on here as are others), although he never limited himself to "scat" per se. All in all, a fascinating set. This label has many chronological series of early jazz greats, and their personnel listings and track breakdowns which identify EACH soloist in order and for the number of bars the solo lasts (I wish more labels would take the time to do that! I, at least, take the time to listen to music that seriously when I can) are a model of how such documentation should be done. The liner notes also offer a fascinating discussion of how the other (ie, non African-American) traditions feeding into the American musical experience had wordless, spontaneous vocal passages and how those may have entered the larger musical community. And, forgetting all this serious analytical and musicological stuff, scat singing is always a joy to listen to. Wordless vocalizing certain plays an IMPORTANT, make that VERY IMPORTANT, role in the blues--remember Blind Willie Johnson's "Dark Was The Night, Cold Was The Ground"? So even though that is far from scat, any study of wordless vocalizing can enrich our understanding and appreciation of other forms of wordless vocalizing. Or so I think! Tower Records seems to stock various items on this label, so even if they might not have THIS one, you could get it via their 800 number (it goes without saying that I'm not affiliated with Tower-- heck, I wish I was sitting on fifty thousand shares of their stock instead of writing this!). Anthology of Scat Singing--Volume 1, l924-l929. Media 7 Giants of Jazz (France) MJCD 801 Anthology of Scat Singing--Volume 2, l929-l933. Media 7 Giants of Jazz (France) MJCD 802 (note: one would presume that vol. 3, which I don't have, is MJCD 803) Bill "hey ba ba re bop" Shute San Antonio, TX ========================================================================= Date: Thu, 17 Aug 1995 17:28:13 GMT From: j.mac@METRONET.COM Subject: Cleaning and De-warping Records A few additional suggestions to what Ken wrote below: Cleaning - If you use Ivory (dish washing soap - not bar soap), don't use very much. A few drops in a quart of water work very well and leave no residue. If you squeeze the soap straight onto the record you will be rinsing for a long time and will probably still leave a bit of residue. If you have foam, you used too much. Start with just a little, rinse, and repeat if necessary. Water won't hurt most labels on commercially produced LP's, 45's, or 78's, but try to keep the label dry anyway. To dry a vinyl record (or 78) that you have washed with soap and water, place it between two dry bath towels and press gently to pick up the beads of water. Let the rest air dry at room temperature. DO NOT rub the record dry! Even the softest towels will scratch vinyl and shelac. For more stubborn dirt, particularly anything greasy like fingerprints, a little naptha works well and won't hurt vinyl or shelac or remove most labels. Naptha is sold in grocery stores as cleaning fluid, but you can also easily find lighter fluid that is 100% nathpa. If you use lighter fluid, make sure it is 100% naptha - some companies add other ingredients to make lighter fluid more wind resistant. Dab the naptha on with a soft, clean cloth. If you have to rub, do so gently in the direction of play, i.e., counter clockwise. DON'T RUB HARD! Dab up as much naptha as you can and let the rest evaporate. BE VERY CAREFUL TO USE NAPTHA IN A WELL VENTILATED AREA AWAY FROM FIRE, FLAME, OR SPARKS!!! Sorry to yell, but the stuff can be dangerous. Whatever you do, DO NOT even consider using fingernail polish remover on any type of records. It will quickly disolve them into an unplayable gooey black mess. Other solvents may work but often leave oily residues that attracts and holds dirt. Start with warm (not hot) water and Ivory soap. Move on to naptha if necessary. Go easy and experiment on non-collectible records if you aren't sure. If the record is particularly valuable (like Robert Johnson 78's) get an expert to clean them for you. De-warping: Ken's advice works - I've done it several times. Two notes: 1. Use the thickest, flattest glass you can get. You can often get the right size pieces at a local glass company for a few dollars. Often they will cut them from scrap for you and it won't cost much. I got two pieces of 14" x 14" x 1/2" green tinted glass at a local store for about $20. The store cut them for me from a broken tabletop they had just replaced. Get the glass store to bevel the edges slightly so you don't cut yourself to ribbons. 2. If you put your record in the sun, don't leave it there. Watch it carefully! A black record between glass can heat up very quickly. I usually put two bricks on top of top of the glass and I've never had to leave a record in the sun for more than 15 minutes, even on a cool day. If you don't have bright sun you can use your oven. Turn it on the lowest setting for a few minutes and then turn it off. Put the record, between the glass, with a small weight on top (a brick works well but a small bowl of water would also work) and watch it carefully. If the glass is too hot to touch with your bare hands, the oven is too hot. It is better to start slowly and work up. If the glass gets too hot you will flatten the record but you will also flatten the grooves. Bottom line: work slow and build up. It's better to have to repeat cleaning or dewarping proceedures than to overdo it on the first try and ruin the record. I'm assuming that if you are going to this trouble the record is valuable to you! JMAC > Watterworth Jay writes: > > Oringally From: Ken Freedman > Here's my suggestions for cleaning and de-warping vinyl. > > Cleaning - After years of trying any manner of solvents, I am convinced > that good old ivory soap and warm water works best of all. > > De-warping - Get two plates of good quality glass, and stick the vinyl in > between. Leave it out in the sun for a few hours on a warm (not hot) day. > If the record is extremely warped, you may end up with grooves that will > wow and flutter, but this method works real well for minor and moderate > warps. ========================================================================= Date: Thu, 17 Aug 1995 17:51:44 GMT From: j.mac@METRONET.COM Subject: Karaoke Redux I'd forgotten about the "jukebox menance" in the 50's! Thanks for the reminder. If you go back even further, you will find that musicians unions in the 1920's felt that phonograph records would be the death of live music. Some of the recording bans in the 30's, 40's, and 50's were a result of the unions trying to protect musicians against the threat of records. As we all know, in the long run recordings did nothing but help musicians market their product. The current version of this debate is the home taping controversy, particuarly now that DAT is becomming affordable for the average Jane or Joe, at least those a bit above the median income. Ironically, now it's the record companies that are shouting that musicians will be ruined by home taping and DAT bootlegs. More than a tad of self interest involved, n'est-ce pas? I don't think Karaoke will wipe out live music. It is a fad that will pass as the novelty wears off. The public's fancy will dictate what venues offer for entertainment. Many of us here are old enough to remember how Disco Clubs playing records displaced live music venues in the 70's and somehow live music managed to survive. The public may be seduced by the latest fad but, in the end, nothing will replace real people playing real music. Especially the blues! This being said, IMHO, Karaoke still sucks! Karaoke is the equivlent of "air guitar" for wanna-be singers. And the worst part is that so much of the Karaoke background music is so crummy!!! Never mind, I'm just ranting again... > "Eric C. Shoaf" writes: > The recent Karaoke thread has been interesting mostly, from my perspective, > because of the concerns of performing musicians. Here are a couple of > their comments and there were many others: > > I'd like to put this in historical context. I've been researching old > music journals for magazine articles. In "International Musician" mag- > azine, a publication of the Musicians Union, there is an article in one > of the 1958 issues called "Jukebox to Cost Working Musicians Millions". > After reading the article you would be convinced that in ten years, by the > end of the 1960s, there would be no more live music because of this evil > monstrosity called the jukebox. I think we all know that hasn't happened. > In fact, jukeboxes are now nostalgia items while live music is alive and > well. This isn't to discount the fact that there might be a few paying > gigs lost now because of Karaoke. But I don't think anyone expects the > whole Karaoke thing to last much longer. > > E. Shoaf > >>>> ========================================================================= Date: Thu, 17 Aug 1995 11:01:53 -0700 From: Anthony Difrancia Subject: Re: Street Musicians >> Hi Tom, >> >> Don't know if you would consider this his start, but BB King >> played as a street musician in Mississippi. Played gospel as >> well as blues. He'd >> get an "atta boy" type reaction to gospel, but found that he >> would get "tips and a beer" when he played the blues. With >> this under his belt, >> moved on to Memphis and the "rest is history." >> May have the locaton wrong (Mississippi), but he definitely >> played gospel and blues on the street. The location could >> have been somewhere else in Tennessee, and he headed >> to >> Memphis. May have some stuff that would verify this for you >> if it's important--BB King is my favorite so >> it wouldn't bother me to do so. > >Anthony, > >Thanks for your help, if you can check the location and get >back to me by this afternoon that would help otherwise i will >forward it as you sent it to me. Confirmed. It was Indianola, Mississippi. Around 1946 is the closest I could get. First band BB formed was the "Elk Horn Jubilee Singers," a gospel group from the school he went to, Elk Horn. He also heard the folks working in the cotton fields singing the blues--and he liked it. Wasn't allowed to play the blues at home though (only gospel), so he took it to the streets. So, I suppose a more accurate description is that he had a gospel group and a career as a street corner musician under his belt on his way to Memphis in '47. Take care -- Anthony Difrancia instpub@ix.netcom.com ========================================================================= Date: Thu, 17 Aug 1995 14:16:32 -0400 From: Steve Levine Subject: Smithsonian Folkways Web Site I was just checking out the Smithsonian's web site and I found a link to the Folkways catalog. They have a blues category, by artist, with pictures of the artists. The url is: http://www.si.edu/products/shopmall/records/blueart1.htm Check it out - there's some good stuff there. -Steve ========================================================================= Date: Thu, 17 Aug 1995 17:33:44 GMT From: Tony Burke Subject: Re: Re[2]: Jessie Thomas, RIP Jon You ain't listin'! Do you know anything about Texas stylings? Have you looked at Thomas's discography lately? Blue Goose Blues etc cut in Dallas - Texas Miltone - Los Angeles Freedom - Houston Swingtime - Los Angeles Specialty - Los Angeles Elko - Los Angeles Hollywood - Shreveport Are you aware that many Texas stylists cut in Los Angeles? Have you read the articles/interviews B&R has printed over the years about Jesse Thomas. Smart answers like regarding Domino, Louisiana Red (Detroit and New York buddy!) won't wash around here!! Tony. ========================================================================= Date: Thu, 17 Aug 1995 15:59:11 -0400 From: Tom Freeland Subject: Re: MS John Hurt's style In a message dated 95-08-16 17:03:09 EDT, KALMBACH@MACC.WISC.EDU (Bonnie Kalmbach) writes: >I asked this question over a year ago - before Dick Waterman as well as >many other folk joined the list. I've read that John Hurt may have been >influenced by seeing some East Coast ragtime blues pickers (Blind Blake, >etc) or hearing their recordings. But I always have thought - "what about >Frank Stokes?". His style seems close to John Hurt's - and he was, of >course, older and pretty well established as a major Memphis musician. >He probably had family/friends in the Delta and may have travelled there >(and perhaps died in Clarksdale) accordingto Bengt Olson's book on early >Memphis blues. > >So - does anyone out there think Frank Stokes, Dan Sane, etc. influenced >a younger John Hurt?? > A fact of the history of recorded blues that makes talk of influence difficult is the way influence proceeded (or didn't) generation to generation. When recording started in the 20s, quickly several generations were recorded at once, all for the first time. You also had individuals from places outside the mainstream record showing characteristics outside their chronological generation. To my ear, Hurt has always seemed one of those-- playing music of a prior era (ragtime and other pre-blues forms). This does not seem to me so much a question (with East Coast ragtime players such as Blind Blake) of influence as parallel streams-- they both represent a musical form that was there, ready to be recorded, when the recording began. Stokes and Sane also drew from the music that formed John Hurt. There is a style of guitar playing that I associate with Memphis in the late twenties and early thirties that involves interplay between two fingerpicked guitars. Typically, one guitar drives a forceful rythmn while the other picks melody patterns floating over and around it. The musicians I'm thinking of include Stokes and Sane and the recordings Memphis Minnie made with Kansas Joe. For Stokes and Sane, I'm particularly thinking of songs like "Downtown Blues" and "What's The Matter Blues;" for Memphis Minnie and Kansas Joe songs. like "That'll Be All Right" and "I'm Talking Bout You." Occasionally, you can hear style of guitar 'lurking' in jug band recordings from Memphis. The musicians had strong connections with towns along the border of hill and delta running south from Memphis-- Stokes from Hernando (as was Sane I think?), and Memphis Minnie from Walls, both in DeSoto County just south of the Tennessee line. While he was not part of a duo this way, Robert Wilkins (originally from Hernando, also) has an affinity with these musicians. Hurt was from a couple of counties south, but also from a town right at the Delta's edge. Avalon was a part of the world where Memphis was "the big city," and Stokes and Sane would have been two of the major musicians in that world. But I don't see strong affinities between his style of guitar playing and the work of Stokes and Sane. Both stand apart from the music from the heart of the delta (Charley Patton, Son House, etc.), and the melody picking of one of the two guitars in the Stokes and Sane pairing resembles Hurt's playing in some ways. But the big, forceful sound produced by Stokes and Sane seems to me quite distinct from the delicate sound of Hurt's playing, and to represent a separate thread; Hurt's style seems, if anything, an older one, a style that would have influence Stokes and Sane (not through Hurt but rather other predecessors of both) rather than the other way around. Tom Freeland ========================================================================= Date: Thu, 17 Aug 1995 16:28:03 -0400 From: Beverly Howell Subject: SPECIAL UPCOMING TRIBUTE TO STEVIE RAY I haven't been posting my lineup for "Blues Chat" in Blues-L because I wasn't sure if I would be violating "netiquette," but because I've been seeing a lot of my upcoming guests discussed in this forum, and because I know there are a lot of Stevie Ray fans here, I wanted to submit this for your information. If you would like for me to continue to post upcoming guest announcements, please let me know. If not, please excuse my intrusion. Regards, Beverly Howell, Host "Blues Chat" ----------------------------------------------------- "BLUES CHAT" PRESS RELEASE - For Immediate Release It was five years ago, on August 27, 1990, that Stevie Ray Vaughan physically left us, but his spirit and music will live forever. In memory of Stevie Ray, and the love he passed to so many fans and friends, "BLUES CHAT" is honored to present: "REMEMBERING STEVIE RAY" Sunday, August 27, 1995 10:00 PM ET America Online "CenterStage" Featuring our Special Guests: Tommy Shannon (Double Trouble) Chris Layton (Double Trouble) Reese Wynans (Double Trouble) Margaret Moser (Senior Editor, Austin Chronicle) Dan Forte (Contributing Editor, Musician Magazine, former Senior Associate Editor, Guitar Player Magazine) "BLUES CHAT" will be making contributions to both of the following organizations in loving memory of Stevie Ray. Fans and friends also wishing to contribute may contact: The Stevie Ray Vaughan Memorial Fund Communities Foundation of Texas c/o First State Bank 4605 Live Oak P. O. Box 3550 Dallas, TX 75204 Austin, TX 78764 (Designated by the Vaughan family... (Fund established to maintain specify donation in Stevie Ray's the SRV Statue in Austin) memory) A folder has been created on "America Online," in the "Music Message Center," "Blues Area," entitled, "REMEMBERING STEVIE RAY," to provide Stevie Ray's many fans and friends a forum in which to post remembrances. Posts from that folder will be faxed to the guests prior to their appearance. To access the folder, sign on to America Online, go to Keyword: MMC, click on "Jazz/Blues," select "Blues." Scroll down to the "REMEMBERING STEVIE RAY" folder, and click on "List Messages." ### ------------------------------------- UPCOMING "BLUES CHAT" GUESTS: (All schedules noted in Eastern Time; all events held in CenterStage, America Online) August: Wed., Aug. 16, 10:00 PM BLUES CHAT and INTREPID ARTISTS Present BLIND PIG Recording Artist JIMMY THACKERY Sun., Aug. 20, 10:15 PM BLUES CHAT and BLIND PIG Records Present CHRIS CAIN Wed., Aug. 23, 10:00 PM BLUES CHAT and BLACKTOP Records Present MARIA MULDAUR Sun., Aug. 27, 10:00 PM BLUES CHAT Presents: "REMEMBERING STEVIE RAY" Wed., Aug. 30, 10:00 PM BLUES CHAT and ORLEANS Records Present ROBERT LOWERY September: Sun., Sept. 3, 10:00 PM BLUES CHAT and JUSTICE Records Present TAB BENOIT Wed., Sept. 6, 10:00 PM BLUES CHAT Presents "TECH TO THE STARS" RENE MARTINEZ (back for his second appearance by audience request) Wed., Sept. 13, 10:00 PM BLUES CHAT and MALACO Records Present LITTLE MILTON Wed., Sept. 20, 10:00 PM To Be Announced Wed., Sept. 27, 10:00 PM BLUES CHAT and BULLSEYE Records Present SMOKEY WILSON ### ========================================================================= Date: Thu, 17 Aug 1995 15:32:36 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: clay For those who having any connection with Living Blues, perhaps you can answer two questions for me. 1. How can they have an issue on Soul Blues and not mention Otis Clay - in my opinion, they should have put him on the cover. 2. How can Van Kelly's album be album of the year but only come in second on best first album. (not sure I've got the titles correct) Lee Lee C. Spector Department of Economics Ball State Unversity ========================================================================= Date: Thu, 17 Aug 1995 17:01:22 -0400 From: "Bluzman Ed@Aol.Com." Subject: Red Hot and Blue Blues-ellers: When I opened my mail today, I got one of the happiest surprises I've ever had! >From Keith Soltys at Inside Sounds in Memphis, on their Memphis Archives label, I recieved an advance copy of "Red Hot and Blue", a compilation of live radio broadcasts from 1952 to 1964 of the unique Memphis DJ, Dewey Phillips. Dewey Phillips Red Hot and Blue radio show on WHBQ in Memphis introduced the world to Rock and Roll. Before Alan Freed, before Wolfman Jack, there was Dewey. He played black music for white teenagers in a segregated south, and had a multitude of fans and listeners (including me) of both races. A friend of Sam Phillips, (no relation), he was a major influence to Sam in the direction that Sun Records took, playing not only the early blues artists on his show, but was the first to introduce Elvis to the world. Memphians will know exactly what I am talking about. The rest of you will have to hear it for yourselves. A must have, for fans of 50's radio, R&B, Blues, and early Rock & Roll. National release date is Sept. 1, run, don't walk!!! It sent chills through me, and brought back many memories of a youth "spent" in Memphis. Bluz! Bluzman Ed aka Ed Tremewan P.S. No affiliation with Inside Sounds, etc.etc. (Ed) ========================================================================= Date: Thu, 17 Aug 1995 17:34:21 -0400 From: Barry Silverberg Subject: One Man's Opinion-Sugar Blue. Rarely do I preannotate my OMO posts but for this review the operable word is "MUSIC". SUGAR BLUE - IN YOUR EYES (ALLIGATOR #4831) ALLIGATOR RECORDS BOX 60234 CHICAGO, IL 60660 If you are looking for good music, look no further. Sugar Blue offers up on this CD a full range of what he's best at - ferocious, personal and deeply felt harmonica work along with his visionary view of music. Sugar Blue does not sit down and turn cover after cover. He plays music that's moving and original and his style corroborates his intentions. He has written 9 of the 10 sides on this CD and the final cut, which is his only cover here, is a tribute tune turned into Mr. Sugar Blue's own. As a writer, I always have the decision to make, of how I will approach each new review. Sometimes I listen and pass and sometimes I comment, but on this CD by Sugar Blue I have to be a reporter. Here is the man that gave his harp over to one of the best CD's ever cut, Too Wet To Plow with Johnny Shines. Then he went on to play with the Rolling Stones. The he cut Blue Blazes. Sugar Blue is not someone you decide if you like or not - you listen to him to find out where he says music is going. Thank you Sugar Blue for the music, and thank you Bruce Iglauer for giving this modern architect of the times a free reign to play his piece. GUCCI GUCCI MAN / BOTTOM LINE / IN YOUR EYES / SHE / BLUEPINE / LIP SERVICE AND LIES / WHIRLWIND / LISTEN BABY / LOVE'S SWEET SECRETS / LITTLE RED ROOSTER NY CD-Takes GUCCI GUCCI MAN: The CD opens up with a flurry - on guitar no less - and then Sugar Blue blasts on the scene. His harmonica work reads like a big horn and his voice is smooth and bluesy. This is a nice modern tune with Sugar Blue playing a very front and center harp. Sugar Blue is his harmonica at a million miles an hour and every one of them pure ecstasy. I find this side to be very classic Sugar Blue singing and a good example of modern day blues, both in the words sung and the overall arrangement taken. NICE BIG OPENER. The final minute or so shows clearly why Sugar Blue is the genius he is - relentless and inspired. Just catch that closing harmonica run. BOTTOM LINE: Here we slow down for a bit and then the beat picks up. Sugar Blue as always offers up some note over note over note playing. He takes his vocals up a notch in timbre and rolls this song along nicely. This cut has a bit more jazz and funk and points to the fact that Sugar Blue is neither one-dimensional nor willing to settle for the status quo. You can always expect to be taken for a ride to many places by this great great harpman. IN YOUR EYES: Here's the cover to this CD. The opening bars are extremely musical and the pace is nicely pushing. This is very touching harpwork from a man capable of explosive interludes - another indicator of the breadth and scope Mr. Sugar Blue brings to his music. I like this piece a lot and feel it well deserves to be the title tune to this full house CD. All through this side Sugar Blue makes his harmonica wail and you will feel the song run through your soul - and then at your moment of a tear he changes pace and cuts in with some stunning mouthwork. Lookout for Sugar Blue - he's not just pushing the limits, he's defining them. SHE: Here's a big rock and roll opener, reminiscent of the Rolling Stones except Sugar Blue is the star. His start up harp work is blazing and he continues throughout this rocking side. I am always amazed at what this man can get out of his harmonica and you will be too. The backup instrumentation here is well placed and very musical. This is the fourth side to this CD and the fourth side so far to Sugar Blue's all around talent. This is without a doubt an easy winner for best cut to this entire A+ CD. BLUEPINE: Sugar Blue opens here with a big harmonica run. You can feel his wind rustle as he makes his harp shake. A nice very bluesy piece with a solid jazz side - very well done. This is an important cut. This side belies the edge of the blues that has always been at the front of great music - the place where music is made not just played. In addition Sugar Blue takes a number of creative twists on his harp before this super side comes to a close. It's like watching a painter try out all of his colors - full knowing what each will do - but testing how each will fall in harmony with what has preceded it. And to top this side off the great Pinetop Perkins is full out and as powerful as ever here. He really makes a perfect accompaniment to Sugar Blue and I am sure that Sugar Blue's inspiration here, to play as hot as he does, is in no small measure due to the presence of Mr. Perkins. LIP SERVICE AND LIES: Here we have a very nice dancing tune. It rolls and comes with a full set of background vocals. Sugar Blue's harmonica work here is very sweet and fits well with this nice four person backup. YET ANOTHER SIDE TO MR. SUGAR BLUE. WHIRLWIND: Another fierce, fiery opener - plenty of instruments and plenty of Sugar Blue. The beat here is up and Sugar Blue treats us to more of his blazing over the top harmonica work. This is also a standout side with a lot of musical integrity. LISTEN BABY: Need a little soul break - here it is. Sugar Blue turns the lights way down low and sings some heart touching lyrics. He once again returns to that wailing-crying harmonica of his and it fits this side perfectly. Although he has a full vocal backup again the harpwork here is the stealer. Each note feels long and deep. It's as if Sugar Blue left us all and went for a ride way inside himself to bring this amazing work out. DO NOT MISS THIS CUT. Better yet put this CD in your player, hit 8 and get ready to be spellbound. LOVE'S SWEET SECRETS: Turn the beat up - Sugar Blue is playing it Latin style. This side slides. You'll find your body rocking to the beat and your ears listening intent to the riffs and runs by Sugar Blue. This side offers up a lot of fun and plenty of big instrumentation - ENJOY. LITTLE RED ROOSTER: The only cover to this entire CD and an amazing opening and rendition. Instrument after instrument cuts in to lay down an overall great side. Sugar Blue makes this side truly his own. The blues are moved up more modern and the whole feel is personal and clearly Sugar Blue's. If this were the only track on the entire CD it would be enough to warrant purchasing it. Although Sugar Blue's harmonica is never weak - here it is at its peak. Listen up - you are in for a treat and a trick or two by the great Mr. Sugar Blue. Barry Silverberg NY CD Blues -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 17 Aug 1995 14:38:06 -0700 From: Karen Johnson Subject: Baby please don't go Greetings, The movie Baby Doll was on American Movie Classics last night. There was a scene with a black man seated on the ground and propped up against a building (a barn, I think) playing harmonica and singing Baby please don't go. Does anyone know if this was an actor or a cameo of a bonafide bluesman? I missed the credits. KJ in SF ========================================================================= Date: Thu, 17 Aug 1995 21:54:08 GMT From: Peter Groves Schweitzer Subject: ANYBODY WANT FREE AIR TIME!!! oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Thu, 17 Aug 1995 16:09:16 GMT From: "DUTTWEILER.J" Subject: Wolf Records Info Requested TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Wolf Records Info Requested Does anyone know who might carry Wolf Records releases in the Atlanta area? I am particularly interested in Magic Slid CDs. Also, are JSP releases sold in retail outlets, or only mail- order? Thanks for the help ========================================================================= Date: Thu, 17 Aug 1995 18:33:30 -0400 From: CATBAUER Subject: Re: Sherman Robertson In article <199508162110.QAA26657@picasso.ccad.uiowa.edu>, Ranko Vujosevic writes: > Sherman Robertson will be playing Des Moines on 25th. > Any experience with his live shows? Should I drive 2 hours > to see him? I got his "I'm the man" Cd - pretty good, although > at moments remains me too much of Robert Cray the way I don't want > to listen to. > > So, to go or not to go? Help!!! > > Go, his live performances are even better than the cd. As far as sounding like Robert Cray...Sherman has been around a long time, with Terrance Simien, Clifton Chenier (did a cut on Paul Simon's Graceland) in addition to his own band...the first time I heard Robert Cray I thought he sounded like Sherman. Cat ========================================================================= Date: Thu, 17 Aug 1995 18:10:55 -0600 From: George McClellan Subject: Awards I've spent about a month lurking on this list, and I certainly enjoy the opportunity it presents to hear from blues lovers around the world. I'm surprised though by the bitterness expressed in recent posts regarding the various blues awards programs. While I might want to debate the relative merits of an individual selection for honoree, I don't feel in any way that the selection of a particular honoree hinders or harms any other artist. It's my opinion that anything which keeps the music at the forefront of people's attention is healthy for the whole community of blues artists, label owners, and fans. Awards don't slice the pie thinner so that some get less (or even none); awards make the pie bigger so there's enough for everybody. That's my opinion. George Chicago ========================================================================= Date: Thu, 17 Aug 1995 20:27:45 -0400 From: Sandy Quandt Subject: Luther "Guitar Jr." Johnson I have a chance to go see Luther "Guitar Jr." Johnson at the end of the month. Just wondered if anyone who has seen his show could provide some feedback. Also, which of his cd's do you recommend? Thanks in advance, Sandy ========================================================================= Date: Thu, 17 Aug 1995 20:33:10 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: WC HANDY AWARDS/Contests In Canada, Stompin' Tom Connors finally got fed up with this sort of thing and set all his awards (Candian equivalent of Grammy) back to the place and refused any further. Admittedly, he was a country artist, but it does happen. Turtle _____ Reply Separator _____ Author: INTERNET:ISTS024%UABDPO.BITNET @ BROWNVM.BROWN.EDU@CISHUB Received: 08/17/95 08:36:00 AM Subject: Re: WC HANDY AWARDS/Contests ----------------------------Original message---------------------------- >(yikes I feel the bitterness welling up) I am really sick of music in any >form having to be boiled down to contests and name recognition awards. Blues >is not a sport , there are no winners and losers. There is blues I like and >blues I dont like. Its called taste. Does this mean that if YOU won a Handy you would refuse it...? LW ========================================================================= Date: Thu, 17 Aug 1995 18:58:44 -0600 From: Watterworth Jay Subject: Re: Awards I usually avoid discussions like those you mention, but to me the reason I get upset is that many of these awards are given for any reason but for the music. And often those who are making the real strides in their fields are overlooked for the more successfully packaged product that has been more successfully marketed. The reason I feel animosity toward the events and those who organize them (there are exceptions, I would like to believe) is that they tend to focus the attention of the public away from artists who really should get credit. And I guess I am pretty proud of the blues and when I see someone paying respect to an artist who doesn't merit it in regards to someone else, then I feel kind of slighted. I talk with people who tout Eric Clapton as the best white blues/guitarist/writer/whatever and know if they only had some perspective, they might understand why someone else should be the object of their adoration. (Funny thing is, I would bet that Eric Clapton would say the same thing.) Enough for now, Jay Watterworth CU Boulder On Thu, 17 Aug 1995, George McClellan wrote: > I've spent about a month lurking on this list, and I certainly enjoy the > opportunity it presents to hear from blues lovers around the world. I'm > surprised though by the bitterness expressed in recent posts regarding the > various blues awards programs. While I might want to debate the relative > merits of an individual selection for honoree, I don't feel in any way that > the selection of a particular honoree hinders or harms any other artist. > It's my opinion that anything which keeps the music at the forefront of > people's attention is healthy for the whole community of blues artists, > label owners, and fans. Awards don't slice the pie thinner so that some > get less (or even none); awards make the pie bigger so there's enough for > everybody. That's my opinion. > > George > Chicago > ========================================================================= Date: Fri, 18 Aug 1995 08:59:39 +0700 From: "Peter E. Beal" Subject: Re: Cleaning Records I use dish washing liquid soap. A few drops and a light touch with one's fingers along the grooves in the direction of the rotation. You can feel the grit coming out under your fingers. I rinse them for some time, trying to avoid wetting the label (although none have suffered from getting wet) and let them dry in the dish drying rack supported in such a way as to not let anything touch the grooved area. I much improved sound results. ========================================================================= Date: Thu, 17 Aug 1995 22:46:19 -0400 From: James Leftwich Subject: Eliot Sharp Hey, NY Bluesers (or others)...has anyone seen Mr. Sharp live or heard any of his recordings. I was intrigued by a BRQ feature. Jim ========================================================================= Date: Thu, 17 Aug 1995 23:00:59 -0500 From: SGLIWA Subject: James Brown Gospel CD? While browsing at CDNOW the other day I saw a listing for a CD by "James Brown & CO." called "Oh Give Thanks" on the WORD label. It was listed as a new release but also as "unavailable" through CDNOW. Does anyone know if this is by THE James Brown (the GFOS) and if so, how can I get it? Any info would be greatly appreciated. Thanks! Steven James Gliwa ========================================================================= Date: Thu, 17 Aug 1995 22:48:30 -0600 From: Tom Rossen Subject: Lyrics decipherment request The 12th track on "Sonny Boy Williamson - The Real Folk Blues" (Chess CHD 9272) is a charming ditty called "Too Old to Think". Well, I'm too old (or two deaf from years in front of an amp) to decipher the end of the first verse. Here's my reading with a nonsensical but phonetically reminiscent guess: "I done got too old to think: little girl, you gone hafta look after me. You know, darlin', you is my [? first degree to be for me ?]" Any o you young whippersnapperzellers out there do any better? =81 Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Fri, 18 Aug 1995 04:41:25 GMT From: gailong Subject: Coco Montoya??? can anyone tell me if Coco Montoya is playing the Ojai "Bowl-Full o'Blues"festival? a dear friend of mine is MADLY in love with him and would be grateful for ANY info anyone may have concerning Coco and any upcoming dates and/or any other info... thanks so much... ========================================================================= Date: Fri, 18 Aug 1995 01:13:50 EDT From: Scott_Wenzel.WDP.SSA@NOTES.COMPUSERVE.COM Subject: Re: Musicians and Computers I'll agree to that, to some extent, but over the years a surprising number of people I knew originally as musicians all got into computers. Most of them don't play much any more, but I find that music and computers tend to coexist with each other. Most of the really great computer people I have known were musicians at some time or another. Most of the really awful computer people I have known didn't know Hound Dog Taylor from Opie Taylor and could care less. Turtle Visit That Blues Music Page at the Weightless Dog! http://www.charm.net/~turtle/blues.html _____ Reply Separator _____ Author: INTERNET:DMIELE @ CRSGI1.ERENJ.COM@CISHUB Received: 08/16/95 09:14:00 AM Subject: Musicians and Computers I find more "compute people" who are musicians than musicians who are into computers. See the difference? ========================================================================= Date: Fri, 18 Aug 1995 01:13:50 EDT From: Scott_Wenzel.WDP.SSA@NOTES.COMPUSERVE.COM Subject: Re: Joe Jones' roulette sessions Was he a contemporary of Tommy Ridgely ("My Girl" and various Stroll tunes? or did they ever know or work with each other? Turtle _____ Reply Separator _____ Author: INTERNET:WSHUTE @ ACCDVM.ACCD.EDU@CISHUB Received: 08/16/95 08:02:00 AM Subject: Joe Jones' roulette sessions From: Bill Shute Fans of new orleans R&B and fans of 60s rocknroll both know Joe Jones for his classic hit "You Talk Too Much," which is instantly recognizable and has that inimitable laid-back Crescent City feel. ========================================================================= Date: Fri, 18 Aug 1995 14:11:36 JST From: SSGT STEVEN E WHITING Subject: Budgie >Date: Tue, 15 Aug 1995 07:40:48 -0500 >From: Craig Edmundson >Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! > >A budgerigar is an Australian parrot. I am under the impression they are >affectionately known as "budgies." Back in the late '70s there was a >pretty decent power trio from the U.K. named Budgie. I also seem to >remember a Monty Python reference to "having to put the budgie down." >Budgies are famous for their ability to hit the blue note. Though some of my memories of the 70s are a bit scratchy, I can remember that Budgie (the group, not the bird) did a pretty good rockin' version of "Baby Please Don't Go." Baby, please don't go Baby, pleeee-eeee-eeee-ease don't go-wo Baby, please don't go down to New Orleans You know I love you so, Baby, please don't go Can somebody give me some scoop on this tune, so I can listen to it done by the original artist(s)? Guess I got a slight case of 'purist'. Steve Whiting whitings@okinawa.usmc.mil ========================================================================= Date: Thu, 17 Aug 1995 20:55:00 -0600 From: Don Ottensman Subject: Re: Lightnin Hopkins I asked earlier for help in finding Lightnin' Hopkins' gravesite. It was a lot tougher than I had figured. The answer finally came from the Texas Music Office, a little known branch of our state government. They always seem to have the answers when it comes to Texas Music and I don't know why I didn't think of them earlier. Anyway, here's the answer I was looking for as delivered by director Casey Monahan. If you ever have a question about Texas music or Texas musicians, give him a try. He's a big blues fan, too. -> From: Casey Monahan -> -> Sam Lightnin' Hopkins died January 30, 1982, and was buried at Forest -> Park Cemetary on Lawndale in section 11. Located at 6900 Lawndale, -> 713-928-5141. Don O. ---- The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet ========================================================================= Date: Fri, 18 Aug 1995 06:53:57 GMT From: Tony Burke Subject: Re: Red Hot and Blue Ed, Can you give us an address/tel/fax/email for this in order that we can get a review copy for B&R? Cheers TB ========================================================================= Date: Fri, 18 Aug 1995 07:11:31 GMT From: AND Books Subject: Dog Day Blues Benefit SBIN Chicagoland Blues Folks! The South Bend blues music community will hold a benefit party this Sunday, August 20th for Karen Aberli, one of our leading blues supporters. This event, held at ZB Falcons, corner of Western & Sheridan in South Bend Indiana promises to be the largest gathering of blues talent ever for Michiana. Among the exciting group who will perform are: - Catman and the Allnighters - Kelly Hoggard & the T-Bones - Elwood Splinters Blues Band - Dennis Donnelly - Off the Wall Blues Band with Billy Nix - Not Just Blues - Doug Rice and Jumpin' Gene Halton - The N's & Outs - Treated & Released - State Street Blues Band with Little Bucky Lee - Southside Denny (tentative) - Mississippi Heat's Michel Lacoque - Son Seals (if he can get down from Milwaukee) - The Mongo Catz AND several suprise guests There will be plenty of ribs, corn on the cob and watermellon to satisfy the most discriminating barbeque taste. We're raffling off lotsa CD's, sponsor donated stuff. The party is scheduled to run from 2pm until Midnight. ADMISSION: a donation of your choice. If you can't make it, donations are accepted to: The Karen Aberli Benefit Fund, c/o Peter Wehle, 2728 Buckskin #34, South Bend, IN 46628. ALL proceeds of this event will go to the Karen Aberli Benefit Fund. more info can be got from: Peter Wehle (219) 273-5135, or Harvey Stauffer (219) 237-0543, or Patty Walsh (219) 232-3134, or me: Janos Szebedinszky -- andbooks@ripco.com PS. Thanx to all in blues community that have made this possible... if anyone wants transpo info of how to get here feel free to write/call us ========================================================================= Date: Fri, 18 Aug 1995 11:12:40 BST From: Mike Linnett Subject: Clarkseville/Brownie One of my mates, a civil war fanatic, is passing through Clarkseville on a pilgrimage when the blues festival is on. He is a bit of a country fan, but could someone send me the schedule for him... On a more selfish note... Has anyone come across any Brownie Macghee guitar technique books, or any stuff of his on the net ?? One day I'll learn Dissatisfied Blues !! Mike (looking forward to Chris Smither tonight!!!) ========================================================================= Date: Fri, 18 Aug 1995 03:43:55 -0800 From: James Carmin Subject: BUDDY GUY/ALI FARKA TOURE Buddy was in town on Wednesday and he and his band cooked through a killer rain storm. Happily, he played a pretty straightahead blues set, with extended versions of Five Long Years and Slippin' Out, and a killer cover of WD's Hoochie Coochie Man. Yeah, he did a short set of his "I can do Jimi, I can do Stevie," which a lot of us are tired of, but when he did "I can do EC in '65" and came up the with bluesiest cover of Strange Brew that I ever heard, I was at first amused and then impressed; the crowd sure loved that set. The great thing about Buddy is that he sure the hell enjoys playing the blues, and he enjoys interacting both with his band and the audience. His body language is extremely expressive and his guitar playing was sizzling! Last night, the great guitarist/vocalist from Mali, Ali Farka Toure played and he too cooked, although in his much mellower style than Buddy. Touring with a conga player, a gourd player (a gourdist?), and a backup acoustic guitarist, he put out some amazing rhythms. Much as been said about his being influenced by, among others, John Lee Hooker, and I sure heard some Hooker boogie lines in that sweet African sound. But his music also reminded me much of Junior Kimborough's mesmerizing, almost hypnotic, Northern Mississippi droning sound that is music really close to the heart. Ali Farka Toure's music isn't blues for purists, but it's music that's so pure it's blues. Check out Living Blues #88 for an interview with the Malian bluesman. James C. jcarmin@teleport.com ========================================================================= Date: Fri, 18 Aug 1995 07:51:32 CST From: William Shute Subject: Texas Blues magazine/Bell and Bowser From: Bill Shute If you've been putting off sending that check for a subscription to Texas Blues magazine (it's free at record stores/clubs down here, but has many out-of-state/out-of-country subscribers), you'd better not send it at all now. I have it on good authority that the magazine is now defunct and will not be putting out another issue. Circumstances beyond the control of Robin, the editor, made this happen. It's a shame, because the magazine was finally finding its own voice. Of course, Don O had a regular column which was always fine (as you'd expect) and kept us posted on the Dallas/Fort Worth scene; the club ads and coverage from Houston kept me posted on everything I was missing in that great blues city; my pal Jerry Clayworth had just started a San Antonio column; and non-texas places like Atlanta and Nashville had regular blues-scene coverage from the entertaining Roger Hurricane Wilson and Max Johns, respectively. It was just what we needed here in Texas to unite the different "scenes" and find out what our fellow blues fans in other cities were doing. Also, seeing who was playing in Houston helped me to know what artists to pitch at the Billy Blues powers-that-be for future gigs. We NEED people like Clarence Green, Houston Guitar Slim, Lowdown Brown, etc. coming up here to SA. Oh well... I've heard mixed messages about whether this FRiday's "happy hour" gig with T.D.Bell and the Blues Specialists will go on as scheduled or whether they will not be playing because they are still in mourning for the passing of ERBIE BOWSER, but a few of us blues-l-ers plan to be there (just in case) for what will undoubtedly be a tribute to Bell's longtime partner and former co-host of this happy hour, ERBIE BOWSER. I will print up the kind comments that have appeared about Mr. Bowser since his passing and will give those to TD Bell to give to Mr. Bowser's family. I will also, if I can, try to discreetly ask if Erbie Bowser's family needs some help with funeral expenses, emergency expenditures, etc. If so, I'll pass along that info. Chubby Carrier will be in San Antonio tonight, and I hope that'll signal the beginning of a zydeco revival in this town which was once Zydeco-crazy a few years ago. For awhile, it seemed like Wayne Toups LIVED here, and CJ Chenier was always passing through as did Boozoo (That's Who!) Chavis. I always check out bands I haven't heard (because how else will you FIND something new and exciting?), and this Saturday it'll be Fort Worth-based MIKE STOCKTON AND THE RHYTHMATORS. Stockton, former Delbert McClinton and ZZ Hill sideman, has a new album out called "It's My Soul," and with those credentials his soul might well be quite worthwhile. If so, I'll let you all know. A new San Antonio-based blues-oriented record label has been started, Atomic Jukebox Records, which will be issuing 45 rpm singles (that's right...vinyl). The first, already out, is a hot one, by Kathy Murray and the Kilowatts. Future releases will include Paul Orta and His Mighty Kingpins, Uncle John Turner, Santiago Jimenez Jr. (no, he hasn't gone blues-- but like someone said about Merle Haggard the other day, he certainly deals in The Blues of Life, and conjunto is in many ways to its community what blues/REAL country/etc. are to their communities, REAL-life, gut-level experience mixed with the transitory joys of living that somehow make it all worthwhile), and others I've forgotten.I have no involvement in this label, besides being a supporter of it, so there shouldn't be any ethical problems with my championing it. Right now I don't have ordering details for the Murray 45, but if you are interested in the label, why don't you send me a private e-mail and within a week or two I'll get US and overseas ordering info for that single along with a more specific list of upcoming releases. Though I'd have to REALLY stretch to include him under the blues umbrella, one of the all-time greats (to me) also passed away within the last week, PHIL HARRIS. Beginning in the early 30s, Harris led a swing band and "sang" (he did a kind of "talking jive" routine that later influenced people like Tex Williams) sarcastic and jive-oriented material that was rooted in his hard-drinking, irresponsible-living stage persona. Actually, his "persona" predates everyone from Wynonie Harris (note I said predates, not "influenced") to Dean Martin. He was best known for his long-time involvement with Jack Benny on radio and in-person. Harris basically created the now-common character of the drunken reprobate band leader whose musicians were always wasted, completely unreliable, unable to read music, tasteless, and dissolute. There would have been no Doc Severinson or Tommy Newsome or Jack Sheldon (any other old Merv Griffin fans out there who remember Jack's stint with Merv?) "characters" without Mr. Harris. A master of comic timing, Harris interestingly had all the traits associated with stereotypical black comic "sidekicks" of the era (such as Willie "Sleep and Eat" Best, whose "other" career you can read about in Etta James' book), while black fellow-Benny-character Eddie "Rochester" Anderson largely DID NOT. It was Harris who shot dice, was illiterate and couldn't read his own name on a theatre marquee, was irresponsible with his money, was slow on the uptake and couldn't understand big words, was obsessed with southern cooking like fried chicken, and generally was a grown-up child who couldn't take care of himself. He was also depicted as basically being supported by his wife, actress-singer Alice Faye, and sponging off her. Harris was a hero to me in my youth and still is today! I can hear his signature song "That's What I Like About The South" going through my head right now. If you want a VERY tangential connection to blues/jazz, try listening to Henry "red " Allen's l933 cover of Harris' hit composition, "GAlveston Gal," with an unbelievable over-the-top jive vocal by Allen (along with his crisp trumpet playing) and a WYLD tenor solo from Coleman Hawkins. Bill Shute San Antonio, TX ps, typical Phil Harris routine: Harris is standing around drinking glass after glass of water. Benny asks, "Phil, why are you drinking all that water?" Harris responds, "I've got a big weekend coming up, Jackson, and I want to get the chasers out of the way!" ========================================================================= Date: Fri, 18 Aug 1995 08:17:43 CDT From: L W Subject: Blues Women Can anyone recommend a good book that deals with Blues Women, besides Black Pearls....I'd like one that has "modern" artists also. IMHO there is a lack of good reading material on Blues Women.... THANKS LW ========================================================================= Date: Fri, 18 Aug 1995 09:24:22 -0400 From: POXY MAN Subject: Re: Merle Haggard was Today... I agree with Jeff... If anybody EVER had the blues , it's Merle! One of the greatest songwriters and singers EVER (imho). And on hell of a rockin' band is The Strangers.Listen to the albums"Back to the Barrooms" or "Going Where the Lonely Go" and see if you don't agree. DEFINITELY the Blues. Pat Seay ========================================================================= Date: Fri, 18 Aug 1995 09:41:16 -0500 From: VT Subject: Big Jack Johnson/Jelly Roll Kings - New Recordings Spoke to Big Jack Johnson last night at his gig @ the Bayou, Mt. Vernon, NY. He told me that he has no less than 3 new recordings about to be released. 1. EARWIG label - a live recording with the Aron Burton Band which Michael Frank recorded earlier this year. 2. ROOSTER BLUES label - an album which has been in the works with Jim O'Neal for 2 years, with, not surprisingly, many different musicians. 3. FAT POSSUM label - JELLY ROLL KINGS! JELLY ROLL KINGS! JELLY ROLL KINGS! - with Frank Frost and Sam Carr - Big Jack said he doesn't know when this one's coming out - as he still has to return to do some more work on the album. Big Jack said that Frank Frost is good shape since he has given up drinking. Big Jack was so happy he wrote a song about Frank and it was recorded for the new album. BTW - for those in and around the New York City area BIG JACK JOHNSON is playing at Chicago B.L.U.E.S. 8th Ave @ 14th Street, NYC - tonight Friday Aug/18 and Saturday Aug/19. Don't miss him. Vincent p00061@psilink.com ========================================================================= Date: Fri, 18 Aug 1995 09:07:50 -0500 From: Bruce Roberts Subject: Re: Blues Women > Can anyone recommend a good book that deals with Blues Women, besides Black > Pearls....I'd like one that has "modern" artists also. IMHO there is a lack > of good reading material on Blues Women.... I was in the bookstore a few months ago looking through the music section and I saw this book called Women and the Blues. But when I looked through it I found out it was a book about Women and depression that had been misplaced. Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Fri, 18 Aug 1995 11:08:24 -0400 From: Garry Segal Subject: George Harmonica Smith I know there must be a CD best of compilation of this guy. He was Rod Piazzas mentor and a very underated/underpublicized harp player. I had him on vinyl but cant find it. Especially looking for his tune " Juicy Harp ". Thanks for any tips on George Harmonica Smith CDs. Garry ========================================================================= Date: Fri, 18 Aug 1995 09:22:26 -0600 From: Watterworth Jay Subject: Re: Lightnin Hopkins Now there is a civilized state! Can you imagine what Newt G would say if he found out that Texas was wasting tax payers $ to support the "Texas Music Office"? He would roll over in his grave. Jay Watterworth CU Boulder On Thu, 17 Aug 1995, Don Ottensman wrote: > I asked earlier for help in finding Lightnin' Hopkins' gravesite. It > was a lot tougher than I had figured. The answer finally came from the > Texas Music Office, a little known branch of our state government. They > always seem to have the answers when it comes to Texas Music and I don't > know why I didn't think of them earlier. Anyway, here's the answer I > was looking for as delivered by director Casey Monahan. If you ever > have a question about Texas music or Texas musicians, give him a try. > He's a big blues fan, too. > > -> From: Casey Monahan > -> > -> Sam Lightnin' Hopkins died January 30, 1982, and was buried at Forest > -> Park Cemetary on Lawndale in section 11. Located at 6900 Lawndale, > -> 713-928-5141. > > Don O. > > ---- > The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet > ========================================================================= Date: Fri, 18 Aug 1995 11:53:36 -0400 From: Peter Welch Subject: Re: George Harmonica Smith According to Garry Segal: > > I know there must be a CD best of compilation of this guy. He was Rod Piazzas > mentor and a very underated/underpublicized harp player. I had him on vinyl > but cant find it. Especially looking for his tune " Juicy Harp ". Thanks for > any tips on George Harmonica Smith CDs. > Garry > Garry, George Smith is one of my favorite harp players...right up there with Little Walter in terms of influence and innovation. Unfortunately only 2 CDs under his name are available at present: "Harmonica Ace" on Virgin/Flair...This has all his great swinging jump blues stuff he recorded for Modern in the mid 50s out in LA. "No Time for Jive" on the Sony/Blue Horizon label...This is an import of an LP he did with the band Bacon Fat around 1970. I love this CD, great Chromatic playing as always from George. There's also 3 of his early cuts on a Wolf Anthology of J.R. Fulbright's Elko label from California in the late 50s...Elko Blues, Vol. 1 He also appears as a sideman on some Muddy Waters/Otis Spann stuff from the mid 60s. His classic "Sharp Harp" (Recorded under Champion Jack Dupree's name) appears on a Charly CD called "Champion Jack Dupree Sings the Blues." But that's it for CD. "Juicy Harmonica" is on the vinyl album "...of the Blues" on the German Crosscut label. Other George Smith titles I have or have seen on vinyl include: "Boogie'n with George"; Murray Bros. (His last recordings done in 1982 with the Mighty Flyers) "Blues with a Feeling: Tribute to LIttle Walter"; World Pacific (This is an excellent LP that I really wish they'd release on disc...His interpretations are more than just covers.) "Arkansas Trap"; Deram/London..Another one recorded with Bacon Fat. "Blowin' the Blues"; P-Vine..The one I'm still looking for. This is a compilation of small-label singles he released in the 60s. Hope this helps, Peter ========================================================================= Date: Fri, 18 Aug 1995 11:54:50 -0400 From: Charles d'Orban Subject: World Music/Blues Someone recently mentioned the topic of world music and blues influences/fusions and cited the example of the Ry Cooder/V.M. Bhatt "Meeting by the river" CD. There is a fairly recent CD from the same label, Water Lily Acoustics (usual disclaimers), which features Bhatt playing with Taj Mahal and N. Ravikiran. The title is "Mumtaz Mahal". If you liked "Meeting by the river", you might like this as well although IMHO Bhatt doesn't steal the show in the same way that he did on the collaboration with Ry Cooder. Basically Taj Mahal plays his National and sings while the 2 Indian musicians embellish the songs. There are versions of "Come on in my kitchen", "Stand by me" and "Johnny too bad". I consider Taj Mahal to be a pioneer in fusing blues with what's now called "world music". In the '70s Taj fused blues with the other musics of the African diaspora. So his International Rhythm Band would play a blues but feature a solo on the (Trinadadian) steel drums. You can hear what this sounded like on the recent Rising Sun collection recording of Taj playing live in Montreal. Its also interesting to note that Taj collaborated with Ali Farka Toure before Ry Cooder (on "The source"). Charles. ========================================================================= Date: Fri, 18 Aug 1995 12:10:19 -0400 From: "Alan C. Rollins" Subject: AOL-Problems? Mary Katherine, Dick Waterman and Skip James have reported to me that they have not gotten Blues-L for the past two days. They think it may be an AOL problem. If not, would some one post them directly. If it is and you are having the same problem then you are probably not reading this posting. > >Alan > ACR ========================================================================= Date: Fri, 18 Aug 1995 12:11:56 +0000 From: "P.W. Fenton" Subject: Big nights Well my internet provider hosed my password somehow and I was unable to log on for a couple of days. I'm way behind at reading my mail. Tonight is the first of two BIG nights. We are recording our live album at the Blues Ship Cafe in Tampa, Florida. I am STOKED. Please wish us luck in our endeavour (in your hearts and minds - NOT on the list) We'll feel the good vibes. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 18 Aug 1995 12:12:40 -0400 From: Steve Levine Subject: Re: George Harmonica Smith ++I know there must be a CD best of compilation of this guy. He was Rod Piazzas ++mentor and a very underated/underpublicized harp player. I had him on vinyl ++but cant find it. Especially looking for his tune " Juicy Harp ". Thanks for ++any tips on George Harmonica Smith CDs. ++Garry + So far I've only been able to find one George Smith cd, "Little George Smith: Harmonica Ace." I got it from the CD Connection (telnet to cdconnection.com). I also saw a European George Smith cd on the European version of CD Connection but I haven't ordered it. He's also on the Tribute to Little Walter album, which I haven't been able to find, but his veriosn of "Last Night" from that album is on the Rhino blues harmonica compilation (part of that series of blues compilations they put out). I also have an Otis Spann cd which has Smith on a couple of tracks. Hopefully some of his other work - especially the stuff he recorded with Piazza - will be reissued on cd one of these days. -Steve ========================================================================= Date: Fri, 18 Aug 1995 12:11:56 +0000 From: "P.W. Fenton" Subject: The Blues-L Shopping Center I have received a few inquiries lately, that make me realize that not everybody understands what I'm doing with the Blues-L Shopping Center. Although I'd love to, (seriously), provide free web space to EVERY Bluesician that has something to sell, I cannot possibly do that. I have to put limits on it, or I'll have to drop the idea. So here's the deal... If you are an "active" Blues-l member, that is somehow "involved" with the production of an independently, or self produced recording, I will provide a little space for a simple ad on the Blues-L shopping center web page. By "involved" I mean that you were somehow actively involved with the production of this recording. "Involved" does not mean that some friends of yours have a recording. By "active" Blues-L members I mean to discourage the idea that all someone has to do is subscribe to Blues-l to get a free ad on the World Wide Web. That is not my intention at all. And lastly, we must be talking about BLUES recordings. I LOVE many kinds of music (even Crash Test Dummies) but I am ACTIVELY interested in promoting the BLUES. I will keep this up only as long as I can afford it financially, and have the time to devote to it. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 18 Aug 1995 12:16:12 -0400 From: James Leftwich Subject: Re: Budgie I believe Big Joe Williams wrote the song. It's one of the most covered tunes of all time. Jim On Fri, 18 Aug 1995, SSGT STEVEN E WHITING wrote: > >Date: Tue, 15 Aug 1995 07:40:48 -0500 > >From: Craig Edmundson > >Subject: Re: Budgerigar 'Snooky" Dies 8yrs ago! > > > >A budgerigar is an Australian parrot. I am under the impression they are > >affectionately known as "budgies." Back in the late '70s there was a > >pretty decent power trio from the U.K. named Budgie. I also seem to > >remember a Monty Python reference to "having to put the budgie down." > >Budgies are famous for their ability to hit the blue note. > > Though some of my memories of the 70s are a bit scratchy, I can remember that > Budgie (the group, not the bird) did a pretty good rockin' version of "Baby > Please Don't Go." > > Baby, please don't go > Baby, pleeee-eeee-eeee-ease don't go-wo > Baby, please don't go down to New Orleans > You know I love you so, Baby, please don't go > > Can somebody give me some scoop on this tune, so I can listen to it done by > the original artist(s)? Guess I got a slight case of 'purist'. > > Steve Whiting > whitings@okinawa.usmc.mil > ========================================================================= Date: Fri, 18 Aug 1995 11:29:42 PDT From: rjbauman@IQUEST.NET Subject: Re: allison >If I'm not mistaken, Luther will have another album out in the fall. > > >You have yet to send me the list of Luther albums that you have so that >we can compare. Lee > I just got this month's Musician Magazine yesterday and there is a full page ad in there for the new "Blue Streak" album. It's supposed to be out this month. Has anybody seen it yet? The mag says it's in stores, but my copy is in advance of general news stand distribution. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 18 Aug 1995 11:38:00 CDT From: Paul Garon Subject: Re: Blues Women >Can anyone recommend a good book that deals with Blues Women, besides Black >Pearls....I'd like one that has "modern" artists also. IMHO there is a lack >of good reading material on Blues Women.... >THANKS >LW > There's a book published by Blackwell (in the UK only?) called ANGELS OF THE NIGHT by W. Mellers. It covers mostly jazz and pop but has a few blues women, as I recall. Then there's the title for young adults written by Hettie Cohen, BIG STAR FALLING, MAMA (Revised ed., Viking, 1995.) on Ma Rainey, Bessie Smith, Billie H., Mahalia Jackson and Aretha F. There's also Derek Stewart-Baxter's MA RAINEY AND THE CLASSIC BLUES SINGERS, from the Paul Oliver Blues Series done by Studio Vista in 1970 or so. No moderns in there as I recall, though. And of course there are biographies of Bessie, Ma, Minnie, Alberta H., stuff you probably know about. A few moderns are covered in McKee and Chisenhall's BEALE BLACK AND BLUE which I think has been reissued, and some are covered in Larry Cohn, ed., NOTHING BUT THE BLUES (Abbeville). But you're right; comparatively speaking, things are slack. Nothing new there, eh? Things MAY change now, but it's possible that women were originally shorted because of the fondness for country blues (usually male) and hot licks (usually male) that tended to typify the blues audience of the last several decades. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 18 Aug 1995 17:08:35 GMT From: Restrict Subject: Government Restricts Internet!! SPEAK UP AMERICA -- MAKE YOUR VOTE COUNT Question: Should the United States Government interfere and put restrictions on the use of the Internet?? CALL: 1-900-945-5600 ext 163 and cast your vote. Cost: $1.98 per call (NOT per minute) Call Today Must be 18+/Touch Tones Only InfoService/Studio City, CA/213-993-3366 Results of this survey will be compiled and sent to members of the House and Senate. Thank you for casting your vote and for making your voice heard. ========================================================================= Date: Fri, 18 Aug 1995 13:18:22 -0400 From: Barry Silverberg Subject: CD's to trade. I have the following four CD's to trade - all brand new and sealed. If you are interested let me know. Please, keep all clunkers out of your offers. Lil Ed And The Blues Imperials - What You See Is What You Get B.B. King - Blues Summit Lucky Peterson - I'm Ready Pete Johnson - King Of Boogie Also - good condition a must, no scratches etc. They don't have to be new but they have to be presentable. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 18 Aug 1995 13:13:07 -0400 From: Barry Silverberg Subject: Re: The Blues-L Shopping Center P.W. Fenton (pwfenton@GATE.NET) wrote: : By "active" Blues-L members I mean to discourage the idea that all : someone has to do is subscribe to Blues-l to get a free ad on the : World Wide Web. That is not my intention at all. Not a very good idea Paul. It actually sets up some sort of criteria that you alone determine worthy. I do realize that it is your web-space but IMHO poor choice of a standard. Why would one want to participate if the criteria is being a mem- ber of some "in-club" and if the criteria is to be a part of that "in-club" what's the standard for the offerings. The thought is nice to help your friends and compatriots but if the net were run by simple-simon-says-rules we'd be quite deep in a rather discriminatory cyberspace. This isn't meant to be a flame in any sense - just a gentle nudge to think it out and not turn your work into a friends welcome, every one else get lost offering. You might open up a discussion here on blues-l and seek some advice from those you wish to serve. I am not a musician at all so my input would not be on the musical side, but rather on the side of what makes and keeps the net an active, vibr- ant and worthwhile place to visit. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 18 Aug 1995 12:16:08 CDT From: L W Subject: Government Restricts Internet!! ----------------------------Original message---------------------------- >SPEAK UP AMERICA -- MAKE YOUR VOTE COUNT This should read Speak Up America and put money in MY pocket >Question: Should the United States Government interfere and put > restrictions on the use of the Internet?? No, but they should restrict the use of 900 numbers so losers, such as the one who sent this will have to get a real job >CALL: 1-900-945-5600 ext 163 and cast your vote. should read: Call: 1-900-945-5600 ext 163 and BLOW YOUR MONEY >Cost: $1.98 per call (NOT per minute) Call Today > Must be 18+/Touch Tones Only Must be a complete idiot..... LW 'if you really care write your congressman' btw: Don't bother replying to this goober, it comes back to you ========================================================================= Date: Fri, 18 Aug 1995 14:01:26 PDT From: rjbauman@IQUEST.NET Subject: Re: The Blues-L Shopping Center ==========just a gentle nudge to think it out and not turn your work into a friends welcome, every one else get lost offering.============== I think the idea is fine. I took his approach as a way to A) encourage musicians to participate in blues-l regularly and b) discourage folks who would otherwise just take advantage of him. He should have an opportunity to know who he's dealing with. As far as restricting it to blues-l participants, why is this so bad? This is not a very restrictive "club". Anybody can join in the fun. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 18 Aug 1995 15:13:14 -0400 From: BluesRevue Subject: Re: Awards Thanks for your post . . . I was beginning to wonder if the "voice of reason" has left Blues L entirely. Bob Vorel, publisher Blues Revue. ========================================================================= Date: Fri, 18 Aug 1995 13:40:32 -0700 From: Ron Wack Subject: Re: The Blues-L Shopping Center Item Subject: Message text The way I see it, Paul should be able to do what he wants with his webspace. He's the one putting all the time, effort and money into it. I think it's great that he's offering to help out the musician list members get more exposure. He deserves our utmost respect, not someone telling him his offer isn't good enough. What the hell is this world coming to? RW ========================================================================= Date: Fri, 18 Aug 1995 15:00:05 -0500 From: Jeff Seale Subject: Re: The Blues-L Shopping Center Well, it's PW's money, page, and time involved, so I think he can put whatever restrictions on it that he chooses. I have no problem with his restricting it to participants in the list. That keeps people from signing up just to get free advertising. Besides, people seem to be advertising their own goods around here anyway. At least this keeps that crap down. -Jeff (who don't write no mags, books, or have no cds to sell) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Fri, 18 Aug 1995 16:22:40 -0400 From: Maria Wegscheid Subject: Madison, WI I'll be in the area of Madison, WI the week before Labor Day. Anything going on that I shouldn't miss? Post to me personally, and it doesn't even have to be blues related. Thanks in advance Maria ========================================================================= Date: Fri, 18 Aug 1995 16:24:19 -0400 From: Maria Wegscheid Subject: Evidence label I recently received a copy of a sampler album from the Evidence label. It includes tracks by Pinetop Perkins, Lonnie Brooks, Koko Taylor, Screamin' Jay, etc. Does anyone know anything about this label? I've never heard of it. Also, one of the tracks on the cd was by a guy named J.B. Hutto. Never heard of him, but on the basis of this one track, I'd like to hear more. What does anyone know about him? Thanks Maria ========================================================================= Date: Fri, 18 Aug 1995 13:53:38 -0700 From: Chris Adams Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings I'm wondering what has happened to the "African String Band", or whatever it was to be called, featuring Big Jack,Lonnie Pitchford, and most interestingly a cello. Reviewers of the Chicago Blues Festival talked about a performance of this group said there would be something coming out in the fall on Rooster Blues. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 18 Aug 1995, VT wrote: > Spoke to Big Jack Johnson last night at his gig @ the Bayou, Mt. Vernon, > NY. He told me that he has no less than 3 new recordings about to be > released. > > 1. EARWIG label - a live recording with the Aron Burton Band which > Michael Frank recorded earlier this year. > > 2. ROOSTER BLUES label - an album which has been in the works with > Jim O'Neal for 2 years, with, not surprisingly, many different musicians. > > 3. FAT POSSUM label - JELLY ROLL KINGS! JELLY ROLL KINGS! JELLY ROLL > KINGS! - with Frank Frost and Sam Carr - Big Jack said he doesn't know > when this one's coming out - as he still has to return to do some more > work on the album. Big Jack said that Frank Frost is good shape since > he has given up drinking. Big Jack was so happy he wrote a song about > Frank and it was recorded for the new album. > > BTW - for those in and around the New York City area BIG JACK JOHNSON is > playing at Chicago B.L.U.E.S. 8th Ave @ 14th Street, NYC - tonight Friday > Aug/18 and Saturday Aug/19. Don't miss him. > > Vincent > p00061@psilink.com > ========================================================================= Date: Fri, 18 Aug 1995 14:11:09 -0800 From: Michael Hewitt Subject: Re: The Blues-L Shopping Center I also cast my vote (as if I had or deserved one) for letting PW make his own decisions regarding HIS webpage. To often we are inundated with well-meaning but misguided attempts to tell us what to do with our time, efforts and money. Some folks are so busy noticing the crabgrass in their neighbors' yards that they fail to see the weeds in their own. This is not a condemnation of any individual(s) because, frankily, I don't know any of you from Adam. Just a generalization about unhealthy trends in the way we socialize and interact. I think PW should be encouraged and commended for his attempt to help. He's just one man trying to do "something" while there are plenty more of us unable or unwilling to do anything. Kudos, PW, for your efforts. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Fri, 18 Aug 1995 14:23:16 -0700 From: Chris Adams Subject: Re: Clarkseville/Brownie There is a book, "Guitar Styles of Brownie Mcghee" by Brownie himself, with help from Happy Traum. It is an Oak Publication, and I'm not sure if it is still in print. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 18 Aug 1995, Mike Linnett wrote: > One of my mates, a civil war fanatic, is passing through Clarkseville on a > pilgrimage when the blues festival is on. He is a bit of a country fan, > but could someone send me the schedule for him... > > On a more selfish note... > > Has anyone come across any Brownie Macghee guitar technique books, > or any stuff of his on the net ?? > > One day I'll learn Dissatisfied Blues !! > > Mike (looking forward to Chris Smither tonight!!!) > ========================================================================= Date: Fri, 18 Aug 1995 22:28:21 GMT From: Jim Chivers Subject: Wish to contact J.J. Cale. Anyone have address or tel.#? Hi: I'm trying to locate J.J. Cale. Any information would be greatly appreciated. Thanks. JC. mower@ix.netcom.com Dave K.: Thanks for the info. I'll check it out while trying to find something more recent. Would have e-mailed you but your address was incomplete. ========================================================================= Date: Fri, 18 Aug 1995 00:33:08 -0400 From: PeterB1506 Subject: Re: Long Beach Blues Fest I plan to be there at least on Saturday, and probably both days. Couldn't afford the gold passes though. Peter Barash ========================================================================= Date: Fri, 18 Aug 1995 15:57:13 -0700 From: Karen Johnson Subject: Re: World Music/Blues >> I have some interest in the world music scene and would like to know if anyone >> has some information concerning Blues and other cultures. We have spent some >> time on this list discussing the blues connection with rock , western swing and >> jazz and even rap, but what about genres outside the U.S.? For one thing both >> rock, rap and jazz have been utilized by various developing music styles >> throughout the world (country to a much lesser extent ). What about >> blues? > > >One country which does follow American styles more closely however, seems >to be Ethiopia, whose music is not as well-distributed over here as the >others. I've heard Ethopian bands from the 60s whose introductions are >almost exact pastiches of Wilson Pickett records - although as soon as >they start singing there is no mistaking the fact that they are >Ethiopian. One contemporary Ethiopian artists who sounds very >blues-and-jazz influenced to me is a solo woman vocalist called Aster >Aweke. She has a terrific voice, one that really gets under your skin, >and her CDs have recently become fairly easily available in the World >Music stores. > >Martin Martin, Jim and anyone else interested in Ethiopian music, My only qualification in this area is the cultural immersion I have experienced through the past 16 years of marriage to an Ethiopian by birth. Bonnie the K assures me that this is not too esoteric for this list. Regarding Aster Aweke, as far as I know, she is the only Ethiopian artist who has been signed by a major record company and has a cd or two. Therefore, she is the only one who gets any exposure to speak of. However, she is not my favorite, but I would not discourage anyone from investigating her work. I saw her in person a couple of years ago (when the Ethiopian Football Federation held its tournament in the Bay Area) but several of the acts that appeared on the same bill with her that night were superior. I also saw her once on Night Music with David Sanborn. I have never made any connection with Aster and blues but I haven't heard absolutely everything she's done. There are some Ethiopian artists that have an r'n b style, like Telahun Gesesse (a great balladeer who has the Milton note capability), Alemayehu Eshete (who Ethiopians refer to as the Ethiopian Elvis --he wears a pompador and gold lame') and a woman named Buzzawork. She has a great voice, as does another female singer named Hirut. Some western influences do exist (i.e. the above Alemayehu --who really reminds me more of a cross between Jackie Wilson and James Brown). A number of Ethiopian bands of the younger generation also play a lot of reggae, to capitalize on the Rastafarian worship of Haile Selassie. However, there is still a great deal of traditional/tribal music that is quite original. One artist that performs mainly traditional music is Mahmoud Ahmed. He is extremely popular in Ethiopia although he is currently out of favor with a number of expatriates here due to some political faux pas. He is a real crowd pleaser. Thanks for your indulgence. I hope some of you find this interesting. KJ in SF > ========================================================================= Date: Fri, 18 Aug 1995 19:10:00 CDT From: Bonnie Kalmbach Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings Chris Adams queried: >I'm wondering what has happened to the "African String Band", or whatever >it was to be called, featuring Big Jack,Lonnie Pitchford, and most >interestingly a cello. Reviewers of the Chicago Blues Festival talked >about a performance of this group said there would be something coming >out in the fall on Rooster Blues. I had a pretty long chat with Jim O'Neal at the recent Sunflower Blues Festival. Although my brain waves are a bit soggy with the constant high humidity - here in Wisconsin as well as in Clarksdale - I do recall that he said they had just finished this recording or were about to start it. I know it will be another excellent Rooster product - whenever it may hit the stores. -Bonnie ========================================================================= Date: Sat, 19 Aug 1995 00:10:58 GMT From: Jonathan Duttweiler Subject: Re: Evidence label In Maria Wegscheid writes: > >I recently received a copy of a sampler album from the Evidence label. >It includes tracks by Pinetop Perkins, Lonnie Brooks, Koko Taylor, >Screamin' Jay, etc. Does anyone know anything about this label? I've >never heard of it. > >Also, one of the tracks on the cd was by a guy named J.B. Hutto. Never >heard of him, but on the basis of this one track, I'd like to hear more. >What does anyone know about him? > I have several Evidence releases, including the sampler mentioned, and all have, so far, been quite good. It is a reissue lable which seems to specialize in releases originally put out in Europe. One CD I particularly love has been Big Voice Odum's "Feels So Good" with Magic Slim. Another, which I haven't heard but intend to get, is their Little Milton release, which is suppose to be one of his blusier releases of the past 2 decades (love that *voice*). Perhaps someone else knows more particulars about this label, but so far I haven't been disappointed by anything of their's that I've bought. -- ================================================================ Jon Duttweiler / "If I had my way...I'd tear this building down" TOZ@ix.netcom.com Blind Willie Johnson ================================================================ J o V Arial ========================================================================= Date: Fri, 18 Aug 1995 19:44:39 PDT From: rjbauman@IQUEST.NET Subject: Re: Evidence label ==================Also, one of the tracks on the cd was by a guy named J.B. Hutto. Never >heard of him, but on the basis of this one track, I'd like to hear more. >What does anyone know about him?============= I have "Hawk Squat" on LP. It's decent. I hear his best sides were on the Chicago/The Blues/Today series. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 18 Aug 1995 19:42:36 -0500 From: ".\\ark \\'atkins" Subject: Digest available? Could someone tell me if this list is avialable in digest form? ------------------------- .\\ark \\'atkins ------------------------- | | | | markw@telepath.com | | | mark.watkins@oubbs.telecom.uoknor.edu | J'suis Le Grand Zombie! | | 1:147/3101 | | | | | ---------------------------------------------------------------------- ========================================================================= Date: Fri, 18 Aug 1995 20:50:45 PDT From: Anand Prabhakar Subject: Blues Guitar Music Tab Does anyone know where I can get guitar music for Blues? I have tried the nevada site, but there is pretty much nothing besides a few pop hits.. Thanks Anand SUB blues-l Anand Prabhakar ========================================================================= Date: Fri, 18 Aug 1995 20:15:00 CDT From: Paul Garon Subject: Re: Evidence label >>Also, one of the tracks on the cd was by a guy named J.B. Hutto. >Never >>heard of him, but on the basis of this one track, I'd like to hear >more. >>What does anyone know about him? Hutto was a major, major MAJOR Chicago artist, featuring a biting slide guitar and a fondness for the lower-down blues and the tougher joints. His COMBINATION BOOGIE is an epitomal Chicago grit sound and must be heard. HAWK SQUAT is an excellent CD, but I do believe he's better on CHICAGO THE BLUES TODAY. Some of his majestic 78s can be heard on Blues Classics CHICAGO BLUES (vinyl [CD?]), and others are on Nighthawk, out of St. Louis. You're missing a big piece of Chicago history without JB. You'll even think, why didn't Elmore do THAT? Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 18 Aug 1995 22:46:51 -0400 From: Mary Katherine Aldin Subject: getting no mail Some of us who are subscribed to blues-l have not been getting any email from the list (or very little) over the past 48 hours. Tom Freeland, Dick Waterman and I are all affected, and are all (coincidentally?) on AOL. I have gotten nothing today (Friday) and only got about ten messages yesterday. I do seem to be getting direct (non-list) email. I don't think this is a blues-l problem, because I am subscribed to several other music-related lists and am not getting any email from them either! I've contacted the AOL live tech help, who are basically clueless. They suggested that I try un-and-re-subscribing to the blues-l list, which I have done tonight with no result so far. If this situation does not clear up over the weekend I am going to unsubscribe from blues-l. I plan in future to leave AOL (had already decided that before this problem happened) and switch to another service; I will re-subscribe at that time. Any *urgent* messages can be sent to me by private email. Hope to see you all again somewhere down the (on)line. Mary Katherine ========================================================================= Date: Sat, 19 Aug 1995 00:39:58 -0400 From: Louis Erlanger Subject: Other blues artists I've been on this list for a couple of weeks. I've read about 1000 pieces of E-mail. Yet the number of blues artists mentioned is slim. Here's a list of some people who are rarely recorded but are still active or were recently active. If you know of some good recordings by them, let me know. I'm looking for some inspiration. Eddie C. Campbell Lonnie Youngblood Larry Dale Dave Myers as a guitar player Jimmie Lee Robinson Also, has anyone heard Little Buster's new LP on Rounder? I haven't had a chance to get the record but I've seen him many times and think he's great. I'm curious if his greatness was captured on CD. ========================================================================= Date: Sat, 19 Aug 1995 01:12:12 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Cleaning and De-warping Records I have found a much better solution, one which offers much better control than the solar thermonuclear furnace out there at 9.3x10^7 miles. Use a Kodak dry-mount press. This is a large, extremely flat, felt-lined waffle iron sort of thing that is used to mount 35mm slides in their little cardboard holders. The major advantage it has over just about anything else is the thermostat. It also has a cam-based lockdown which, combined with its heavy construction, will apply very nice, very even force all over the LP. The replaces the bricks. Put the LP between flawlessly clean glass plates (any dust on the glass WILL get mashed permanently into the vinyl), put it in the press, but do not yet clamp the lid down. Just let it down gently. Then, crank the thermostat up to about 180 degrees F (which is enough to limber up the vinyl) and certainly no higher than 210 -- if it's hot enough to burn you fast, it's too hot for the vinyl). Leave it until the glass is warm and the vinyl starts to soften, the TURN THE PRESS HEATER OFF. Wait a minute, then slowly clamp the lid down and walk away for a few hours. Do not unclamp until the press is completely cool. Then, pull the sandwich out and remove the glass. Be conservative on the temperature, and err on the short side when it comes to heating the press, as it's heavy metal and will retain heat a long time. FWIW, the first experiment I did with this (years ago) I used corrguated cardboard instead of glass and was rewarded with an LP with nice little paper pulp fiber marks and corrugations imprinted in the vinyl. But it was flat!!! Turtle Visit That Blues Music Page at The Weightless Dog! http://www.charm.net/~turtle/blues.html _____ Reply Separator _____ Author: INTERNET:j.mac @ METRONET.COM@CISHUB Received: 08/17/95 12:45:00 PM Subject: Cleaning and De-warping Records De-warping: Ken's advice works - I've done it several times. Two notes: 1. Use the thickest, flattest glass you can get. You can often get the right size pieces at a local glass company for a few dollars. Often they will cut them from scrap for you and it won't cost much. I got two pieces of 14" x 14" x 1/2" green tinted glass at a local store for about $20. The store cut them for me from a broken tabletop they had just replaced. Get the glass store to bevel the edges slightly so you don't cut yourself to ribbons. 2. If you put your record in the sun, don't leave it there. Watch it carefully! A black record between glass can heat up very quickly. I usually put two bricks on top of top of the glass and I've never had to leave a record in the sun for more than 15 minutes, even on a cool day. If you don't have bright sun you can use your oven. Turn it on the lowest setting for a few minutes and then turn it off. Put the record, between the glass, with a small weight on top (a brick works well but a small bowl of water would also work) and watch it carefully. If the glass is too hot to touch with your bare hands, the oven is too hot. It is better to start slowly and work up. If the glass gets too hot you will flatten the record but you will also flatten the grooves. ========================================================================= Date: Sat, 19 Aug 1995 01:45:10 EDT From: Joseph Leichter Subject: Re: Other blues artists Little Buster on CD? *that's* good news!...I've been out of NYC so long, i didn't even know he had a record contract... ========================================================================= Date: Sat, 19 Aug 1995 09:33:06 -0400 From: Tom Grady Subject: Re: getting no mail For what it's worth, I'm on AOL and I have been getting Blues-L mail and postings. ========================================================================= Date: Sat, 19 Aug 1995 13:17:31 +0100 From: John Christian Subject: Blues In New York My wife and I are visiting New York for a week from October 7th, staying in Greenwich Village. Any recommendations of Blues Clubs/events would be welcome. ALso any non-blues recommendations by private email. Thanks ========================================================================= Date: Sat, 19 Aug 1995 09:21:08 PDT From: rjbauman@IQUEST.NET Subject: Re: Blues Guitar Music Tab >Does anyone know where I can get guitar music for Blues? I have tried the >nevada site, but there is pretty much nothing besides a few pop hits.. > > >Thanks > >Anand > >SUB blues-l Anand Prabhakar > Get "The Definitive Blues Collection" from the Hal Leonard Publishing Group. It's 336 pages contain 96 great blues songs in full piano, vocal, and guitar lines. I got mine at a band instrument music store that sells goo gobs of sheet music. They have a whole buiding just for sheet music. It should be really easy to order at other stores, though. RJ Bauman ========================================================================= Date: Sat, 19 Aug 1995 09:35:17 PDT From: rjbauman@IQUEST.NET Subject: Re: Other blues artists >I've been on this list for a couple of weeks. I've read about 1000 pieces of >E-mail. Yet the number of blues artists mentioned is slim. Here's a list of >some people who are rarely recorded but are still active or were recently >active. If you know of some good recordings by them, let me know. I'm >looking for some inspiration. > >Eddie C. Campbell He's been overseas for many years. I can recommend "That's When I Knew" based on Andrew Gordon's "Blues Buyers Guide." It's one of a handful of CD's in this guide that 4 blues 'zines rated excellent. He played well at the Chicago Blues Fest. He's the king of reverb! RJ Bauman ========================================================================= Date: Sat, 19 Aug 1995 13:53:49 GMT From: Tony Burke Subject: Re: anthology of scat singing l924-l933 Bill, Where did you get these from? Any address/phone on the CD's where we can get a copy? Were they released this year?? Tony ========================================================================= Date: Sat, 19 Aug 1995 17:05:28 GMT From: Thomas Chaboud Subject: Rory McLeod Sorry if you don't think Rory McLeod is blues enough to make it to that forum - I admit he rather is on the edge. Anyway, I only heard one vinyl of his, _Footsteps & Heartbeats_ (early 80ies, I guess) , really liked it, and was wondering if some of his work had been released on CD. Anybody knows? Opinions and advice about him? Answer by e-mail preferably, please, as I'm likely to miss the replies otherwise. Thanks in advance, Regards, Tom. ========================================================================= Date: Sat, 19 Aug 1995 18:15:54 GMT From: Tony Burke Subject: Re: getting no mail Mary Katherine, Everything is fine over here with Blues-L, but you will recall we in the Uk had problems a while back. See you when you get back on line somewhere!!! TB ========================================================================= Date: Sat, 19 Aug 1995 11:35:43 PDT From: Eric LeBlanc-CISTI Subject: JESSE THOMAS, BLUES SINGER/SONGWRITER/GUITARIST, DIES AT 84 JESSE THOMAS b. 1911/FEB/03, LOGANSPORT, LA (a Friday) d. 1995/AUG/13, SHREVEPORT, LA (a Sunday) I'm just in the middle of my holidays, and noticed all the talk about Jesse "Babyface" Thomas, one of my favorite bluesmen. What a voice. I remember first hearing his music on the Nighthawk album (#106) and on the Kent album (#9006) compiled by Bruce Bromberg & Frank Scott. In early 1994, I posted a review of DOCUMENT 6044 : JESSE THOMAS - COMPLETE RECORDED WORKS 1948-1958, which includes 28 of his post-1943 titles, including his recordings for Swingtime (w/Lloyd Glenn), Freedom (w/Lonnie Lyon's Combo), Modern (solo) & Specialty (w/Maxwell Davis- Willard McDaniel). I should mention here that Document Records has also played royalities to Jesse Thomas, as reported in BLUES & RHYTHM #96. Does anyone know if Nick Perls of Yazoo Records ever record Jesse Thomas? Perls' even named one of his labels (BLUE GOOSE RECORDS) after Thomas' August 10, 1929 recording of the same name. (By the way, his complete 1929 recordings can be found on DOCUMENT 5107 : RAMBLIN' THOMAS & THE DALLAS BLUES SINGERS). If you'd like more information, I suggest you read the interview in BLUES & RHYTHM #58 (Feb 1991) and the excellent discography in BLUES & RHYTHM #34 (Jan-Feb'88). More proof that serious blues fans should consider subscribing to BLUES & RHYTHM :-). "UNCLE" eRIC P.S.: more of his post 1943 recordings are available on DOCUMENT 5276 : TOO LATE, TOO LATE, V. 3 CAPRICORN 42024 : THE SWINGTIME RECORDS STORY NIGHT TRAIN 7002/7009 : LLOYD GLENN ========================================================================= Date: Sat, 19 Aug 1995 14:36:09 -0400 From: "William E. Forrester" Subject: Re: Evidence label On Fri, 18 Aug 1995, Maria Wegscheid wrote: > I recently received a copy of a sampler album from the Evidence label. > It includes tracks by Pinetop Perkins, Lonnie Brooks, Koko Taylor, > Screamin' Jay, etc. Does anyone know anything about this label? I've > never heard of it. > All four of the Evidence samplers are good. Most of their catalog is made up of reissued foreign-label recordings-- many from the French Black & Blue catalog. I have been very pleased with the Evidence recordings. Bill Forrester ========================================================================= Date: Sat, 19 Aug 1995 11:18:11 -0700 From: Chris Adams Subject: Re: Rory McLeod Rory Mcleod is a wonderful performer from Britain, who has been recording for several decades now. He plays some blues, but also gets into some folk and"world" music. My introduction to him came from a CD that has spent many hour in my player. It is "Have Mercy" by the band Have Mercy, which includes Rory McLeod on guitar,harp, and trombone. It is a mix of jug band, good time blues, including a Noah Lewis song, one by Gus Cannon, as well as one by Muddy Waters. It features some of the best (maybe the only) trio harp playing that I have heard, including Rory and the great Steve Baker, who has received considerable notice on the Harp list. It is a real treat to hear this upbeat, raggy, jug band music with an obvious British accent. It is on the German Crosscut label, and I believe there is another CD on Crosscut. Thanks to Blues-L member Peter Welch for sending this CD my way for a mere pittance. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Sat, 19 Aug 1995, Thomas Chaboud wrote: > Sorry if you don't think Rory McLeod is blues > enough to make it to that forum - I admit he rather > is on the edge. > > Anyway, I only heard one vinyl of his, > > _Footsteps & Heartbeats_ (early 80ies, I guess) > > , really liked it, and was wondering if some of his work had > been released on CD. > > Anybody knows? Opinions and advice about him? > > Answer by e-mail preferably, please, as I'm likely to > miss the replies otherwise. > > Thanks in advance, > > Regards, > > Tom. > ========================================================================= Date: Sat, 19 Aug 1995 14:53:13 -0400 From: Garry Segal Subject: No Posts Sorry for this message ..but I havent received any Blues L posts for days. Is it down or something ? Garry BlueSngr@aol.com ========================================================================= Date: Sat, 19 Aug 1995 15:35:38 EDT From: Joseph Leichter Subject: Re: Blues In New York The best place I know of is Dan Lynch's on 13th street. I'd stay away from "Mondo Blues Cafe"..they had 3 drink per 20 min set MINIMUM!!! ========================================================================= Date: Sat, 19 Aug 1995 22:12:59 GMT From: Tadg Galleran Subject: James Armstrong At first I thought you might be James Armstrong who opened for Wilson Picket last month in Belgium....James Armstrong is a Los Angeles artist who is releasing a new album in October I'm told. Rumor has it the label is Hitone, the same label that introduced us to Robert Cray. James is a monstrously good guitarist and singer... ========================================================================= Date: Sun, 20 Aug 1995 00:57:25 GMT From: "Roy W. Forgy" Subject: test post test post Blueslvr@megaweb.com (Roy W. Forgy) No Black, No White, Just Blues! ========================================================================= Date: Sat, 19 Aug 1995 22:02:19 -0400 From: Catman8016 Subject: I need a Band (still0 Toledo Detroit Ann Arbor 42 year old lead guitar player...is looking to join a serious working band...i want to work a minimum of 2 nites a week but would prefer 3-5...solid player...good attitude ...team oriented..no ego ...no BS...primarily blues oriented but will do classic rock as well..some newer stuff...No metal no headbanger....serious inquiries only...email me thanks Joe ========================================================================= Date: Sun, 20 Aug 1995 00:03:28 -29900 From: Michael Kaloyanides Subject: Re: Lightnin Hopkins On Fri, 18 Aug 1995, Watterworth Jay wrote: > Now there is a civilized state! Can you imagine what Newt G would say if > he found out that Texas was wasting tax payers $ to support the "Texas > Music Office"? He would roll over in his grave. I always thought that Newt was a bit stiff, but I didn't think it was due to rigor mortis. :) Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Sun, 20 Aug 1995 04:53:56 GMT From: "Roy W. Forgy" Subject: Cris Cain Review Thanks to Msbeale I have a copy on the new Cris Cain CD Somewhere Along the Way on Blind Pig Records. I don't know why I don't have anything by him or why I have never heard his music because it is exactly the type of blues that I enjoy. In his latest effort 11 of the 12 songs are original material written by Cris Cain or by Cris Cain and Ron Johnson. If you like Guitar pickin' Blues then you will like this CD. Cris Plays a style of his own and at the same time pays tribute to the guitar great's who were his influences while growing up in the blues. He has a deep blues style voice that mixes well with his playing. Personally I normally prefer more guitar playing than vocal and this CD has a lot of solo playing mixed with singing that should please most listeners. I have never written a review before so I don't know what really should go in one. The only think left to say is if you are open to new blues artists then I highly recommend this CD. Blueslvr@megaweb.com (Roy W. Forgy) No Black, No White, Just Blues! ========================================================================= Date: Sun, 20 Aug 1995 01:06:41 EDT From: Scott_Wenzel.WDP.SSA@NOTES.COMPUSERVE.COM Subject: Re: Other blues artists <> No, *Tony Bennett* is King of Reverb. I think he actually talks like that... I suspect he had some sort of surgery around 1961 where he had a Fender Twin grafted into his throat. Turtle ========================================================================= Date: Sun, 20 Aug 1995 03:47:23 -0400 From: Garry Segal Subject: AOL BLUES Incase you lucky non AOLers care... The problem of BluesL not reaching AOL members has been reported to AOL. They told me to wait a day and they'll probably have it fixed. So save all that juicy blues gossip until we get back ! No talking about us behind our modems now ! Take it ez Garry BlueSngr@aol.com BTW Thanks for all the responses to my cry for help post ========================================================================= Date: Sun, 20 Aug 1995 01:00:04 PDT From: Eric LeBlanc-CISTI Subject: TRIBUTE TO WYNONIE HARRIS "WHAT KIND OF PARTY IS THIS AND EVERYBODY'S GOT THEIR CLOTHES ON? ~ Wynonie "Mr. Blues" Harris ROCK MR. BLUES : THE LIFE AND MUSIC OF WYNONIE HARRIS / TONY COLLINS, BIG NICKEL PUBLICATIONS (P.O. BOX 157, MILFORD, NH. 03055), 1995. ISBN0936433191. ============================================================================== WYNONIE HARRIS was born Sunday August 24, 1913 (not 1915), Omaha, NE. He was the only child born to Mallie Hood Anderson. "He was a great blues singer. A lot of people could sing the blues but he could swing the blues better than most blues singers. Man he swung." ~ Claude Trenier (of The Treniers) (p.54) "He had great wit and sense of humor. And those songs like GRANDMA PLAYS THE NUMBERS and DRINK WINE SPO-DEE-O-DEE, he perceived the humor in them, so he sang them better because of that" ~ Preston Love (saxophonist/bandleader) (p.77) "I love him. I love him. He's the nastiest, filthiest, dirtiest no-good blues singer. But I'll tell you this. The man took me under his wing." ~ Screamin' Jay Hawkins (singer/songwriter/pianist) (p.110) "Presley copied many of the vocal gymnastics of Wynonie Harris as well as the physical gyrations. When you saw Elvis you were seeing a mild version of Wynonie." ~ Henry Glover (pioneer producer/songwriter/trumpeter) (p.112) Of all the postwar blues shouters, Wynonie Harris was the complete houserocker - no one could rock longer and harder than Mr. Blues. He could sing, he could dance, and he could talk that talk! His songs were originals - you would never catch Wynonie Harris singing pop songs or standards, actually - as Tony Collins explains in his book - he COULDN'T! He was partial to songs like "All She Wants To Do Is Rock" (#1 R&B hit, '49), "Bloodshot Eyes" (#6 R&B hit, '51), "Good Rockin' Tonight" (#1 R&B hit,'48), "I Like My Baby's Pudding" (#5 R&B hit, '50), "Lolly Pop Mama" (#8 R&B hit, 48), "Lovin' Machine" (#5 R&B hit, '52) and "Sittin' On It All The Time" (#3 R&B hit, '50). He was a powerhouse, both on stage and off, and with the help of Wynonie's longtime friend, Preston Love, and Wynonie's 2 daughters & 1 son, Tony Collins outlines his 'tale of woe' as a single artist. It's this aspect of book that I find most interesting. Very few books describe the life on the road - Charles Sawyer's "The Arrival Of B. B. King" comes to mind as one - and we need more of them. How he kept going is just amazing - sex and booze helped! Ruth Brown tells an amazing story of a time when Wynonie fell offstage and just kept rocking, as if nothing happened. He lived to be on stage! He never 'kept' a band, instead - like his good friend Big Joe Turner - he expected every U.S. town to have a stable of beboppers, who were rooted deep the blues. Johnny Otis says it this way : "Good jazz musicians are always based in the blues, that's where their roots are, and those guys will always find the right notes" (p.50). Just look at the players on Wynonie's records - a who's who in the development of the music we now call jump blues : Mickey Baker, Clyde Bernhardt, Bubba Brooks, Milt & Ted Buckner, Arnett Cobb, Floorshow Culley, Lefty Edwards, Bill Doggett, Panama Francis, Dexter Gordon, Bill Graham, Big John Greer, Johnny Griffin, Big Bad Hardee, Count Hastings, Illinois Jacquet, Cowboy Martin, Jack McVea, Lucky Millinder, Joe Morris, Johnny Otis, Hot Lips Page, Weasel Parker, Gene Phillips, Red Prysock, Todd Rhodes, Jimmy Shirley, Cornbread Singer, Tab Smith, Don Stovall, Buddy Tate and Sonny Thompson. You were assured great records with these players, and I have to tell you that I've never heard a bad record by Mr. Blues - if anything, some are just better than others. And this is after listening to his music for nearly 35 years! I remember Kurt Mohr's French Vogue sets like it was yesterday. Today, we have much of his music available on CD, and now with his new book, you have no excuse to disregard Mr. Blues. Tony Collins' 18 page discography (1944-1964) - the best I've ever seen - will guide you. Let me leave you with a quote from Jim O'Neal that says it best : "One of the most popular and powerful singers to contribute to the birth of 40s rhythm and blues". I couldn't agree more. ROCK MR. BLUES : THE LIFE AND MUSIC OF WYNONIE HARRIS is available from Gale Gart's Big Nickel Publications, the publisher of the award winning series, FIRST PRESSINGS : THE HISTORY OF RHYTHM AND BLUES Thank you Tony, thank you Galen, and thank you Wynonie! WYNONIE "MR. BLUES" HARRIS died on Saturday, June 14, 1969, Los Angeles, CA., at the USC Medical Center. He was 55 years old. He is buried at the Woodlawn Cemetry, in a group grave with three strangers. He was survived by his wifes (Ollie Goodlow & Gertrude Sloan) & his 3 children (Wesley Devereaux, Mickey Henderson & Pattie Harris). I hope he's in blues heaven, walking that walk & maybe even talking that talk :-). Maybe he's even singing with "Mr. 5x5" or joining Lucky Millinder's band, performing "Who Threw The Whiskey In The Well". DISCOGRAPHY (mostly taken from Tony Collins' discography) =========================================================================== ACE (UK) CD 457 : WYNONIE HARRIS - WOMEN WHISKEY & FISH TAILS AFFINITY 1004 : VARIOUS - APOLLO JUMP (2 cuts) ATLANTIC 81696 : VARIOUS - ATLANTIC BLUES : VOCALISTS (2 cuts) BELLAPHON 8022 : WYNONIE HARRIS - GOOD ROCKIN' BLUES BLUEBEAT EP 301 : WYNONIE HARRIS - BATTLE OF THE BLUES CHARLY CD 22 : VARIOUS - HONKY TONK JUMP PARTY (2 cuts) CHARLY CD 37 : WYNONIE HARRIS/ROY BROWN - BATTLE OF THE BLUES CHARLY CD 244 : WYNONIE HARRIS - GOOD ROCKING TONIGHT CHARLY CD 272 : VARIOUS - RIDE, DADDY, RIDE! AND ... (2 cuts) CHARLY CD 288 : LUCKY MILLINDER - RAM-BUNK-SHUSH (2 cuts) CHARLY 1097 : WYNONIE HARRIS - ROCK MR. BLUES CHARLY 1141 : VARIOUS - WOMEN, WHISKEY & WAILIN' (3 cuts) CHESS CD 9327 : VARIOUS - SHOUTIN' SWINGIN' & MAKIN' LOVE (3 cuts) DELMARK CD 657 : VARIOUS - WEST COAST JIVE (3 cuts) EMI CD 99293 : BIG JOE TURNER - JUMPIN' WITH JOE (5 duets) GABE'S GTS 110 : VARIOUS - GATE'S DIRTY BLUES (7 cuts) GUSTO 5040 : WYNONIE HARRIS - GOOD ROCKIN' BLUES (2 LP) HOY HOY CD 4050 : VARIOUS - ROCK BEFORE ELVIS ... (3 cuts) KING EP 260 : WYNONIE HARRIS - WYNONIE HARRIS KING CD 607 : VARIOUS - BATTLE OF THE BLUES (w/ROY BROWN) KING CD 627 : VARIOUS - BATTLE OF THE BLUES V. 2 (w/ROY BROWN) KING CD 668 : VARIOUS - BATTLE OF THE BLUES V. 4 (4 cuts) KING 1086 : WYNONIE HARRIS - GOOD ROCKIN' BLUES KING 1133 : VARIOUS - RISKY BLUES (3 cuts) KRAZY KAT 783 : VARIOUS - NASHVILLE JUMPS : R&B FROM BULLET .. (2 cuts) MCA 510065 : LUCKY MILLINDER - LUCKY DAYS (2 cuts) OFFICIAL 6024 : WYNONIE HARRIS - HERE COMES THE BLUES (Phoenix lp) PATHE MAR 1561431: BIG JOE TURNER - JUMPIN' TONIGHT (4 duets) PHOENIX JAZZ 7 : WYNONIE HARRIS - MR. BLUES MEETS THE MASTER SAXES POLYDOR 623273 : VARIOUS - KINGS OF RHYTHM & BLUES (6 cuts) POLYDOR 2343048 : VARIOUS - JUMP BLUES (8 cuts) RHINO CD 71125 : VARIOUS - RISQUE RHYTHM : NASTY '50S R&B (2 cuts) RHINO CD 71544 : WYNONIE HARRIS - BLOODSHOT EYES - BEST OF RIVERBOAT 900263 : VARIOUS - THE BEST OF THE BLUES SHOUTERS (4 cuts) ROUTE 66CDKIX-03 : WYNONIE HARRIS - MR. BLUES IS COMING TO TOWN ROUTE 66 KIX-20 : WYNONIE HARRIS - OH BABY ROUTE 66 KIX-30 : WYNONIE HARRIS - PLAYFUL BABY SEQUEL CD 670 : VARIOUS - ROULETTE ROCK 'N' ROLL V. 2 (6 cuts) SING 607 : VARIOUS - BATTLE OF THE BLUES (w/ROY BROWN) SING 627 : VARIOUS - BATTLE OF THE BLUES V. 2 (w/ROY BROWN) SING 668 : VARIOUS - BATTLE OF THE BLUES V. 4 (4 cuts) VOGUE LP 082 : WYNONIE HARRIS - WYNONIE "MR. BLUES" HARRIS VOGUE EP 1103 : WYNONIE HARRIS - RHYTHM & BLUES ========================================================================= Date: Sun, 20 Aug 1995 01:00:04 PDT From: Eric LeBlanc-CISTI Subject: BLUES DATES : AUGUST 20 - AUGUST 26 Here's a few dates (b. born, d. death) for this week. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BRYAN, MICHAEL NEELY (g/SLAM STEWART) d. 1972-0820, LOS ANGELES, CA 56 FISHER, RUBY (songw/OTIS BLACKWELL) b. 1923-0820, LONG ISLAND, NY HAYES, ISAAC (p/STAX REC) b. 1942-0820, COVINGTON, TN HAYES, WILLIE (d/JUNIOR WELLS/SON SEALS) b. 1950-0820, CLARKSDALE, AR JONES, THAD (tpt) d. 1986-0820, COPENHAGEN, DENMARK 63 LASLEY, DAVID (v) b. 1947-0820, SAULT ST. MARIE. MI LYNOTT, PHIL (v/THIN LIZZY) b. 1951-0820, DUBLIN, IRELAND MALONE, J. J. (g/GALAXY REC) b. 1935-0820, PETER'S CORNER, AL MCAULIFFE, LEON (g/BOB WILLS) d. 1988-0820, TULSA, OK 71 MOORE, FREDDIE (d) b. 1900-0820, WASHINGTON, NC MORGAN, GENERAL (p/STUFF SMITH) d. 1958-0820, CHICAGO, IL 44 PLANT, ROBERT (v/LED ZEPPELIN) b. 1948-0820, BROMWICH, UK RANEY, JAMES ELBERT (g) b. 1927-0820, LOUISVILLE, KY REEVES, JIM (:) (g) b. 1924-0820, GALLOWAY, TX ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALLOU, CLASSIE (g/GOLDBAND REC) b. 1937-0821, ELTON, LA BASIE, WILLIAM JAMES "COUNT" (p) b. 1904-0821, RED BANK, NJ BILBO, THEODORE G. (ANDREW TIBBS' song) d. 1947-0821, NEW ORLEANS, LA 69 BURTON, JAMES (g) b. 1939-0821, SHREVEPORT, LA CHURCHILL, SAVANNAH (v/BEACON/MANOR REC) b. 1920-0821, COLFAX, LA FARMER, ADDISON (b/GENE AMMONS) b. 1928-0821, COUNCIL BLUFFS, IA FARMER, ART (tpt) b. 1928-0821, COUNCIL BLUFFS, IA JAMES, DOUG (bsax/ROOMFUL OF BLUES) b. 1953-0821, TURLOCK, CA MCGEE, SAM FLEMING (g/KIRK MCGEE) d. 1975-0821, FRANKLIN, TN 81 MOORE, PHILIP III (p/arr/STITT) d. 1984-0821, OAKLAND, CA 45 RAINS, GEORGE (of ANTONE'S house band) b. 1943-0821, FORT WORTH, TX RICHARDSON, RODNEY V. (b/BASIE) b. 1917-0821, NEW ORLEANS, LA ROGERS, KENNY (:) (v) b. 1938-0821, HOUSTON, TX SLEDGE, KIM (v/SISTER SLEDGE) b. 1957-0821, PHILADELPHIA, PA TARHEEL SLIM (ALDEN BUNN)(v/LARKS/FIRE RE)d. 1977-0821, BRONX, NY 52 ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CASTON, LEONARD"BABY DOO"(p/WILLIE DIXON) d. 1987-0822, MINNEAPOLIS, MN 70 DAVIES, DEBBIE (g/BLIND PIG REC) b. 1952-0822, LOS ANGELES, CA DEBARGE, JAMES (of DEBARGE) b. 1963-0822, GRAND RAPIDS, MI FAVORS, MALACHI (b/AACM/WILLIE KENT) b. 1937-0822, CHICAGO, IL FLEAGLE, BRICK (arr/LUNCEFORD) b. 1906-0822, HANOVER, PA GODWIN, HARRY EASTON (blues promoter) b. 1906-0822, WASHINGTON, DC GRANDERSON, JOHN LEE (hca) d. 1979-0822, CHICAGO, IL 66 HARRIS, EDWARD P. "CAROLINA SLIM" (g) b. 1923-0822, LEASBURG, NC HAWKINS, DALE (DELMAR ALLEN HAWKINS) (g) b. 1938-0822, GOLDMINE, LA HOOKER, JOHN LEE (g/NOT 1917) b. 1920-0822, VANCE, MS MCTELL, KATE [RUTHY KATE WILLIAMS] (v) b. 1911-0822,?SAVANNAH, GA MITCHELL, ANDREW "SUNBEAN" (CLUB PARADISE)d. 1989-0822, MEMPHIS, TN 83 MYERS, HUBERT "BUMPS" (tsax/bsax) b. 1912-0822, CLARKSBURG, W. VA NEWTON, HUEY [HUEY PERCY NEWTON] d. 1989-0822, OAKLAND, CA 47 RILEY, JUDGE LAWRENCE (d/ARTHUR CRUDUP) d. 1977-0822, CHICAGO, IL 68 SHELTON, ROSCOE (v/SIMS REC) b. 1931-0822, LYNCHBURG, TN SIMS, HENRY "SON" (vln/PATTON/MUDDY) b. 1890-0822, ANGUILLA, MS SPIVEY, ADDIE "SWEET PEAS" (v) b. 1910-0822, HOUSTON, TX THOMAS, HOCIEL (p) d. 1952-0822, OAKLAND, CA 48 THOMPSON,ALPHONSO"SONNY"(p/prod/KING REC) b. 1916-0822, CENTREVILLE, MS ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERKOWITZ, BRIAN (keyb/JUNIOR WELLS) b. 1970-0823, BELLEVILLE, NJ CARR, WYNONA "SISTER" (p/SPECIALTY REC) b. 1924-0823, CLEVELAND, OH GIBSON, HOOT (g) d. 1962-0823, WOODLAND HILLS, CA 70 GREEN, JESSE b. 1937-0823, DELHI, LA IVORY, DOTTIE (DOTTIE M. JACKSON) (v) d. 1988-0823, SAN FRANCISCO, CA 61 LEWIS, RUDY (lead/THE DRIFTERS) b. 1936-0823, PHILADELPHIA, PA LINDSAY, JOHN (b/HARLEM HAMFATS) b. 1894-0823, NEW ORLEANS, LA MOON, KEITH (:) (d/WHO) b. 1947-0823, LONDON, UK PAGE, NATHEN (g) b. 1937-0823, LEETOWN, W. VA RAINEY, WILLIE GUY (g) d. 1983-0823, COLLEGE PARK, GA 82 REED, DALTON (v/BULLSEYE BLUES REC) b. 1952-0823, CADE, LA ROSE, DAVID (:) (comp of THE STRIPPER) d. 1990-0823, BURBANK, CA 80 VALENTINO, RUDOLPH (:) (v) b. 1895-0823, CASTELLANETA, ITALY WATSON, BOBBY (asax/BASIE) b. 1953-0823, LAWRENCE, KS WEBB, BILL "BOOGIE" (g/IMPERIAL REC) d. 1990-0823, NEW ORLEANS, LA 66 WEST, TOM (o/DUKE LEVINE) b. 1958-0823, WORCESTER, MA ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOLIAN, JESSIE (of THE ARTISTICS) d. 1994-0824, CHICAGO, IL 53 BOYD, L. LITTLE (hca) b. 1924-0824, CARTHAGE, MS BYAS, DON (CARLOS WESLEY BYAS) (tsax) d. 1972-0824, AMSTERDAM, HOLLAND 59 CHALK, RICHARD (BLUES-L MEMBER/TOPCAT REC)b. 1952-0824, DALLAS, TX CHAMBERS, JOE (of THE CHAMBERS BROS) b. 1942-0824, SCOTTY COUNTY, MS COLEMAN, BILL (tpt) d. 1981-0824, TOULOUSE, FRANCE 77 CRUDUP, ARTHUR "BIG BOY" (g/BLUEBIRD REC) b. 1905-0824, FOREST, MS FRANKLIN, MABEL (v) b. 1919-0824, NEW ORLEANS, LA GAITHER, BILL (tsax/bsax/KING REC) d. 1985-0824, LOS ANGELES, CA 58 GREENE, L. C. (g) d. 1985-0824, DETROIT, MI 63 HARRIS, WYNONIE "MR. BLUES" (v) b. 1913-0824, OMAHA, NE HENSLEY, "WASHBOARD WILLIE" (wbd/d) d. 1991-0824, DETROIT, MI 82 HOPKINS, CLAUDE D. (p) b. 1903-0824, ALEXANDRIA, VA IRWIN, DIFOSCO "BIG DEE" (v/PEARLS) b. 1939-0824, NY JEPSEN, JORGEN GRUNNET (discographer) d. 1981-0824, COPENHAGEN, DENMARK 54 LONDIN, LARRIE (RALPH GALLANT) (d/MOTOWN) d. 1992-0824, NASHVILLE, TN 48 PIERSON, EUGENE [EUGENE PEARSON] d. 1977-0824, CHICAGO, IL 42 PRIMA, LOUIS (v/tpt) d. 1978-0824, NEW ORLEANS, LA 66 ROSE, FRED (of ACUFF-ROSE pub) b. 1897-0824, EVANSVILLE, IN SMITH, HENRY FRANKLIN "BUSTER" (asax/g) b. 1904-0824, ALFDORF, TX SMITH, TEDDY (b/HORACE SILVER) d. 1979-0824, WASHINGTON, DC 47 SOUL, JIMMY (v/IF YOU WANNA BE HAPPY) b. 1942-0824, WELDON, NC VAN WALLS, HARRY (HARRY EUGENE VANN) (p) b. 1918-0824, MILLERSBORO, KY WEBSTER, PAUL FRANCIS (tpt) b. 1909-0824, KANSAS CITY, MO WINFIELD, WILLIE LEE JR. (lead/HARPTONES) b. 1929-0824,?NORFOLK, VA YATES, HERBERT(founder: AMERICAN REC CORP)b. 1880-0824, BROOKLYN, NY ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLESH, RUDI (author/critic) d. 1985-0825, GILMANTON, NH 86 BURSE, CHARLIE (g/MEMPHIS JUG BAND) b. 1901-0825, DECATUR, AL BURTON, WAYNE "BUZZIN'" (v) d. 1929-0825, CHICAGO, IL 36 COSTELLO, ELVIS (:) [DECLAN P. MCMANUS] b. 1954-0825, LONDON, UK DEVILLE, WILLY (v/MINK DEVILLE) b. 1950-0825, NEW YORK CITY, NY GASKIN, LEONARD (b) b. 1920-0825, BROOKLYN, NY IKEDA, SUZEE WENDY (prod/MOTOWN REC) b. 1947-0825, CHICAGO, IL KENTON, STAN [STANLEY NEWCOMB KENTON] d. 1979-0825, LOS ANGELES, CA 67 KINSEY, ALFRED DR. (song title) d. 1956-0825, BLOOMINGTON, IN 62 KOHLMAN, FREDDIE (d) b. 1915-0825, NEW ORLEANS, LA L W (BLUES-L MEMBER) b. 1959-0825, BIRMINGHAM, AL PINDER, EDITH SPENCE (v/PINDER FAMILY) d. 1980-0825, NASSAU, BAHAMAS 70 ROBERTS, CAUGHEY (asax/BASIE/ROY MILTON) b. 1912-0825, TUSKEGEE, AL SEVAREID, KARL (of ROBERT CRAY BAND) b. 1946-0825, ALEXANDRIA, VA SHORTER, WAYNE (tsax/ssax) b. 1933-0825, NEWARK, NJ SMITH, CARRIE (v) b. 1941-0825, FORT GAINES, GA TURNER, TROY (g/ICHIBAN REC) b. 19 -0825, BATON ROUGE, LA WILLIAMS, WALTER (of THE O'JAYS) b. 1942-0825, ------------------------------------------------------------------------------- ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENSKIN, SAMMY (p/JOHN HARDEE) d. 1992-0826, TEANECK, NJ 69 BLOOM, MICKEY (tpt/MAGGIE JONES) b. 1906-0826, NEW YORK CITY, NY FIELDS, ERNIE (tbn/GOTHAM REC) b. 1905-0826, NACOGDOCHES, TX FORREST, JIMMY "NIGHT TRAIN" (tsax/UNITED)d. 1980-0826, GRAND RAPIDS, MI 60 FRYE, THEODORE R. (gospel songw) d. 1963-0826, CHICAGO, IL 63 GALKIN, JOSEPH (discovered OTIS REDDING) d. 1978-0826, ATLANTA, GA 76 LUSK, EDDIE "PROFESSOR" JR. (p/o) d. 1992-0826, CHICAGO, IL 43 MARSALIS, BRANFORD (tsax/ssax) b. 1960-0826, NEW ORLEANS, LA ROCKIN' DOPSIE [ALTON JAY RUBIN SR.](acc) d. 1993-0826, OPELOUSAS, LA 61 RUSHING, JIMMY (v/COUNT BASIE) b. 1903-0826, OKLAHOMA CITY, OK SIMPSON, VALERIE (of ASHFORD & SIMPSON) b. 1946-0826, BRONX, NY SMITH, GARRY (BLUES-L MEMBER) b. 1954-0826, LONDON, UK THOMAS, WALTER "FOOTS" (tsax/CAB CALLOWAY)d. 1981-0826, ENGLEWOOD, NJ 74 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 20 Aug 1995 17:40:39 +22304808 From: Bob HUME Subject: Re: Red Hot and Blue Is this the same as the vinyl release a few years ago or is this more material from the craziest DJ of all time? -- Bob Hume ,-_l\ "They keep on telling me PO Box 7387 / \ I gotta settle down Cloister's Sq WA $_.-._/ But I'm a telling you AUSTRALIA 6850 v This is real gone town r.hope_hume@cowan.edu.au And I aint a gonna do it." - JOHNNY O'KEEFE ========================================================================= Date: Sun, 20 Aug 1995 10:07:58 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Red Hot and Blue On 8/20 you wrote; =======================snip========================== Is this the same as the vinyl release a few years ago or is this more material from the craziest DJ of all time? -- Bob Hume =======================snip=========================== I am not familar with an earlier vinyl of Dewey Phillips, and can only assume this CD is previously unissued material, 59 minutes worth. Memphis Archives is primarily a reissue label however. I am sure Kieth Soltys or Eddie Dattel at Memphis Archives will be happy to provide the answer. Memphis Archives mailing address is: Inside Sounds/Memphis Archives, P.O.Box 171282, Memphis TN 38187. Telephone: (901) 682-2063. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 20 Aug 1995 10:41:43 -0400 From: Tom Grady Subject: Re: AOL-Problems? Any solution to the AOL problem. Now I'm not receiving Blues-L postings. Any help appreciated. ========================================================================= Date: Sun, 20 Aug 1995 12:28:03 -0400 From: ConnorRay Subject: Help! Fla. Blues Radio? Greetings I need help in finding some blues radio shows in the Miami-Ft. Lauderdale-W. Palm Beach area. (Or stations that play blues as part of their regular format.) We have a new CD release by Jerry Lightfoot and The Essentials and I need to try and get some air play in that area. Any help would be greatly appreciated!! Thanks Steve Krase ConnorRay@aol.com AKA harpace@aol.com ========================================================================= Date: Sun, 20 Aug 1995 16:23:55 GMT From: Tony Burke Subject: WYNONIE HARRIS : ROCK MR. BLUES Nice article and tribute to Wynonie Eric Yet, another US bluesman who they should be erecting a statue to or at least doing a postage stamp for!! One album was missing (just a minor point) that is Lionel Hampton "Jaybird" album. This is a set of airshots from sometime during 1948. It contains a mighty version of "Good Rockin' Tonight" of Wynonie fronting Hamp's band in full swing!! This has appeared on a number of labels - mine is on Black Lion - Star Power series a budget line job. Worth digging around for, even for the one Harris track. TB ========================================================================= Date: Sun, 20 Aug 1995 13:41:31 +0000 From: "P.W. Fenton" Subject: Chris Cain - Somewhere Along The Way - Review Chris Cain - "Somewhere Along The Way" - Blind Pig BPCD5024 =========================================================== The word "review" is used with some reservation. I am not a reviewer. A well written review takes, (like anything else), talent, skills, and experience that I don't possess. I do possess one necessary ingredient... an opinion. I've been aware of Chris Cain's existence for some time now. I had never heard him (consciously), and obviously never purchased a recording of his. I had this vague impression, without any real justification, that he was yet another battery operated Stevie Ray Vaughan imitator. I was delightfully incorrect. Chris is a marvelously soulful guitar player, who brings warmth and vitality to each of his playing styles. And he *is* somewhat of a chameleon, ranging from a syrupy pure Albert King style, to a sophisticated and more musically complex jazz style. All this with an electric guitar tone "to die for". The supporting players are all top notch and play tight, tasty, arrangements of the dozen tunes on the album. All written by Cain, they clock in at about 48 minutes worth of Blues. With clever lyrics like, "Got a trouble makin' woman... ' got more nerve than a bad tooth. Lotsa people told me she was evil, and I'm here to tell you that's the truth" Nice, smooth, and beefy vocals. A beefyness that belies his trim frame. I really enjoyed this CD, and will enjoy again. It will no doubt spend some time in "heavy rotation" at my home. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 20 Aug 1995 20:19:02 GMT From: Steve Leigh Subject: Thanks to Rockhouse.com Our thanks to the folks at WWW.ROCKHOUSE.COM for providing a way for blues bands all over the world to get themselves "published". We just got our home page online at Rockhouse. Check it out. Maybe it will help us and others promote their group(s). --Steve "Spider" Leigh, basement blues band, Rockford, Il. ========================================================================= Date: Sun, 20 Aug 1995 19:03:26 -0400 From: CATBAUER Subject: Re: Other blues artists In article <199508190439.AAA00060@echonyc.com>, Louis Erlanger writes: > Here's a list of >some people who are rarely recorded but are still active or were recently >active. If you know of some good recordings by them, let me know. I'm >looking for some inspiration. > >Eddie C. Campbell That's When I Know -1994 on Blind Pig King of the Jungle - 1977 Just got a call from Eddie's wife who said Eddie is starting another tour and mentioned some dates in Pittsburgh and Philadelphia. He was at the Chicago Blues Festival and Pocono Blues Festival this year in addition to club dates. If you're interested in seeing him live let me know & I'll type up tour dates for you. Cat Catbauer@vivanet.com ========================================================================= Date: Sun, 20 Aug 1995 19:06:01 -0400 From: "Gordon, Rich" Subject: Blues-L Messages Just wonderin',,,I have noticed a real lack of messages the last couple of days. Has everyone gone on vacation...enjoying the wonderful summer weather...off to blues festivals...or is the Internet/AOL thang messed up? Found out the Lonnie Brooks and Robert Cray will be at the Coronado Theater in Rockford on Saturday October 21. Tickets go on sale September 9. Rich Gordon WXRX Rockford, IL ========================================================================= Date: Sun, 20 Aug 1995 19:24:14 -0400 From: Stew Crossen Subject: Kelly Joe Phelps Interviewed Kelly Joe Phelps last night ... live on the radio. Great talent, real gentleman. Disc is called "Lead Me On" on Burnside Records. Anybody else as captivated by Kelly Joe's music as I am? Beef Stew WHUS Blues Music Director ========================================================================= Date: Sun, 20 Aug 1995 19:27:15 -0400 From: Barry Silverberg Subject: Re: Other blues artists CATBAUER (catbauer@AOL.COM) wrote: : Just got a call from Eddie's wife who said Eddie is starting another tour : and mentioned some dates in Pittsburgh and Philadelphia. He was at the : Chicago Blues Festival and Pocono Blues Festival this year in addition to : club dates. If you're interested in seeing him live let me know & I'll : type up tour dates for you. Cat I thought Eddie (as well as Ms. Juanita Williams) were the show stealers on day one at the Poconos Festival. Eddie is just such a master musician & he comes with a full complement of terrific & talented backup members. Early on we got the chance to listen to him test the acoustics at the stage he was performing on. As far as I can tell he was the only musician to check out how the sound was. As luck would have it he was also the only musician on day one at least who the electronics failed on. Nonetheless he continued (I do not think he was aware of it) & was luscious as usual. Seemed like a genuinely nice person as well. He's a bluesman worth listening to - live and recorded. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Sun, 20 Aug 1995 20:54:05 EDT From: "Donna B. Ericksen" <3EFDAPK@CMUVM.CSV.CMICH.EDU> Subject: Walter Horton I was just listening to my copy of Red Lightnin' R.008 "An Offer You Can't Refuse" - the Walter Horton side. The liner notes say that it is Walter Horton with Robert Nighthawk - I want to know more! Does anyone know anything about these sessions? Are they available on CD? These are my favorite Walter Horton sides please let me know anything that you know. Thanks! Craig DONNA B. ERICKSEN MATHEMATICS DEPARTMENT,CENTRAL MICHIGAN UNIVERSITY, PE 206G MT. PLEASANT, MICHIGAN 48859 PHONE: 517-774-3527 E-MAIL:DONNA.ERICKSEN.CMUVM.CSV.EDU * * * END OF FILE * * * ========================================================================= Date: Sun, 20 Aug 1995 21:20:29 -0400 From: CATBAUER Subject: Re: Other blues artists In article <418gcj$1ak@panix.com>, Barry Silverberg writes: >I thought Eddie (as well as Ms. Juanita Williams) were the show > stealers on day one at the Poconos Festival. Eddie is just such > a master musician & he comes with a full complement of terrific > & talented backup members. Early on we got the chance to listen > to him test the acoustics at the stage he was performing on. As > far as I can tell he was the only musician to check out how the > sound was. As luck would have it he was also the only musician > on day one at least who the electronics failed on. Nonetheless > he continued (I do not think he was aware of it) & was luscious > as usual. Seemed like a genuinely nice person as well. He's a > bluesman worth listening to - live and recorded. >-- Loved Juanita Williams also...she was fantastic and did steal the show. While Eddie didn't know until after that the sound cut out his wife, who was assisiting with the sound knew once it happened and tried to take care of it. What did you think of Sherman Robertson and Little Milton? Did you catch Lonnie Shields at the Blue Heron? Cat Catbauer@vivanet.com ========================================================================= Date: Mon, 21 Aug 1995 02:45:24 GMT From: Art Schuna Subject: Re: World Music/Blues In article <19950816.143043.564270.NETNEWS@AUVM.AMERICAN.EDU> Jim Miller writes: > Also I know that rhumba was influential on some blues recordings, particularly>in the 50's but can anybody give any other examples of other music traditions>from outside the U.S. influencing paricular blues tunes? I The connection between early 50s R&B and Jamaican Ska music is kind of interesting. In the 50s US radio stations playing Amos Milburn, Fats Domino, Rosco Gordon, Lucky Millinder, etc were quite popular in Jamaica. When this style of music fell out of favor in this country in the later 50s, Jamaican artists invented their own form of this music which led to ska music. A compilation of these early pioneering ska sounds is found on the Sequel label - "Ska Boogie:Jamaican R&B, The Dawn of Ska" (NEX CD 254). Art Schuna ========================================================================= Date: Sun, 20 Aug 1995 21:34:04 +0500 From: "William A. Morgan" Subject: Chris Cain Review -- "Somewhere Along the Way" -- I must admit having no familiarity with Chris Cain prior to receiving a copy of his latest CD, "Somewhere Along the Way." My thanks to Ms. Beale Prior to listening to the CD, I examined the enclosed Blind Pig Records catalog. The catalog's blurb concerning this release described his voice as "a soulful baritone voice reminiscent of B.B. King." Well there was a similarity between B.B.s voice and Chris', but I found Cain's voice somewhat lackluster on the first two cuts of the CD. Perhaps I had heightened expectations after reading the blurb. I did find his voice much more suitable on the rest of the CD. He does have a soulful quality to his voice, but occasionally it lacks verve. Perhaps it shows that he is aware of his limitations when vocally he "rounds corners rather than taking any sharp turns." That said, it quickly became obvious that Mr. Cain knows his strong suit. Any vitality lacking in Cain's vocal presentation is multiplied and transposed to a crisp guitar attack. The guitar playing never weakens and is supported by a strong cast of musicians. Notable are David Kirk Matthews on piano and organ, Ron Johnson and Myron Dove on bass, Ron Beck on drums, and a funky horn section comprised of Bill Esparza and Modesto Briseno. Ms Rita adds some vocals as well. Not only does Cain capture the blues in his playing and musical composition (he wrote all but one of the songs on this CD), but he can also turn a phrase: " got a trouble making woman, got more nerve than a bad tooth." I recommend this CD, but I get a strong sense that Chris Cain's live presentation might be even more rewarding, and I look forward to seeing him. ------------------------------------------ Bill Morgan ========================================================================= Date: Sun, 20 Aug 1995 23:54:55 -0400 From: Louis Erlanger Subject: West Indian influence on Blues New Orleans music is the best example of outside influences on blues. Professor Longhair always threw West Indian rhythms into his playing. Robert Cray once said that a possible cause of the reggae beat was that West Indian countries would get R&B radio stations broadcasting from the U.S., but the stations would fade in and out, creating an odd rhythm to the R&B tunes. I don't know if he was joking or not, but it's a great theory. ========================================================================= Date: Mon, 21 Aug 1995 00:09:12 -0400 From: C Horst Subject: Blues on Cable Radio I was introduced to cable radio by a friend of mine back in San Francisco. For a few dollars over the regular cable TV price, you can get Digital Music Express (DMX), which broadcasts digital-quality music 24/7, without any breaks, talk, etc. The remote control display provides information about artist, title, album, etc. This week, upon relocation to Washington for another year of law school (man, that gives me the blues just to say it), I signed on, and I am delighted! The blues channel seems to have good variety, and where else can you get so much blues? (I only wish I had such a CD collection). I would reccommend this service to anyone--call your cable company. (I think here is where I should say that I am not paid, affiliated, etc. with this company). I will continue to support free blues radio where/whenever I can find it, and I encourage everyone to do the same. Ironically, the blues station is the only one I can think of where I miss the DJ's! Any opinions on this topic are invited. Colin "I got the blues so bad, baby, they hurt me feet to walk. It done settled on my brains; you know it hurts my poor tongue to talk" --Country Slim C Horst@AOL.com (Colin Horst) ========================================================================= Date: Mon, 21 Aug 1995 01:25:35 -0400 From: "F. Des Plages" Subject: Icehouse's phone#? I'm looking for Icehouse's phone number, (I'll settle for their address or location). They've just released a long-awaited CD by a group out of the Boston area, and I've been unable to find it here in Philadelphia. Any clues? ========================================================================= Date: Mon, 21 Aug 1995 01:54:06 -0400 From: Beverly Howell Subject: UPCOMING STEVIE RAY TRIBUTE "BLUES CHAT" Presented via: America Online, Inc. Contact: Beverly Howell (502) 845-2345 Voice (502) 845-7606 Fax PRESS RELEASE - For Immediate Release It was five years ago, on August 27, 1990, that Stevie Ray Vaughan physically left us, but his spirit and music will live forever. In memory of Stevie Ray, and the love he passed to so many fans and friends, "BLUES CHAT" is honored to present: "REMEMBERING STEVIE RAY" Sunday, August 27, 1995 10:00 PM ET America Online "CenterStage" Featuring our Special Guests: Tommy Shannon (Double Trouble) Chris Layton (Double Trouble) Reese Wynans (Double Trouble) Margaret Moser (Senior Editor, Austin Chronicle) Dan Forte (Contributing Editor, Musician Magazine, former Senior Associate Editor, Guitar Player Magazine) "BLUES CHAT" will be making contributions to both of the following organizations in loving memory of Stevie Ray. Fans and friends also wishing to contribute may contact: The Stevie Ray Vaughan Memorial Fund Communities Foundation of Texas c/o First State Bank 4605 Live Oak P. O. Box 3550 Dallas, TX 75204 Austin, TX 78764 (Designated by the Vaughan family... (Fund established to maintain specify donation in Stevie Ray's the SRV Statue in Austin) memory) A folder has been created on "America Online," in the "Music Message Center," "Blues Area," entitled, "REMEMBERING STEVIE RAY," to provide Stevie Ray's many fans and friends a forum in which to post remembrances. Posts from that folder will be faxed to the guests prior to their appearance. To access the folder, sign on to America Online, go to Keyword: MMC, click on "Jazz/Blues," select "Blues." Scroll down to the "REMEMBERING STEVIE RAY" folder, and click on "List Messages." Remembrances may also be sent to the fax number referenced above, and we will post them on your behalf. BLUES CHAT is also proud to present "TECH TO THE STARS" RENE MARTINEZ in a separate visit on Wednesday, September 6th, 1995, at 10:00 PM ET, back for his second appearance by audience request. RENE was STEVIE RAY'S Guitar Tech, and currently works with JIMMIE VAUGHAN. More information will follow in a separate release, or call the number referenced above for more information. ### ========================================================================= Date: Mon, 21 Aug 1995 02:00:00 -0400 From: Beverly Howell Subject: UPCOMING BLUES CHAT GUESTS "BLUES CHAT" Presented via: America Online, Inc. Contact: Beverly Howell (502) 845-2345 Voice (502) 845-7606 Fax PRESS RELEASE - For Immediate Release UPCOMING "BLUES CHAT" GUESTS AND SPECIAL EVENTS: (All schedules noted in Eastern Time; all events held in CenterStage, America Online) August: Sun., Aug. 20, 10:15 PM BLUES CHAT and BLIND PIG Records Present CHRIS CAIN Wed., Aug. 23, 10:00 PM BLUES CHAT and BLACKTOP Records Present MARIA MULDAUR Sun., Aug. 27, 10:00 PM BLUES CHAT Presents: "REMEMBERING STEVIE RAY" Wed., Aug. 30, 10:00 PM BLUES CHAT and ORLEANS Records Present ROBERT LOWERY September: Sun., Sept. 3, 10:00 PM BLUES CHAT and JUSTICE Records Present TAB BENOIT Wed., Sept. 6, 10:00 PM BLUES CHAT Presents "TECH TO THE STARS" RENE MARTINEZ (was STEVIE RAY'S GUITAR TECH, now works with JIMMIE VAUGHAN, back for his second appearance by audience request) Wed., Sept. 13, 10:00 PM BLUES CHAT and MALACO Records Present LITTLE MILTON Wed., Sept. 20, 10:00 PM BLUES CHAT and EPIC Records Present NATHAN CAVALERI Wed., Sept. 27, 10:00 PM BLUES CHAT and BULLSEYE Records Present SMOKEY WILSON October: Wed., Oct. 4, 10:00 PM To Be Announced Wed., Oct. 11, 10:00 PM BLUES CHAT and REDHOUSE Records Present KOERNER, RAY, and GLOVER ### ========================================================================= Date: Mon, 21 Aug 1995 04:31:01 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - 8/21 ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BALLOU, CLASSIE (g/GOLDBAND REC) b. 1937-0821, ELTON, LA BASIE, WILLIAM JAMES "COUNT" (p) b. 1904-0821, RED BANK, NJ BILBO, THEODORE G. (ANDREW TIBBS' song) d. 1947-0821, NEW ORLEANS, LA 69 BURTON, JAMES (g) b. 1939-0821, SHREVEPORT, LA CHURCHILL, SAVANNAH (v/BEACON/MANOR REC) b. 1920-0821, COLFAX, LA FARMER, ADDISON (b/GENE AMMONS) b. 1928-0821, COUNCIL BLUFFS, IA FARMER, ART (tpt) b. 1928-0821, COUNCIL BLUFFS, IA JAMES, DOUG (bsax/ROOMFUL OF BLUES) b. 1953-0821, TURLOCK, CA MCGEE, SAM FLEMING (g/KIRK MCGEE) d. 1975-0821, FRANKLIN, TN 81 MOORE, PHILIP III (p/arr/STITT) d. 1984-0821, OAKLAND, CA 45 RAINS, GEORGE (of ANTONE'S house band) b. 1943-0821, FORT WORTH, TX RICHARDSON, RODNEY V. (b/BASIE) b. 1917-0821, NEW ORLEANS, LA ROGERS, KENNY (:) (v) b. 1938-0821, HOUSTON, TX SLEDGE, KIM (v/SISTER SLEDGE) b. 1957-0821, PHILADELPHIA, PA TARHEEL SLIM (ALDEN BUNN)(v/LARKS/FIRE RE)d. 1977-0821, BRONX, NY 52 ========================================================================= Date: Mon, 21 Aug 1995 06:01:29 -0400 From: Barry Silverberg Subject: Re: Other blues artists CATBAUER (catbauer@AOL.COM) wrote: : Loved Juanita Williams also...she was fantastic and did steal the show. : While Eddie didn't know until after that the sound cut out his wife, who : was assisiting with the sound knew once it happened and tried to take care : of it. What did you think of Sherman Robertson and Little Milton? Did you : catch Lonnie Shields at the Blue Heron? Cat I didn't see SR or LM however Friday night at the Blue Heron with LS was fantastic - here's a quickie review of that from my experience and a hope that the BH keeps up the efforts. I missed the third set (& the 4th if there was another), could you fill in the blanks on that one. THE BLUE HERON GRILLE LAKE SHORE DRIVE LAKE HARMONY, PA 18624 TEL: 717-722-9898. Here's a new club to make note of. Owner and entrepreneur Bruce A. Zimmer saw an opportunity to bring big blues to the Poconos and believe me he has. Opening his downstairs area and making it into an all blues venue, Mr. Zimmer may actually take the area by storm. Having only opened this past Memorial Day his first big show was Big Jack Johnson, but my luck was to have been there for the incredible night of Lonnie Shields blowing the roof off the place. Downstairs was a nice small intimate room that was packed out solid. The accompanying bar area couldn't hold another soul and when the doors were thrown open Mr. Zimmer's breathtaking veranda right on the lake held at least 200 or 300 more people. Lonnie Shields came up around 10 PM and opened with a super version of his killer side - Fistful of Dollars. Unlike the cut on his CD 'Portrait', Mr. Shields ran out a solid 5 minute intro, all instrumental before blowing in with his vocal rapture. The crowd was locked in on Mr. Shields. Two more tunes and then Lonnie Shields plays the first cover I have ever heard him play - and what a cover it was - The Thrill Is Gone. Not simply singing and playing this song but Mr. shields made it his own. Plenty of fierce guitar work and a voice from deep inside himself Mr. Shields treated us all to an original and compelling version of this classic classic. Set two showed more of Lonnie Shields' musical vocabulary. A 40 minute set made up of 4 songs and 95 percent instrumental. It was mesmerizing. The dance floor never stopped being full and the music just built to a frenzy. What more could you ask for - well we got it, Gary Primich shows up and joins this set. A nice complement with his laid back harp set against the big, bad blues of Mr. Shields. This was a night to remember for everyone there and certainly for Bruce Zimmer who says he will continue this kind of blues venue. Bravo to you Mr. Zimmer! In addition to these great sets, Mr. Roger Montgomery was stellar as both solo guitarist within each set and as co-conspirator with Lonnie Shields in making a night of great blues. His guitar work was fiery and consistent. Mr. Zimmer was bringing him back Sunday night to be featured in his own set of Blue Heron blues. I'm sure they'll all be back to grace the Cellar of The Blue Heron Grille. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 21 Aug 1995 10:32:53 GMT From: Steve Leigh Subject: Re: Blues-L Messages Rich... It's AOL. I'm tellin' ya... It's a goofy service! "Gordon, Rich" wrote: >Just wonderin',,,I have noticed a real lack of messages the last couple of >days. Has everyone gone on vacation...enjoying the wonderful summer >weather...off to blues festivals...or is the Internet/AOL thang messed up? >Found out the Lonnie Brooks and Robert Cray will be at the Coronado Theater >in Rockford on Saturday October 21. Tickets go on sale September 9. > Rich Gordon > WXRX Rockford, IL ========================================================================= Date: Mon, 21 Aug 1995 11:13:42 GMT From: Magnus Ensby Subject: Reggae beat was "West Indian influence on Blues" Louis Erlanger wrote: > > New Orleans music is the best example of outside influences on blues. > Professor Longhair always threw West Indian rhythms into his playing. > Robert Cray once said that a possible cause of the reggae beat was that West > Indian countries would get R&B radio stations broadcasting from the U.S., > but the stations would fade in and out, creating an odd rhythm to the R&B > tunes. I don't know if he was joking or not, but it's a great theory. I have been told that the reggea came from ska. Carribian musicians used to play ska and pepople danced, but one summer it was so hot that the musicians played slower for the people dancing, and you got the beginning of reggea. I don't know if this story is true. Magnus ========================================================================= Date: Mon, 21 Aug 1995 08:04:27 CST From: William Shute Subject: Erbie Bowser memorial concert From: Bill Shute Friday, 18 August l995 was a special day for Erbie Bowser fans, as there were TWO memorial shows performed in Austin by T.D. Bell and the Blues Specialists, the band co-led for many years by Mr. Bowser. I and fellow blues-l-ers Bruce Roberts, James Foster, and Dana White attended the memorial happy hour at the Continental Club, which was a beautiful tribute to Erbie Bowser's memory and the happy spirit he always represented. Special focus was given to Erbie's signature songs--"Erbie's Bounce," "I Hate To See A One-Eyed Woman Cry," etc.-- and a number of heart-touching testimonials were given. What more can I say? Later that night, another memorial show was held at East Austin's legendary Victory Grill (recently re-opened), and Saturday the memorial service and funeral were held. I asked Mr. Bell what blues-l folks could do for Mrs. Bowser, and he suggested that condolences, cards, etc. be sent directly to Mrs. Peggy Bowser, 1604 Greenwood, Austin, TX 78702. The spirit of happy, giving people like Erbie Bowser will always live in the hearts of those whose lives have been enriched by their work and their mere presence. And with Mr. Bowser's recordings, countless generations can directly sample and experience that spirit. Bill Shute San Antonio, TX the Erbie Bowser spirit certainly lives on in the Friday "Happy Hour" shows at Austin's Continental Club. T.D. Bell and the Blues Specialists continue to brighten up the week for the many regulars who make a point to hit the Continental as often as possible. Those visiting Austin should make a point to stop by no later than 5:20 to get a good seat (the show starts at 6). You'll certainly see AT LEAST one or two blues-l folks at each show! ========================================================================= Date: Mon, 21 Aug 1995 08:25:40 -0500 From: Henry Busse Jr Subject: August 22nd happy birthday Tony Aless ( Anthony Alessandrini ) 1921/Garfield,NY/ Piano Carolina Slim aka Country Paul / Slim Jim / Jammin Jim ( Edward ) Brick Fleagle ( Jacob Roger ) 1906/Hanover, PA / Guitar John Lee Hooker 1917/Clarksdale,MS / Blues singer / guitar Lex P Humphries III 1936 / Rockway, NJ / Drummer Bumps Myers ( Hubert Maxwell Myers ) 1912 / Clarksburg, WV / Tenor sax >From Henry Busse Jr's Database of People Musical ========================================================================= Date: Mon, 21 Aug 1995 08:24:17 CST From: William Shute Subject: Black Top label super-sale! From: Bill Shute I'm in now way affiliated with Black Top Records, so let me tell those of you not on their mailing list that the label is offering great savings on much of their back catalog in order to clear out the warehouse. If you buy five or more CDs, the price is $6.00 each-- if you buy five or more cassettes or LPs, the price is $3.25 each. Black Top is one of the US's most consistent and prolific blues labels. With the absurd prices of CDs, I can only afford a certain number of albums each month, and I've only gotten SOME of Black Top's output. I have been picking them up used as I can find them (recently got Bobby Parker's fine BENT OUT OF SHAPE and the "Black Top Bluesarama Vol. 4" which is entirely dedicated to the Grady Gaines and the Texas Upsetters Revue and Floorshow!), but I've been sometimes paying more than six bucks for them used! Basically, BT-1032 (Anson's "My Love Is Here To Stay") through BT-1106 (Mike Morgan and the Crawl "Let The Dogs Run") are available on both CD and cassette, while those up through #1060 are often also available still on LP. The phone is 1 800 833 9872. The address is PO Box 56691 < New Orleans, 70156. There's a lot of great blues to be had here, and I for one will be taking advantage of this sale. Bill Shute SAn Antonio, TX ========================================================================= Date: Mon, 21 Aug 1995 13:27:12 GMT From: NETWARE Subject: Hesitation blues Hi, Could anyone shed some light on 'Hesitation blues' - I heard a friend of mine play hesitation blues and I really wanted to learn it. Does any one know who wrote the song and if I can get hold of the tab/chrds/words from the net? Much appreciated, Timbo ========================================================================= Date: Mon, 21 Aug 1995 09:59:06 -0400 From: Doordog Subject: Re: Hesitation blues It is available in OLGA by Jorma K. of Hot Tuna. It is a good TAB version. Ron S. ========================================================================= Date: Mon, 21 Aug 1995 08:49:57 CDT From: L W Subject: Tab's New 'un I got that preview tape of Tab Benoit's "Standing On The Bank". He does a duet with Wille Nelson (I prefer Willie's guitar solo,btw) I don't think the duet works....I think the lyrics are weak or weak singing or something. It juts doesn't work for me. The tunes on it are "Make Your Mind Up", "Me and My Guitar", "Downtown", "Standing On The Bank", Matchbox Blues, Rainy Day Blues (duet with Wille)...You Got Whta I want, 7th Son, If I could Quit You, Laundromat Blues, Going Down, & Still Going Down The Road..... I like Tab's vocals more that I do his playing and he should leave Albert King tunes alone (IMHO)...There are a couple of tunes that I really like and it's because of Tab's vocals, you can find equal++ "non-working" guitarist in every town in the US(IMHO)..He is a super nice guy and great vocals....So if you like Tab's other recordings you'll like this one. If you're not a Tab fan this will not change your mind..... LW 'the release date is Sept 12 or sumpin like dat' ========================================================================= Date: Mon, 21 Aug 1995 09:22:52 -0400 From: Willy Evans Subject: Re: Hesitation blues On Mon, 21 Aug 1995, NETWARE wrote: > Hi, > > Could anyone shed some light on 'Hesitation blues' - I heard a friend > of mine play hesitation blues and I really wanted to learn it. > > Does any one know who wrote the song and if I can get hold of the > tab/chrds/words from the net? > > Much appreciated, > > Timbo > Hesitation Blues was a big song for Hot Tuna during the early 70's. I have seen the tab/music for it several times in Music stores. I can give you chords/words by email if you are interested. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Mon, 21 Aug 1995 10:15:01 -0400 From: Tom Morgan Subject: Re: Hesitation blues In another time and place, NETWARE said: > > Hi, > > Could anyone shed some light on 'Hesitation blues' - I heard a friend > of mine play hesitation blues and I really wanted to learn it. > > Does any one know who wrote the song and if I can get hold of the > tab/chrds/words from the net? I don't know if this is the same song but W. C. Handy wrote "The Hesitating Blues" in 1911. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 21 Aug 1995 10:31:40 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Dirty Dishes Is "Dirty Dishes" an Albert Collins song? Thanks! Shannon ========================================================================= Date: Mon, 21 Aug 1995 10:39:41 -0400 From: Garry Segal Subject: AOL BLUES/ HERES HELP If AOLers that arent getting BLUES L still want it , you can get it as a newsgroup to read offline. It works pretty much the same just follow the instuctions and add bit.listserve.blues-l to newsgroups to read offline. First mark everything "read" or you"ll get thousands of old posts. Please forward this to any AOL Blues L friends of yours so they dont miss out on any of the action packed adventures here on the L. Take Care, Garry and those darn MOODSWINGERS http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Mon, 21 Aug 1995 09:58:00 CDT From: Paul Garon Subject: Re: Hesitation blues >Hi, > >Could anyone shed some light on 'Hesitation blues' - I heard a friend >of mine play hesitation blues and I really wanted to learn it. > Actually, the HESITATIONS BLUES that many folk-blues artists play is based more on the 1915 Scott Middleton and Billy Smythe HESITATION BLUES, i.e. if it has the refrain, "Tell me how long / must I wait? / Can I get you now / or must I hesitate? Leadbelly did a version on his LAST SESSIONS and Walter "Buddy Boy" Hawkins does a hilarious ventriloquy (sp?) version as VOICE THROWING BLUES (reissued on Document [and Yazoo?] and on Mamlish and Yazoo vinyl). Jesse Fuller did a great version also. Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Mon, 21 Aug 1995 09:44:31 -0400 From: Neil Cassidy Subject: ska/reggae/blues For an indepth read on the ska/reggae evolutuion as well as it's effects on African-American music and vice versa check out Dick Hebdig'e excellent book "Cut-n- Mix." oops that's Dick Hebdige. Neil Cassidy ========================================================================= Date: Mon, 21 Aug 1995 11:06:43 -0400 From: Peter Welch Subject: Piano Red Apart from Bear Family's huge boxed set, I've yet to see any CDs with some of Piano Red's 50s recordings on Okeh and other labels. The Arhoolie CD has a few live cuts from the late 50s, but's that all I've seen on disc... Are there any CDs (Imports?) of Piano Red out there? -Peter W. ========================================================================= Date: Mon, 21 Aug 1995 08:19:12 -0700 From: Chris Adams Subject: Re: Kelly Joe Phelps Yes, I have been listening to him now for a number of years. Until he was reviewed in that pioneer of music reviews, People Magazine, I often had the chance to walk across the street to my corner bar to take in the talent of this wonderful artist. As I have stressed on this list before, there are not many performers who have immersed themselves in the country blues and been true pioneers when 6-7 years ago they had never heard of some of these artists. In his former life, he was a avant garde jazz bassist. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Sun, 20 Aug 1995, Stew Crossen wrote: > Interviewed Kelly Joe Phelps last night ... live on the radio. Great talent, > real gentleman. > > Disc is called "Lead Me On" on Burnside Records. Anybody else as captivated > by Kelly Joe's music as I am? > > Beef Stew > WHUS Blues Music Director > ========================================================================= Date: Mon, 21 Aug 1995 08:22:57 -0700 From: Chris Adams Subject: Re: West Indian influence on Blues The fact that Jamaican music was influenced by New Orleans R&B is a fact and Robert Cray is not the first person to mention it. If you listen to many of the early Ska and Rock Steady performers, there is a definite doo wop influence and later soul music- check out Alton Ellis and more recently, "Toots in Memphis". Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Sun, 20 Aug 1995, Louis Erlanger wrote: > New Orleans music is the best example of outside influences on blues. > Professor Longhair always threw West Indian rhythms into his playing. > Robert Cray once said that a possible cause of the reggae beat was that West > Indian countries would get R&B radio stations broadcasting from the U.S., > but the stations would fade in and out, creating an odd rhythm to the R&B > tunes. I don't know if he was joking or not, but it's a great theory. > ========================================================================= Date: Mon, 21 Aug 1995 11:41:58 -0400 From: Rick Miller Subject: Central Massachusetts blues (a review of sorts) My wife and I went on a date :) this past Saturday and we ended up at the Plantation Club & Restaurant, known for it's terrific music scene, here in Worcester, Mass. The band playing was "Wilbur & The Dukes", whom we had heard of but never seen. Man, did we get our $5.oo cover's worth and more!! This is a seven, yes SEVEN piece funky blues/R&B band that comes at you with a ton of foot stompin' energy from the first note and does NOT stop until the bar is closed and there's nobody left listenin'. Wilbur (actually Steve somebody...) is the front man and bass player and has a huge voice and equally impressive stage presence as he directs his band through it's funked-up arrangements. Two guitar players, one playing primarily but not exclusively rhythms on a Les Paul-like Yamaha, and the other doing wailing leads up and down the neck on a Strat. The horn section consisted of alto and tenor sax, and trumpet. Every one of them excellent and capable of stepping out and doing great solos. And the drummer, who as it turns out, was a good acquaintance of mine (from the band "The Joeys") and also works at my favorite music store, and must run marathons to keep in shape to keep up with the wild, funky, syncopated wall of energy that this band cranks out at you. It's funny, I really didn't recognize most of the tunes this band covers, but they were all excellent. Every song was foot stompin, can't-sit-still stuff with a perfect mix of great guitar and those big funky horns. And the energy exuded by Wilber as band leader and front man was contagious, and kept the dance floor packed all night. That's not to mention the driving bottom line of his bass playing, like the thud-thud-thud, boom-boom-boom of a freight train passing close by. :) ANyway, somewhere in their sets I recognized some Spencer Davis Group tunes and some Etta James (the modern) material, to give you an idea. It was HUGE, it was energy, and it was a LOT of fun. The best funked-up bluesy R&B type stuff I've ever heard in a small club anywhere. The band is "Wilber & The Dukes". They're from central Massachusetts and play in this area and into Boston. Go see 'em if you're around!! Riffin Rick (((( oo-) /- ps.....oh, and I met with Wilber (Steve) after the show and plugged my band "The Gate Street Blues Band" and we talked about maybe if they ever wanted an opening act sometime? :) :) [heh-heh-heh :) it doesn't hurt to sell yerself wherever there's an opportunity........make those contacts!!!! F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Mon, 21 Aug 1995 15:44:29 +0000 From: Pat Hertel Subject: Re: Dirty Dishes On Mon, 21 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > Is "Dirty Dishes" an Albert Collins song? > > Thanks! > > > Shannon > Yes. "Too Many Dirty Dishes" on the album "Cold Snap" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/8/95 11:42 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 21 Aug 1995 08:48:27 -0700 From: Anthony Difrancia Subject: Re: Dirty Dishes You wrote: > > Is "Dirty Dishes" an Albert Collins song? > AC did a song titled "Too Many Dirty Dishes," on his Cold Snap album. Not sure if he wrote it though--the CD I have doesn't give specific credits. -- Anthony Difrancia instpub@ix.netcom.com ========================================================================= Date: Mon, 21 Aug 1995 10:56:11 CDT From: L W Subject: Re: Dirty Dishes ----------------------------Original message---------------------------- You wrote: > > Is "Dirty Dishes" an Albert Collins song? > >AC did a song titled "Too Many Dirty Dishes," on his Cold Snap >album. Not sure if he wrote it though--the CD I have doesn't >give specific credits. I think that's such a cool tune, all the time he's complaining about the dishes he keeps on washing them....I also like Mastercard....I usually don't care for what I call "novelty songs" like Little Charlie does alot of, but I do like the Albert Collins "novelty tunes"..... LW ========================================================================= Date: Mon, 21 Aug 1995 12:42:03 -0400 From: James Leftwich Subject: Rory Block Hey folks, Just got back from the Towne Crier Cafe in Pawling, NY (kind of a hike for those of us who live in civilization). Where for the somewhat hefty sum of $18.50 per, my father (yes my father) and I enjoyed an evening of acoustic music. I'd long waited for an ample opportunity to catch Rory live. My wait came to an end this night. Apparently, she has cut back her touring considerably, so this night was a rare treat. Rory came out at about 9:45 and proceeded to complain about the mikes and monitor for a good while. I found it a bit disconcerting but was willling to wait. Later in the show she continued complaining and also forgot words to two songs. She was clearly intense and perfectionist. But, ah the music. If you've heard Rory on CD before but never live, you must have wondered how she gets that percussive style of fingerpicking. She literally slams her right thumb and "meat" of her hand on the bass E string and fingerpicks with her three fingers. She does not use her pinky. It was a joy to see her wrestle with her guitar slamming on the beat while she flails her right leg. Her face seemed to contort with each turn of phrase. She and the music were one. IMHO, her material was a little too "folksy". I think Mrs. Block is in her best element with Delta Blues, though the variety never turned me off. She was startled and pleased to hear cheers when she introduced Charley Patton and Mississippi John Hurt songs. She used the occasion to advance her opinion that American audiences are as blues aware as European. Of the two previously mentioned she played "Pea Vine Blues" (which she forgot the words to) and "Frankie" (which came off rather well). Mrs. Block chose her material from her 10 or so CDs that she's released the past 20 years. A real find is her Turning Point CD which apparently is not available in the US. Her two most recent CDs _Mama's Blues_ and _When a Woman Gets the Blues_ provided much of the night's material. _When a Woman..._ is her blusiest and most recommended. Her style is her own (though it most closely resembles a Patton/House hybrid). Her singing was wonderful...nicely gospel-tinged. An accapella number went over well. It was quite well-suited for the Delta numbers (which included "Terraplane Blues", "Big Road Blues", "Pea Vine Blues", a Mattie Delaney #, and a few others). To her credit, Rory's ballads and folk material did come off rather well. IMHO, if Rory's in town catch her show, and if you want some superb acoustic blues buy her most recent CD _When a Woman Gets the Blues_. She also has a series of instructional tapes of Delta Blues which I've heard are quite good. I assume she shares that percussive style of hers on the tapes. If you do see her live, get a seat where you can see her fingerwork. Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" ;) ========================================================================= Date: Mon, 21 Aug 1995 11:49:00 CDT From: Bonnie Kalmbach Subject: Hesitatin' blues LITTLE BROTHER MONTGOMERY does a fine version of this tune. Another just about as good is by EDITH WILSON with Little Brother accompanying her on piano. -Bonnie ========================================================================= Date: Mon, 21 Aug 1995 11:49:22 CDT From: L W Subject: Rory Block ----------------------------Original message---------------------------- >It was a joy to see her wrestle with her guitar slamming on the beat >while she flails her right leg. Her face seemed to contort with each >turn of phrase. She and the music were one. Her "accuracy" (sp) while beating the hell out of the guitar is amazing. I think she is clearly one of the best pickers of that style, regardless of gender. >Patton and Mississippi John Hurt songs. She used the occasion to advance >her opinion that American audiences are as blues aware as European. Of I think Kenny Neal hit the nail on the head, when he said that the artists who think Europeans dig the blues more are the ones who don't get booked much in the US....Maybe they are "sour" toward US audiences because of that...??? (No flames, I just said "maybe" I don't really know) > If you do see her live, get a seat where you can see her fingerwork. If you are a picker (especially finger style) seeing her live will have you going to the "woodshed" LW 'Who thinks Rory Block is as fine a guitar player as ANY living player" ========================================================================= Date: Sun, 20 Aug 1995 11:11:26 PDT From: Michael Suffern Subject: Back after an Ultraviolet Blues month I'm back. I did have access for a few days so I know I missed some really good guitar talk and LPs old and new. It's been an *extremely* bad month: PC started failing. Windows for Workgroups upgrade crashed and deleted windows files that it looks for to decide that you have an old version to upgrade from. PC died. A/C repair on my car would be more than the car is worth now, thus no A/C. Pain Clinic doctor wanted to give me an epidural (anesthetic spinal like for baby deliver). Stopped him at the last minute when I realized what he really meant. Let Pain Clinic doctor give me an I.V. of a curare like compound (a succinylcholine analog) to totally relax my muscles before his wife (massage therapist) gave me a massage. When I realized I couldn't swallow (and had to desperately) I managed to communicate that I would like to be rolled on my side. I still had enough strength the swallow in that position. Interesting from a scientific viewpoint, but, not very highly recommended. Dealer shipped the wrong Motherboard. MB wouldn't work without lot's of fiddling. WFW upgrade crashed on new system, do it wasn't just the poor state of the old system. Saved a copy of the old windows directories first though. Offended Pain Clinic doctor by refusing to take Elavil (an antidepressant that is supposed to have some benefit in relaxing muscles during sleep) because my wife an I are trying to have a baby and it is known to cause birth defects (egg *and* sperm effects). Became unemployed. Have to go through the job search / interview thang again. And other miscelaneous horrors... It's going to be an extremely good year: Don't have to work 28 hour days or worry about people getting upset that I'm not at my desk because I'm at the doctor's office or therapy for an injury caused by the employer's neglect. Don't have to move to chase a job this time - we own our house (as long as we make the mortgage payments). This seems to be a good time to find a job where I can use a wider variety of my skills (job offers/tips most welcome!): C/C++ programming. DOS, Unix, Windows internals. Telephony, voice/fax processing, networking. Web, HTML development. Multimedia production (most graphics technologies, music, creative writing). My new PC is running. It's *fast* (P5-90, PCI video, EIDE, etc.) I have time to play some of the new games (Mechwarrior 2, Descent, U.S. Navy Fighters). I felt Blue enough to sit down at the piano and play "Vincent" (Don McLean) for 2 hours - a wonderfully melancholic experience. My doctor's wife said I have a nice butt (from a massage therapist's point of view, of course). My wife not only loves me very much, she has demonstrated a faith in 'going with the flow' that I've been living by for many years now. The tests show that Judith's still ovulating and I'm not shooting blanks, so even though I have no idea what I'd do with a baby, maybe I can give her something very precious. I've listened to a lot of good Blues lately. I can work on my callouses more. So, it seem's to be time to leave a lot of tired crap behind and enjoy new oppourtunities. I secretly hope that I have at least one 'bad attitude' day so maybe I'll feel Blue enough to write another good song. Maybe I'll try to mourn Monday when I'm home alone with my guitar... I've missed you all. Mike msuffern@xnet.com http://www.xnet.com/~msuffern/soundtravels.html There's more Blues on my horizon Don't know which way I'm goin' to go It'll be alright when I finaly get there Leave these old weary bones alone - Mike ========================================================================= Date: Mon, 21 Aug 1995 17:16:51 +0000 From: Pat Hertel Subject: Re: Dirty Dishes On Mon, 21 Aug 1995, L W wrote: > > I think that's such a cool tune, all the time he's complaining about the dishes > he keeps on washing them....I also like Mastercard....I usually don't care for > what I call "novelty songs" like Little Charlie does alot of, but I do like the > Albert Collins "novelty tunes"..... > > LW > Then let's not forget the best of his "novelty songs" "..But I Was Cool" ".... the shot whistled right past that woman's head, and killed my hound dawg daid... Owwoooo" :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [21/8/95 13:10 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 21 Aug 1995 13:14:16 -0400 From: Barry Silverberg Subject: One Man's Opinion-The Chief. EDDY CLEARWATER - THE CHIEF (ROOSTER #2615) ROOSTER BLUES RECORDS 232 SUNFLOWER AVE. CLARKSDALE, MS. 38614 This is a classic CD and a must have. Eddy Clearwater plays the blues and sings the roots right out of the blues. He is solid in his guitar work and so big in his vocals. I can't imagine a blues fan not spending many hours listening to this CD, over and over and over again. I have and I know I am the richer for it. Mr. Clearwater touches me here at every turn and I assure you this CD will do the same for you. Find You A Job / Blues For Breakfast / Blue, Blue, Blue All Over You / One Day At A Time / I Wouldn't Lay My Guitar Down / Chills / Bad Dream / I'm Tore Up / Lazy Woman / Blues For A Living NYCD-Takes Find You A Job: A rough-house guitar opens up this CD - with a big kickin' Eddy Clearwater on the vocal road. Cousin Carey Bell blows some very hot harmonica here to complement Mr. Clearwater and sets him off perfectly. This is one of nine original sides to this set written by Eddy Clearwater. A very big opening to a very big CD. Blues For Breakfast: A different side now to Mr. Clearwater. An electrifying Chicago axe opening and Mr. Clearwater moaning the blues - deep, down and dirty. Mr. Clearwater possesses a powerful vocal style that rivals any other classic blues man you might think of. He is simply a joy to listen to. This is a very moving side - full of the best traditions of the dark side of the blues. The ferocious guitar, with rolling riffs and slide cut- ins is blues at its best. This is called Blues For Breakfast but turns out good feeding any times your ears might itch for a big blues sound. Blue, Blue, Blue All Over You: Still more versatility from Mr. Clearwater. Here's a big band cut - nice jump music with a lot of instrumentation. Carey Bell on harmonica is a show stealer on this side - he literally blows up a storm. The song possesses a wealth of changes and each one is delicious. It's a rather unique cut in that the harmonica is not usually featured on such a side - you will appreciate the artistry of this cut quite a lot. Eddy Clearwater's vocals and Carey Bell's harmonica make a perfect duet - anytime, anywhere and particularly here. DO NOT MISS THIS CUT. One Day At A Time: Here's a very complex guitar chord opener that continues in it's musical diversity throughout. It's a very unique sound and one that has added to the reasons that this CD has been named a blues classic. The drums of Casey Jones here are up front and powerful - driving this side on and on. Carey Bell once again adds a flavor to this cut that is wonderful. His harmonica ranges and sounds are wide and capturing. He plays his harmonica and makes it sound like a big horn here rather than a harmonica - a truly surprising and imaginative addition. I Wouldn't Lay My Guitar Down: Mr. Clearwater has always admired Chuck Berry and here he offers up a true homage to Mr. Berry. In fact Eddy sounds as good as Chuck has ever been. Take in the big sounds of Abb Locke on tenor saxophone and Chuck Smith on baritone saxophone and you have a big musical side. This song really rocks and rolls. Great guitar work here as well by Mr. Eddy Clearwater. This song never stops pleasing. In fact play it up front and then run the CD over. Chills: Another big band opener kicks this side right into the vocals of Mr. Clearwater. The guitar here is Lurrie Bell, another member of the Harrington family. Halfway in though listen up to the short solo riff by Abb Locke on his tenor sax - very solid and very pleasing. Underlying this song is a light rock and rock beat but the song itself goes way beyond those limits. It's big music by a well heeled set of big musicians. Bad Dream: An electrifying guitar opening sets the stage here for Eddy Clearwater to burst in blazing. This may be the best vocal side to this entire CD by Mr. Clearwater. He is simply captivating. His voice is huge and his guitar here cries the blues. The two sides of Eddy here (his voice and his guitar) are at their peak. This is true Chicago blues and a must listen to. Eddy Clearwater here gives us the meaning of the old time shouters. Lurrie Bell's guitar solos here shine and Mr. Lafayette Leake, the master on the piano, is beautiful and perfectly placed inside this cut. I'm Tore Up: This is the first and only side not written by Mr. Clearwater, but he has chosen a great songwriter to honor in playing this cut - the great Ike Turner. Although the words to this side are on the blue side it rocks and makes a very danceable tune - IF YOU CAN PULL YOUR EARS AWAY FROM THE HOT GUITAR LICKS HERE. Very hot and lots of fun set inside a killer blues cut. Lazy Woman: This side will wake you up. It has a sound unique to this whole CD. It is really a rocker and a foot stomper. It sure made me get up and dance. You'll find the sound of the Barkays here and done to a tee. The horns carry this tune and the tin of Casey Jones on drums is A+++. Carey Bell too adds his musical touches to this cut - making for an overall good listening side from start to finish. Blues For A Living: A great song to close out a great set. Mr. Eddy Clearwater certainly does PLAY THE BLUES FOR A LIVING and he PLAYS THEM STUPENDOUSLY. Mr. Clearwater offers here a deep touch into his sonic vocals and for 6 minutes and 40 seconds you will be transported to a small club listening to a monster live side. He sings and plays at the very top of what the blues ever has to offer and you will feel it for every moment this CD is on your player. If you don't own this classic blues CD - GO OUT AND GET IT NOW. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 21 Aug 1995 13:13:26 -0400 From: Barry Silverberg Subject: One Man's Opinion-C.J. Chenier. C.J. CHENIER - TOO MUCH FUN (ALLIGATOR #4830) ALLIGATOR RECORDS BOX 60234 CHICAGO, IL 60660 C.J. Chenier comes from the most famous Zydeco family ever - the son of the all time king of Zydeco, Clifton Chenier. C.J. Chenier is his father's son. He is blues when he wants to be, raucous dance music when he wants to be, and always hot stuff to listen to. This CD is constant motion. Even the slower cuts will keep you up and on your feet - only the pace will change. I am looking for more from this young Zydeco devil just from a first listen to this fabulous CD. I highly recommend this CD as a purchase to add to your collection of Zydeco favorites or even as a first CD to get you started in the wonderful world of Zydeco romp. MAN SMART, WOMAN SMARTER / BAD LUCK / RICHEST MAN / TOO MUCH FUN / GIVE ME SOME OF THAT / LOUISIANA DOWN HOME BLUES / ZYDECO CHA CHA / LOST IN THE SHUFFLE / GOT YOU ON MY MIND / SQUEAKY WHEEL / I'M NOT GUILTY / YOU USED TO CALL ME / LOUISIANA TWO STEP NY CD-Takes MAN SMART, WOMAN SMARTER: The rubboard opens up this side and this CD. This is very solid Zydeco cut up to a modern feel and a modern pace. C.J. Chenier does the memory of his father justice here and on each of the following 12 tunes. This is a very house dancing tune. C.J. also cuts some nice accordion here. I found my shoulders rocking from note one on. Keep your ears peeled for a big guitar - that's Vasti Jackson and he's super. BAD LUCK: Here is a complex guitar over rubboard opening riff. It indicates the quality of music to this whole CD - solid, unique, true to it's roots and sophisticated. C.J. besides being a master musician has a pure heaven set of vocals. His voice is rich and clear and carries plenty of overtones and nuances to make it very inviting. I like the beat here, which continues in the shaking and rocking vein of side one. You wouldn't leave the dance floor between these two songs. RICHEST MAN: Slower and more bluesy, yet with a backing that's big band. C.J. Chenier rolls out this tune like a blues crooner - well in the vein of all the great soul and R&B vocalists. Here he mixes the driving and fast paced against the backdrop of a slowly capturing song - DELICIOUS MUSIC and NOT TO BE MISSED. TOO MUCH FUN: The beat moves back up with a big piano and sax opening and C.J. Chenier a little more funky and rock and roll. This side is a nice listen to the wealth of C.J. Chenier's vocal talents. GIVE ME SOME OF THAT: The accordion and sax run a few notes to open this side and then C.J. Chenier slides in. This side is playful and once again Vasti Jackson brings his superior guitar work to this nice cut. There are few guitar cuts here that will pop your ears to attention. Easily a vote goes out here for one of the best sides to a great CD. LOUISIANA DOWN HOME BLUES: Slower and grinding - down home blues and in French. This song endeared me from the moment C.J. Chenier began to sing it. He so brings out the memory of his father Clifton Chenier here that it is uncanny. You can feel Clifton Chenier's blues momentum and blues training totally run through this side. This is the best that Zydeco-blues was meant to be. One of the most musical cuts to this entire CD and C.J. Chenier red-hot. ZYDECO CHA CHA: This tune was written by Clifton Chenier and comes right on the heels of the last cut where C.J. Chenier so well represented his father. The instruments here are the big point. They are blazing and well mixed. The beat is popping and offers up some non-stop party fun. You will love this all instrumental side. Pay special note to the congas of Steve Eisen, he is at his peak here and makes this side fly. All told this is great Zydeco start to finish. LOST IN THE SHUFFLE: Here's a dancing tune - led in by the accordion of C.J. Chenier, the drums of Greg Gordon and some of the hottest blues guitar work on this CD. This is great music that's played up and well arranged - lots of fun and lots of good listening. GOT YOU ON MY MIND: C.J. Chenier turns down the pace and winds down his vocals here. This is a really good cover and showcases C.J. Chenier in another blues to R&B side. His songmanship is very smooth and does true honor to this song. You're still dancing - only this time it's cheek to cheek. SQUEAKY WHEEL: This side is major music brought to you courtesy of C.J. Chenier and the remarkable Memphis Horns. By name they are Wayne Jackson on Trumpet, Andrew Love on tenor sax and Floyd Newman on baritone sax. They also grace a number of other sides on this CD and not one is to be missed. These men are moving the blues to new heights with their all out killer horn work. They make a great accompaniment to the full cut instrumental side of C.J. Chenier and his Red Hot Louisiana. I'M NOT GUILTY: This side lays out modern Zydeco well influenced by today's rock and roll field. C.J. Chenier is not stuck in history although he offers it up as desired. He cuts us here a more modern side, punctuated again with blazing blues guitar work behind him. This side once again rocks the house. I am convinced that C.J. Chenier is here to stay and make music that will last the course of time. YOU USED TO CALL ME: Slow down and do a barn dance. C.J. Chenier once again takes a song by his father and renders it beautifully. It is a shame that father and son are not alive together now to entertain us. I could just see Clifton Chenier's big smile as his son pays homage to his great dad. LOUISIANA TWO STEP: The closer here is another Clifton Chenier side, although this one is less blues and much more hard-rocking and driving pure Zydeco. C.J. Chenier is relentless here in his attack on the accordion and only occasionally perforates this cut with his vocals. This may be the best cut of all, although several others rate a close look as a tie. A SUPERIOR ENDER TO A MAJOR CD - all around fun, very musical, highly entertaining and terrific dancing music. This CD is a go-get and a keeper. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 21 Aug 1995 17:59:00 GMT From: Tony Burke Subject: WEST INDIES MUSIC AND R&B Ska (or earlier the music known in the UK as Bluebeat) can be traced through to N.O. R&B and to other sources. It is true that in Jamaica US radio R&B stations could be heard with relative ease. Particlular favourites among West Indians during the 50's were Fats Domino, Joe Liggins, Roscoe Gordon (give a listen to Roscoe's 50's sides and you can spot that beat "Roscoe's Rhythm" which was adopted by ska musicians), Shirley and Lee, Wynonie Harris (Bluebeat issued an EP of four Wynonie King tracks) and sax players like Lynn Hope, Buddy Lucas etc. When Chris Blackwell started up Island he leased King material, by Earl Bostic. It is still possible to find badly dubbed boot 45's of Specialty/ Savoy/ Modern 45's and 78's here in the UK particularly in second hand stores in places like Manchester. Last year I found some boot "Specialty's" by Lester Williams cut on very thick vinyl, with white labels bearing the Specialty logo and a rough "Made In Jamaica" stamp on them. I also have some Varetta Dillard boot Savoy's. I also saw a Jamacian one sided dub of a Jack Dupree Groove 45 but the guy knew what he had and wanted lotsa cash for it. All of these sort of discs were made in JA or the UK for the West Indian market in the UK. This would be the first or second generation of West Indian people who came to live and find work here in the late 50's and early 60's on transport and in the health service etc. The other major influence would have been Louis Jordan. Jordan was extremeley popular in the West Indies and toured there during the late 40's and into the 50's and was influenenced by a number of calypsonians - particlarly Wilmouth Houdini - remeber "Stone Cold Dead In the Market"! I have never found any reference to the influence of downhome bluesmen on West Indian music, perhaps Fulson and a few East Coasters, although I may well be wrong or can't think of any! But definately 50's R&B had a major influence on ska and bluebeat. ========================================================================= Date: Mon, 21 Aug 1995 13:03:50 -0500 From: Roger Struve Subject: Rory Block -Reply I've got the tapes...there's 4 of them now, two that pretty much mimic her original 6 casette tape audio lessons, and two new ones that have original and more of her standards. She capos alot in the instruction tapes, and does show that slamming type of charlie patton playing that she likes so well to do apparently. She never answered a 4 page letter i wrote her after getting her video instruction tapes from homespun tapes. (1-800-33TAPES). her voice wears on me after a while, but if you can catch it, she did a pretty good set on Austin City Limits (approx. 1994). She'll be at the Cedar Cultural Center in Minneapolis on Sept. 8 (she never showed for her April gig there---got postphoned for a month--and then never happened). But, i still like John Hammond best, and he's coming to the CCC (mentioned above) on sept. 29. regards, delta doc roger ========================================================================= Date: Mon, 21 Aug 1995 14:10:07 -0400 From: Steve Levine Subject: Wanted: DC/MD/VA Area Blues Managers/Labels Next month I am going to start writing a blues column for Music Monthly, a Maryland based free paper that covers the mid-Atlantic music scene. The column will basically be an interview with a band or artist per month, and I may include some additional monthly updates about what's going on locally. Music Monthly wants to limit the artist/band profiles to the DC/MD/VA area. If any blues-lers are involved with any managers of local blues acts or any local record labels I would really appreciate it if you contacted me. I already have a list of local artists I plan to interview, but I'll be looking for any more leads I can get. If I interview an artist you know or work with it will provide free publicity for that artist. Thank you, Steve Levine ========================================================================= Date: Mon, 21 Aug 1995 14:12:55 -0400 From: Steve Levine Subject: Re: Dirty Dishes * Then let's not forget the best of his [Albert Collins'] "novelty songs" *"..But I Was Cool" * * ".... the shot whistled right past that woman's head, * and killed my hound dawg daid... Owwoooo" :):) * What about "I ain't drunk"? I'd call that a pretty darn good novelty song. I think I like Mastercharge better, though, because my band does a really funky version of it. -Steve ========================================================================= Date: Mon, 21 Aug 1995 13:12:22 CDT From: L W Subject: Rory Block -Reply ----------------------------Original message---------------------------- > She never answered a 4 page letter i wrote her after >getting her video instruction tapes from homespun tapes. She refused my interview request also, but said that when her schedule allows time for an interview , then it's a possiblity. She did send a nice picture and the "When A Woman Gets The Blues" CD... LW ========================================================================= Date: Mon, 21 Aug 1995 12:18:07 -0600 From: BMPECH@MSCD.EDU Subject: Re: Dirty Dishes On Mon, 21 Aug 1995, L W wrote: > ----------------------------Original message---------------------------- > You wrote: > > > > Is "Dirty Dishes" an Albert Collins song? > > > > >AC did a song titled "Too Many Dirty Dishes," on his Cold Snap > >album. Not sure if he wrote it though--the CD I have doesn't > >give specific credits. > > I think that's such a cool tune, all the time he's complaining about the dishes > he keeps on washing them....I also like Mastercard....I usually don't care for > what I call "novelty songs" like Little Charlie does alot of, but I do like the > Albert Collins "novelty tunes"..... > > LW I know Ms. Collins wrote "Mastercard [or Mastercharge];" it sounds like she may have written "Too Many Dirty Dishes" too. BP Boulder, CO ========================================================================= Date: Mon, 21 Aug 1995 12:41:51 -0600 From: BMPECH@MSCD.EDU Subject: Re: Rory Block On Mon, 21 Aug 1995, James Leftwich wrote: > Hey folks, > > Just got back from the Towne Crier Cafe in Pawling, NY (kind of a hike > for those of us who live in civilization). Where for the somewhat hefty > sum of $18.50 per, my father (yes my father) and I enjoyed an evening of > acoustic music. I'd long waited for an ample opportunity to catch Rory > live. My wait came to an end this night. Apparently, she has cut back > her touring considerably, so this night was a rare treat. > > Rory came out at about 9:45 and proceeded to complain about the mikes and > monitor for a good while. I found it a bit disconcerting but was > willling to wait. Later in the show she continued complaining and also > forgot words to two songs. She was clearly intense and perfectionist. > > But, ah the music. If you've heard Rory on CD before but never live, you > must have wondered how she gets that percussive style of fingerpicking. > She literally slams her right thumb and "meat" of her hand on the bass E > string and fingerpicks with her three fingers. She does not use her pinky. > It was a joy to see her wrestle with her guitar slamming on the beat > while she flails her right leg. Her face seemed to contort with each > turn of phrase. She and the music were one. > > IMHO, if Rory's in town catch her show, and if you want some superb > acoustic blues buy her most recent CD _When a Woman Gets the Blues_. She > also has a series of instructional tapes of Delta Blues which I've heard > are quite good. I assume she shares that percussive style of hers on the > tapes. If you do see her live, get a seat where you can see her fingerwork. > I'm surprised Rory complained about the sound, monitors, etc. I've seen her live about 10x and she's always been pretty laid back about the technical stuff (definitely *not* an Albert King). And, yes, she does teach her percussive style on her Delta Blues instructional videos (Homespun Tapes; she also has a new blues video and a new "originals" video out on Homespun). She actually achieves the effects in several ways. One is to slap the treble upper bout of the guitar with her fingers (hard) after a sweeping downstroke. Another is to strike the bass strings/bridge/bass lower bout of the guitar with the heel of her hand in coordination with a finger-plucked upstroke; still another is to snap the treble or bass strings against the fingerboard by digging in behind the string with her finger or thumb, pulling out and releasing it. Although Rory plays a Schoenberg OM, I recommend learning these techniques on a cheaper (or beat up) guitar -- they can play havoc with the top until you develop her finesse (take it from someone who learned the hard way). I'm not affiliated with Homespun in any way -- but certainly commend Rory's tapes to anyone interested in learning acoustic, Delta-style blues (sans slide -- which she's only recently begun to play in performances and teach). BP Boulder, CO ========================================================================= Date: Mon, 21 Aug 1995 14:58:07 -0400 From: Francisco Molla Ruiz Subject: Robert Cray I have been in touch with Mercury/Polygram recently to ask when Robert Cray is coming to Spain on his European Tour, but I haven't got any answer. Does anybo dy out there know anything about it? Is Mr. Cray touring in Europe? If so, is h e coming to Spain? I would appreciate any information. I would also be interested in purchasing merchandising material, especially t- shirts. But where? ========================================================================= Date: Mon, 21 Aug 1995 13:57:02 CDT From: L W Subject: Re: Rory Block/string slapping >releasing it. Although Rory plays a Schoenberg OM, I recommend learning >these techniques on a cheaper (or beat up) guitar -- they can play havoc >with the top until you develop her finesse (take it from someone who >learned the hard way). I play the same way (not the same level) but I've had people say that I was kind of rough on guitars...:-)..It took much naggin from my wife b4 I finally got "rough" with it. Now on my J-50 I beat the heck out of it and it holds up well. I like the way Brozman shows the snapping the string against the fretboad Actually turning your hand so the back of your hand is facing the guitar and snap that string with your thumb. I had trouble for a while with getting my hand back into a "playing position", but after while it becomes second nature I love to snap/slap & pop. It reminds me of the John Campbell "live" tune when he discusses/plays all the different styles (ie banjo, piano..etc) and then he says you got to "Slap, pop and Slide" something to that effect anyway. LW 'Rory'd do a great Rice Krispy commercial 'Snap,Crakle,Pop" Rice Krispies' ========================================================================= Date: Mon, 21 Aug 1995 15:09:20 -0400 From: Francisco Molla Ruiz Subject: larry mccray In Spain, rumor has it that Larry McCray has recently passed away. I have heard that on the radio but I haven't seen any confirmation neither in the media nor in recent blues magazines. Does anybody know whether or not this is true? Maybe you already got the news, but I have just subscribed to the list. Whoever has any news, please drop me a line. ========================================================================= Date: Mon, 21 Aug 1995 16:22:09 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Rory Block >I'm not affiliated with Homespun in any way -- but certainly commend >Rory's tapes to anyone interested in learning acoustic, Delta-style blues >(sans slide -- which she's only recently begun to play in performances >and teach). I'm a fan of her music and my fav is her "High-heeled Blues" release, but I wasn't too keen on her first 2 vol video set as it featured too many arrangements in open G tuning. Jim Smith ========================================================================= Date: Mon, 21 Aug 1995 16:28:49 -0400 From: Tom Morgan Subject: Bartender's Bop Playlist Here is the playlist from this afternoon's show. Lots of RnB and a few songs by The Bobs who are going to be appearing near by. Title Group Year Label -------------------- -------------------- ---- ------------------ Saturday Night Fish Jordan, Louis 49 MCA Fry Baby You're Tope Boze, Clavin 50 Route 66 With Me My Baby Keeps Rollin Allen, Annisteen 53 Official Rock My Soul August, Joseph 51 Route 66 We Ain't Got Nothin Jackson, Bullmoose 45 Saxophonograph But The Blues Little Red Ridding Gaillard, Slim 49 Arhoolie Wood No Kissin and A Berry, Richard 55 Earth Angel Huggin Bad Man Jackson Jackson, Bullmoose 45 Saxophongraph That's Me Tell Me Who Big Maybelle 56 Savoy Lies, Lies, Lies Allen, Annisteen 51 Official Send Me Some Money Dillard, Varetta 54 Savoy Quiet Whiskey Harris, Wynonie King School Days Jordan, Louis 49 MCA I've Got News For Boze, Calvin 50 Route 66 You B-19 Gaillard, Slim 41 Hep Good Morning Judge Harris, Wynonie King That's A Pretty Good Big Maybelle 56 Savoy Love Riot in Cell Block Robins 54 Rhino #9 Pedal Pushin Pappa Dominoes King You Look So Good Berry, Richard 56 Earth Angel Framed Robins 54 Rhino Cave Man Dominoes King Louie Louie Berry, Richard 56 Earth Angel Hatchet Man, The Robins 55 Rhino My Husband Was A Bobs, The 87 American Music Hal Weather Man Over The Rainbow Dominoes King Down In Mexico Coasters 56 Rhino Banana Love Bobs, The 87 AMH I Hate The Beach Bobs, The 83 Kaledioscope Boys Come What May McPhatter, Clyde Atlantic Zing Went The Coasters 58 Rhino Strings of My Heart 13 Question Method Berry, Chuck Chess Twist, The Ballard, Hank 58 Charly Don't You Lie To Me Berry, Chuck Chess Is Your Love For Ballard, Hank 57 Charly Real It Only Hurts A John, Little Willie King Little While Hey Pedro Berry, Chuck Chess Blues For Hawaiians Berry, Chuck Chess Helmet Bobs, The 87 GMH ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 21 Aug 1995 12:46:44 -0400 From: DeniseTapp Subject: Re: Icehouse's phone#? Two options: Call 901/388-1190, their distributor. Icehouse headquarters are in the same building, and someone there should be able to help you. Call Poplar Tunes, Memphis oldest and best record store. They typically stock Icehouse releases: 901/525-6348. Happy hunting. Denise ========================================================================= Date: Mon, 21 Aug 1995 17:22:57 -0400 From: Cliff Warnken Subject: Hesitation Blues Charlie Poole and the North Carolina Ramblers do a great string band version of this tune as "If the River Was Whiskey" (originally on Columbia 15545-D, must be out on CD somewhere, maybe on the County label). Cliff Warnken ========================================================================= Date: Mon, 21 Aug 1995 14:23:16 PDT From: Michael Suffern Subject: Another Blues commercial AT&T has a new ad with a sort of swing Blues backing track. We've hit the big time! Mike p.s. Is there anyone out there that thinks that the Blues are *not* going to grow more popular as the decade continues? ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 14:23:16 ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 15:02:44 PDT From: Michael Suffern Subject: Re: first singing gig More singing insight: When I'm singing something that really moves me, same thing when playing a lead, my eyes close. It just happens and I'm gone. For a more light hearted song, I'll try to communicate with individual audience members by looking directly at them - to sort of presonally include them in the fun. Mike Hi Rob! ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 15:02:44 ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 16:32:06 PDT From: Michael Suffern Subject: Re: Promotion Don, I'll have more to say about this later, but, my first thought is the Blues is "No Bullshit, Kick Ass, Music from the Heart and Soul" and a good band ought to sound that way and be promoted that way - No Bullshit. Mike On Mon, 7 Aug 1995 17:07:09 -0800 Don Cicchetti wrote: >Hi Everybody! > >I have a question, I would love to get all your answers on. > >How would YOU like to see a blues or blues-based act promoted? Let's say >you found a really good band with great original material, and you wanted >to see them succeed, (make a good living, sell lots of records, have the >freedom/clout to make more good records in the future, etc) yet you know >they shouldn't be "packaged" as something they are not for mainstream >acceptance, yet you didn't want to limit them to the "blues ghetto" that so >many labels and magazines assign this music to. You for SURE don't want >any more of this tacky "the next Stevie Ray" Guitar-Player type ads: You >know, that ----THE MANTLE DESCENDS--- sort of bollocks, yet you need to >convey the passion and strong roots of the music. > >What television should they do? (shows, ads) >Which magazines? >Which radio programs? > >Should you concentrate ads on visuals of the band, or on things the tunes >are about, or something else? > >Should they play small clubs, or larger venues. (take your fan hat off and >think of the band's interests for a minute) > >What should they do about videos/MTV/VH-1 > >What type of ad, or other promotion would make YOU say "Hey, I should get >this disc!" > >What kind would turn you off, and make the band look cheesy? > >Do you think corporate tour sponsorship is appropriate? > >What have I forgotten?? > >thanks > >Don > >____________________________________________________ >Don Cicchetti >La Sierra University Library Media Services >Audio/Video/Computer/Satellite >Event Services & Studio Production >dcicchet@vega.lasierra.edu > >There was a time, within the memory of some of us, >when American popular music was full of exaltation, pain & wit... >The raw intensity of Muddy Waters, >or the virile inventiveness of Duke Ellington.... > >- Robert Hughes >____________________________________________________ ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 16:32:06 ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 12:36:21 PDT From: Michael Suffern Subject: Re: Musicians and Computers I've worked places where most of the technical staff played some instrument. The higher ups almost never did, however. I don't think administration is a tatlent that musicians have naturally. They either must do it as a band leader, or, if they are technical professionals instead of full time musicians, they get pushed into it as the carrear path dictates. The creative impule is more satisfied by tinkering with circuits and code than overseeing others, preparing reports, and having meetings with VP's. The more musicians in the office, the more fun and vital the environment. A real damn the torpedoes, full speed ahead, attitude were anything could be accomplished. Fewer musicians, more carping and back biting, people needing to be given specifications before anything could be done, meetings, meetings, and more meetings. Younger, smaller companies, had more musicians. Young smaller companies are, generally, less organized and have less meetings, etc, too. But I think many of us musicians fear the bueracracy and stiffling environment of the large corporations - I know I do. My experience over the last few years has certainly soured me on them. One thing that bugged me was the bigger companies never or rarely gave a pat on the back or acknowledged the extra effort. It was very impersonal. As a musician, a moving performance will often bring compliments from the audience or fellow musicians. I think I need that in my work. I have always praised my coworkers for a job well done. I think that escapes many of the non-muscial types. Note that I say non-musical types because I don't think there is a great difference between one who loves music and one who plays it if the passion is there. I have a choice between a juicy position at a major electronics manufacturer, or a more tenuous spot consulting. Both involve multimedia and Web development. I don't think I can bring myself to do the big corporation thing, tough. I gues I'll have to check 'em both out and weigh the pros and cons - and think about my family. Of course, I didn't have any more time at home when I worked for the big guys than with the little guys. Salary and insurance may be the only difference and I suspect that might be slight. I now have to find a new job and there is considerable pressure to put me in a lead or management position because of my years of experience. It would mean more money and probably would be easier work but I want to create! I'm more interested in improving my job satisfaction than my salary. I can't afford to lower my salary, however, and I need to find a new job pretty soon to pay the mortgage. I hope that the reason that I'm in need of a new job at this time in space is because there is something better out there for me right now, and that I'll find it. There always seems to be a reason - someone's need (if not my own) that is served. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 12:36:21 ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 12:12:12 PDT From: Michael Suffern Subject: Re: The Blues-L Shopping Center P.W., It's your page, do whatever you want. It doesn't belong to the internet. If you were to abuse or tarnish the blues-l name, I and many others would choke your mailbox anyway (and from my short time here, I feel secure that you are going to do nothing if not enhance blues-l's reputation). Any complaints will arrive in your inbox anyway. It is a great thing you are doing. I agree with the criteria. If someone new has need of your service, they could try to convince you that they will be a contributor to blues-l. You are the judge. I think Barry's a bit off the mark on this one. Mike On Fri, 18 Aug 1995 13:13:07 -0400 Barry Silverberg wrote: >P.W. Fenton (pwfenton@GATE.NET) wrote: >: By "active" Blues-L members I mean to discourage the idea that all >: someone has to do is subscribe to Blues-l to get a free ad on the >: World Wide Web. That is not my intention at all. > > Not a very good idea Paul. It actually sets up some sort of > criteria that you alone determine worthy. I do realize that > it is your web-space but IMHO poor choice of a standard. . . . ------------------------------------------------------- Name : Michael A. Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 12:21:05 This message was sent by Chameleon ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 14:58:26 PDT From: Michael Suffern Subject: Re: first singing gig Yeah, you just do it. Pick the song you sing the best, with the most emotion. The one that takes you away it's so powerful. Then after 10 seconds, it's easy. You just do instead of thinking. If the song moves you, you'll have a good time. Mike On Thu, 3 Aug 1995 15:34:00 +0000 Pat Hertel wrote: > Playing in front of a crowd of people is a >sweaty experience but .. I don't really >know how to phrase the question ... how do >you sing in front of a crowd? How do you >get through that first time? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [3/8/95 11:31 AM] >"Thursday's always sad..." ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/21/95 Time: 14:58:26 ------------------------------------------------------- ========================================================================= Date: Mon, 21 Aug 1995 13:38:36 -0400 From: CATBAUER Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings Info from Jim O'Neal on the African String Band - I will ask about the Jelly Roll Kings also as that recording is one of my favorites and a new one would be great. Cat The New Africa String Band is: Big Jack Johnson, vocals & guitar; Lonnie Pitchford, vocals, guitar & diddley bow (one-string guitar); Kash Killion, vocals, cello & bass; and Michael Ward, violin. The band has recorded a CD for Rooster Blues which will be out around the end of the year. Eugene Powell also sings & plays guitar on a few tracks on the CD. The Chicago Blues Fest gig was the band's first public performance. They also have a tentative NYC booking in September. Catbauer@vivanet.com ========================================================================= Date: Mon, 21 Aug 1995 17:48:09 GMT-6 From: Eliot Williams Subject: Re: Piano Red > From: Peter Welch > Apart from Bear Family's huge boxed set, I've yet to see any > CDs with some of Piano Red's 50s recordings on Okeh and other > labels. The Arhoolie CD has a few live cuts from the late 50s, > but's that all I've seen on disc... > > Are there any CDs (Imports?) of Piano Red out there? Most of his best Okeh sides were released on vinyl a few years back (on Edsel I think). I've not seen this in the CD format yet, unfortunately. Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 21 Aug 1995 15:47:00 -0700 From: Ned Kraft Subject: Darrell Nulisch Been on the list for a week or so. Think I'll stay. Thanks for the Black Top lead. One of my most-played CD's is on their clearance list and I thought I'd recommend it - it's GREAT! BT-1070, Darrell Nulisch and Texas Heat - Business as Usual He used to front Anson and Ronnie Earl, but I haven't heard anything about him in a couple of years. I'd appreciate any info on his present activity. Dirty Ned Hoosier Daddys San Jose, CA a.k.a. ned_kraft@hp0000.desk.hp.com if ignorance is bliss, why aren't more people happy? ========================================================================= Date: Mon, 21 Aug 1995 17:03:46 PST From: Mike McCourt Subject: Re: Another Blues commercial I was channel surfin' Sunday and came across a Cosby show rerun. It must have been a later version as the son was old enough to be discussing marriage. What caught my eye (and ear) was B.B. King. He was playing the role of a bluesman named (I think) Mr. Johnson. He was sitting in the Cosby living room with 5 or 6 people, running riffs on Lucille, singing blues phrases. Someone asked him about his influences and B.B. mentioned T-Bone Walker. B.B. said he never met him but one night as he was playing, T-Bone walked in. Just as he was getting ready to show what he could do, B.B. fainted! I have no idea if that is a true story or just one made up for the character on the show, but it actually contained some real information about the blues history. Another interesting part was B.B. playing a song with his band, all the Cosby's were in the front row on a simulated nightclub set and a bunch of people were clapping on the first and third beats! All this time I thought it was cultural thing to clap on 1 and 3, maybe it has more to do with economic and class issues. :-) A lot more people probably saw that show than would ever see a commercial for beer or a telephone company. Blues definitely played a more prominent part. mmccourt@acuson.com _____ >AT&T has a new ad with a sort of swing Blues backing track. >We've hit the big time! ========================================================================= Date: Mon, 21 Aug 1995 18:55:06 -0500 From: "June V. Taylor" Subject: Delta Studies Symposium: The Blues II A CALL FOR PAPERS: The Department of English & Philosophy at Arkansas State University (Jonesboro) will hold a second interdisciplinary conference on the blues April 18-20,1996... Scholarly papers, organized panels, and creative multimedia presentations and demonstrations may come from any humanities and social sciences discipline, especially American studies, anthropology, folklore studies, history,literature,musicology,popular culture, and sociology. Though any topic relating to the blues will be considered, presenters might give special attention to pedagogical issues, the blues in literature and other media, women in the blues, blues stylists,and blues history. Proposals for papers should include a 250-word abstract; those for creative presentations should include a sampling of previous work...THE DEADLINE FOR SUBMISSIONS IS JANUARY 15, 1996. Send inquiries to: DELTA SYMPOSIUM COMMITTEE Department of English and Philosophy PO Box 1890 Arkansas State University State University,AR 72467-1890 Phone:501-972-3043 FAX:501-972-2795 email wclement@toltec.astate.edu or rburns@quapaw.astate.edu ========================================================================= Date: Tue, 22 Aug 1995 00:18:13 GMT From: David Garman Subject: Blues Histories Over the last couple of years I have become an avid blues listener, but now I am trying to learn more about the history and structure of the music I love. What suggestions do you have for books, videos, etc. that would help educate me? PS - I don't have prior training in music and have just started learning guitar basics. Many thanks. David Garman (dgarman@emerald.tufts.edu) ========================================================================= Date: Mon, 21 Aug 1995 17:21:13 -0800 From: Michael Hewitt Subject: Re: Hesitation Blues At 5:22 PM 8/21/95, Cliff Warnken wrote: >Charlie Poole and the North Carolina Ramblers do a great string band version of >this tune as "If the River Was Whiskey" (originally on Columbia 15545-D, must >be out on CD somewhere, maybe on the County label). > > >Cliff Warnken Is the same song known as "Divin' Duck Blues"? I believe the first verse went something like: If the river was whiskey And I was a divin' duck If the river was whiskey And I was a divin' duck I would jump back in the water And baby I would never come up I seem to remember Taj Mahal covering DDB at one time. Are these songs related or am I in Oz again? Thanks, Mike Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 21 Aug 1995 21:26:44 -0400 From: Maria Wegscheid Subject: Re: Dirty Dishes On Mon, 21 Aug 1995 Shannon_OConnor_at_ED__SWPCO@SWPCO.COM wrote: > Is "Dirty Dishes" an Albert Collins song? > > Thanks! > > > Shannon > Dirty Dishes is on Collin's Cold Snap album -- something that has rarely left my cd player in the past few weeks. The more I listen, the more I love it. Unfortunately, I'm at work and I can't tell you if Collins wrote the tune. Albert Collins is someone that I don't see discussed much on the list but personally happen to miss terribly. What do you all think of him? And while on the subject: I was watching a reasonably bad Rebecca DeMornay/Mary Gross movie the other day on Fox called "Feds". In the scene where they're drinking in a bar (of course) Albert Collins is on the jukebox. Maria ========================================================================= Date: Mon, 21 Aug 1995 22:33:26 -0400 From: Cliff Warnken Subject: Hesitation Blues & Divin' Duck Blues These aren't the same song, though Charlie Poole's "Hesitation" does start out with the verse about the river being whiskey, duck diving to the bottom and never coming up, etc. These and other "floating" lines found their way into a lot of old songs, especially well-known and often modified ones like "Hesitation" and "Divin' Duck." Folk singers of the '60's worked both of these themes a lot, too. Cliff Warnken ========================================================================= Date: Mon, 21 Aug 1995 22:37:24 -0400 From: "Terry L. Odor" Subject: WWW & No Mail I'm only getting 1 - 2 postings a day from Blues-L... I think AOL is ... um.... messing up or something. Anyway I have a very modest home page, monthly ramblings about the blues with links to some places we've all been to, I'm sure! http://www.teleport.com/~tlo/ Later Terry ========================================================================= Date: Mon, 21 Aug 1995 23:47:00 CDT From: "" Subject: Re: larry mccray No way. I just spoke to him this evening. He is very much alive. However, blues legend Jesse Thomas did pass away last week. Well miss him greatly. Richard Chalk TopCat ========================================================================= Date: Mon, 21 Aug 1995 23:59:00 CDT From: "" Subject: NOMAIL I'm off to a trade show in Atlanta for the rest of the week. So, I'm setting the blues-l to nomail. If anyone wants to contact me, please e-mail me at blueman@computek.net or direct to topcat@computek.net. NOT THRU BLUES-L. Thanks. Richard Chalk TopCat Records ========================================================================= Date: Tue, 22 Aug 1995 02:05:21 -0400 From: THACKERE-MON1 Subject: New address I have switched E-mail systems. My old address was: THACKERE@MONROE-EMH1.ARMY.MIL My new address is: THACKERE@EMH10.MONROE.ARMY.MIL Your most recent note was forwarded to the new address. Please note the new address for future correspondence. ========================================================================= Date: Tue, 22 Aug 1995 01:00:02 PDT From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, JOHN LEE HOOKER "KINDA UPTEMPO THING, WITH THE BIG BEAT TO IT" ~ John Lee Hooker JOHN LEE HOOKER was born on Wednesday, August 22, 1917, Clarksdale, MS., though he now says he was born in 1920. He grew up in Vance, MS. "By the time blues singer and guitarist John Lee Hooker made his recording debut in 1948 and had a national hit with "Boogie Chillen," he was already an anachronism. Except for his thunderous electric guitar, Hooker's one-and two-chord modal stylings sounded much like those of a Delta blues artist from the 20s. This was not surprising, since Delta legend Charley Patton was Hooker's childhood inspiration. But Hooker's music was altogether more fierce and rhythmic, solo for the most part, coupled with his dark, hypnotic voice on one end and his relentless foot-stomping on the other. Over the years he recorded with full band support, though he never really found one to keep up with his odd approach to meter and his violent bursts of solo guitar. Recording right up to the present time for seemingly every large and small blues label that's ever existed (and with little to no variation in his approach), Hooker's music is raw, riveting, doom-laden Mississippi blues which demands much from the listener. One of the great emotional listening experiences in the blues, John Lee Hooker stands alone as a true creative original, often imitated but never equaled." ~ Cub Koda "BOOGIE CHILDREN : A GUIDE TO JOHN LEE HOOKER ON DISC (1948-1992)" by Les Fancourt, is the single best discography of his music & every fan of his music should have a copy. How else do you know what you're missing! This 62 page discography is available from BLUES & RHYTHM PUBLICATION, 13 Ingleborough Drive, Morley, Leeds LS27 9DT, United Kingdom for just U.S.$5.00. or email Tony Burke for more details. JOHN LEE HOOKER (mostly) CD DISCOGRAPHY : (correctins/additions welcomed) ============================================================================= ACE CD 315 JOHN LEE HOOKER - LEGENDARY MODERN RECORDINGS 1948-54 ACE CD 405 JOHN LEE HOOKER - BLUES BROTHER (Specialty sides) ACE CD 421 JOHN LEE HOOKER - GRAVEYARD BLUES (Specialty sides) ACE CD 474 JOHN LEE HOOKER - EVERYBODY'S BLUES (Specialty sides) ACE CD 530 JOHN LEE HOOKER - ORIGINAL FOLK BLUES ... PLUS ACE CD 927 JOHN LEE HOOKER - THAT'S MY STORY/THE FOLK BLUES OF ACE CD 938 JOHN LEE HOOKER - LIVE AT SUGARHILL V. 1 & 2 ACE STAX CD 064 JOHN LEE HOOKER - THAT'S WHERE IT'S AT! ALLIGATOR CD 4801 CHARLIE MUSSELWHITE - SIGNATURE (1 cut) ANTILLES CD 422-846-813 SOUNDTRACK - THE HOT SPOT (w/Miles Davis) ATLANTIC CD 82365 JOHN LEE HOOKER - DON'T TURN ME FROM YOUR DOOR AUDIO LAB CD 1520 STICKS MCGHEE/JOHN LEE HOOKER - HIGHWAY BLUES BGO CD 39 JOHN LEE HOOKER - LIVE AT THE CAFE AU GO GO BGO CD 40 JOHN LEE HOOKER - SIMPLY THE TRUTH BGO CD 42 JOHN LEE HOOKER - FREE BEER AND CHICKEN BGO CD 122 JOHN LEE HOOKER - URBAN BLUES BLIND PIG CD 02687 ROY ROGERS - SIDEWINDER (1 cut) BLUE KNIGHT CD 011 JOHN LEE HOOKER - HOOK, LINE AND SINKER (live) BLUE MOON CD 070 JOHN LEE HOOKER - NOTHING BUT THE BLUES BLUE MOON CD 082 JOHN LEE HOOKER - THE CHESS MASTERS BLUE ROCK'IT LP 107 DEACON JONES - LET'S TALK ABOUT THE BLUES (1 cut) BLUE THUMB LP 6004 VARIOUS- VOCO PRESENTS THE SOUL OF THE BAY AREA(1 cut) CAPITOL CD upcoming JOHN LEE HOOKER - 1948-1954 (3CD) CASTLE CD 189 JOHN LEE HOOKER - WANDERING BLUES (Red Lightnin' lp) CASTLE CD 410 JOHN LEE HOOKER - THE COLLECTION (Modern sides) CEMA CD 9771 JOHN LEE HOOKER - TURN UP THE HEAT! CHAMELEON CD 74808 JOHN LEE HOOKER - THE HEALER CHARLY CD 4 JOHN LEE HOOKER - BOOGIE CHILLUN CHARLY CD 7 JOHN LEE HOOKER - THIS IS HIP CHARLY CD 19 JOHN LEE HOOKER - MAMBO CHILLUN CHARLY CD 38 JOHN LEE HOOKER - BLUES FOR BIG TOWN CHARLY CD 45 JOHN LEE HOOKER - SHAKE IT UP BABY CHARLY CD 62 JOHN LEE HOOKER - HOUSE RENT BOOGIE CHARLY CD 106 JOHN LEE HOOKER - CREAM CHARLY CD 170 JOHN LEE HOOKER - LET'S MAKE IT CHARLY CD 245 JOHN LEE HOOKER - DON'T YOU REMEMBER ME (Texas Slim) CHARLY CD 1038 JOHN LEE HOOKER - BOOM BOOM CHARLY CD BM 7 JOHN LEE HOOKER - THIS IS HIP CHARLY CD BM 19 JOHN LEE HOOKER - MAMBO CHILLUM CHARLY CD BM 38 JOHN LEE HOOKER - BLUES FOR BIG TOWN CHARLY CD BM 45 JOHN LEE HOOKER - SHAKE IT BABY CHARLY CD BOX 6 JOHN LEE HOOKER - VEE JAY YEARS 1955-1964 CHARLY CD DIG 5 JOHN LEE HOOKER - THE BOOGIE MAN (3CD) CHARLY CD RB 10 JOHN LEE HOOKER - WHISKEY AND WIMMEN CHARLY CD RED 5 JOHN LEE HOOKER - HOUSE OF THE BLUES CHASE CD 6001 JOHN LEE HOOKER - JEALOUS (Pulsa sides) CMA CD 8003 JOHN LEE HOOKER - COAST TO COAST LIVE COLLECTABLES CD 5151 JOHN LEE HOOKER - GOTHAM GOLDEN CLASSICS COLLECTABLES CD 5316 JOHN LEE HOOKER/EDDIE BURNS - DETROIT BLUES 1950/51 CROSSCUT CD 1020 MICHAEL OSBORN - COLD HEARTED GIRL (1 cut) DCC CD 042 JOHN LEE HOOKER - 40TH ANNIVERSARY ALBUM DEJA VU CD 113 JOHN LEE HOOKER - GOLD COLLECTION DELUGE CD 3001 EDDIE KIRKLAND - ALL AROUND THE WORLD (2 cuts) DEMON FIEND CD 154 JOHN LEE HOOKER - THE DETROIT LION DRIVE ARCHIVE CD 41001 JOHN LEE HOOKER - KING OF THE BOOGIE ELEKTRA CD 74808 JOHN LEE HOOKER - HEALER EMI CD 97897 JOHN LEE HOOKER/CANNED HEAT - HOOKER 'N HEAT (2CD) EVIDENCE CD 26004 JOHN LEE HOOKER - GET BACK HOME FANTASY CD 24706 JOHN LEE HOOKER - BOOGIE CHILLUN FANTASY OBC CD 538 JOHN LEE HOOKER - SINGS THE BLUES-THAT'S MY STORY FANTASY OBC CD 542 JOHN LEE HOOKER - COUNTRY BLUES OF FANTASY OBC CD 555 JOHN LEE HOOKER - BURNING HELL FLAIR CD 39658 JOHN LEE HOOKER - LEGENDARY MODERN RECORDINGS FLYRIGHT CD 23 JOHN LEE HOOKER - DETROIT BLUES 1950-1951 GNP CRES CD 10007 JOHN LEE HOOKER - BEST OF (Vee Jay sides) GOPACO CD 265 JOHN LEE HOOKER - DIMPLES INSTANT CD 5009 JOHN LEE HOOKER - BOOGIE MAN JCI CD 3503 JOHN LEE HOOKER - BEST OF JEWEL CD 5005 JOHN LEE HOOKER - I FEEL GOOD JIMI HENDRIX REF.660040 VARIOUS - RED HOUSE (1 cut) JUST A MEMORY CD 0001 JOHN LEE HOOKER - RISING SUN COLLECTION (live,1977) KING CD 469 JOHN LEE HOOKER - MISSISSIPPI RIVER DELTA BLUES KRAZY KAT CD 05 JOHN LEE HOOKER - 1948-1953 LRC CD 9077 VARIOUS - BLUES MEN (2CD) (5 live cuts w/Willie Dixon) MAGNUM CD 70 JOHN LEE HOOKER - NOTHING BUT THE BLUES MAINSTREAM CD 903 JOHN LEE HOOKER - HALF A STRANGER MCA CD 1686 JOHN LEE HOOKER - TANTALIZING WITH THE BLUESW MCA CD 9199 JOHN LEE HOOKER - PLAYS & SINGS THE BLUES MCA CD 9258 JOHN LEE HOOKER - HOUSE OF THE BLUES MCA CD 9271 JOHN LEE HOOKER - REAL FOLK BLUES MCA CD 9329 JOHN LEE HOOKER - MORE REAL FOLK BLUES MCA CD 10413 JOHN LEE HOOKER - ENDLESS BOOGIE MCA CD 10539 JOHN LEE HOOKER - BEST OF 1965-74 MCA CD 10710 B. B. KING - BLUES SUMMIT (1 cuts) MCA CD 10760 JOHN LEE HOOKER - URBAN BLUES MCA CD 18335 JOHN LEE HOOKER - COMPLETE FOLK BLUES SESSIONS MCA CD 31361 JOHN LEE HOOKER - NEVER GET OUT OF THESE BLUES ALIVE MOBILE FIDELITY CD 567 JOHN LEE HOOKER - THE HEALER MUSE CD 6009 JOHN LEE HOOKER - SAD & LONESOME MUSIDISC CD 500512 JOHN LEE HOOKER - I WANNA DANCE ALL NIGHT OFFICIAL CD 86029 JOHN LEE HOOKER - BOOGIE CHILLUN OFFICIAL CD 86065 JOHN LEE HOOKER - COLD CHILLS ONE WAY CD 22136 JOHN LEE HOOKER - SIMPLY THE TRUTH ONYX CLASSIX CD 261087 JOHN LEE HOOKER - DOWN AT THE LANDING OPTIMISM LR CD 2019 VARIOUS - AMERICAN FOLK BLUES FESTIVAL'62 (3 cuts) POINTBLANK CD 40107 JOHN LEE HOOKER - CHILL OUT POINTBLANK CD 40116 VARIOUS - DANCELAND YEARS (5 cuts by JLH) POINTBLANK CD 86237 JOHN LEE HOOKER - MR. LUCKY POINTBLANK CD 86553 JOHN LEE HOOKER - BOOM BOOM POINTBLANK CD 92146 JOHN HAMMOND - GOT LOVE IF YOU WANT IT (1 cut) POLYGRAM 314 519 219 VAN MORRISON - TOO LONG IN EXILE (2 cuts) POLYGRAM GITANES517 514 LIGHTNIN' HOPKINS - IT'S A SIN TO BE RICH (5 cuts) PRIME CUTS CD 1329 JOHN LEE HOOKER - TROUBLE BLUES RED LIGHTNIN' CD 0093 JOHN LEE HOOKER - NO FRIEND AROUND RELIX 2005 KINGFISH (1 cut) (lp only?) RHINO CD 70387 JOHN LEE HOOKER - ALONE (2 CD) RHINO CD 70388 JOHN LEE HOOKER - CREAM RHINO CD 70396 ALBERT KING/JOHN LEE HOOKER - I'LL PLAY THE BLUES ... RHINO CD 70572 JOHN LEE HOOKER - ULTIMATE COLLECTION 1948-90 RHINO CD 71659 JOHN LEE HOOKER - EARLY YEARS RHINO CD 71915 JOHN LEE HOOKER - VERY BEST OF RHINO CD 75776 JOHN LEE HOOKER/CANNED HEAT - HOOKER 'N' HEAT (LIVE) RST CD 33016 JOHN LEE HOOKER - WALKING THE BOOGIE (Chess sides) RST CD 33025 JOHN LEE HOOKER - HOBO BLUES (Chess sides) SEE FOR MILES CD 89 JOHN LEE HOOKER - NEVER GET OUT OF THESE BLUES ALIVE SEE FOR MILES CD 234 JOHN LEE HOOKER - HOOKER 'N' HEAT (w/CANNED HEAT) SEQUEL CD 657 JOHN LEE HOOKER - THE 1965 LONDON SESSIONS SILVERTONE CD 508 JOHN LEE HOOKER - THE HEALER SONY/COLUMBIA CD 46083 BRANFORD MARSALIS-I HEARD YOU TWICE THE 1ST TIME(1cut) SONY/LEGACY CD 64605 SANTANA - DANCE OF THE RAINBOW SERPENT (3CD) (2 cuts) SPECIALTY CD 7018 JOHN LEE HOOKER - GRAVEYARD BLUES SPECIALTY CD 7035 JOHN LEE HOOKER - EVERYBODY'S BLUES SPOTLITE CD 15116 JOHN LEE HOOKER - I FEEL GOOD STAX CD 4134 JOHN LEE HOOKER - THAT'S WHERE IT'S AT! SWINGIN' PIG CD 075 ROLLING STONES (1 cut) SWINGIN' PIG CD 145 JOHN LEE HOOKER - MILL VALLEY 92 (TV broadcast) TOMATO CD 2696602 JOHN LEE HOOKER - ALONE (2CD) VEE JAY CD 713 JOHN LEE HOOKER - ON VEE JAY 1955-58 VIRGIN CD 39658 JOHN LEE HOOKER - LEGENDARY MODERN RECORDINGS VOGUE CD 600629 JOHN LEE HOOKER - SAD & LONESOME WARNER BROS. CD 25088 HANK WILLIAMS, JR. - LIVE : MAJOR MOVES (1 cut) WARNER BROS. CD 25389 SOUNDTRACK - THE COLOR PURPLE (1 cut) ========================================================================= Date: Tue, 22 Aug 1995 04:25:52 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 22nd ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CASTON, LEONARD"BABY DOO"(p/WILLIE DIXON) d. 1987-0822, MINNEAPOLIS, MN 70 DAVIES, DEBBIE (g/BLIND PIG REC) b. 1952-0822, LOS ANGELES, CA DEBARGE, JAMES (of DEBARGE) b. 1963-0822, GRAND RAPIDS, MI FAVORS, MALACHI (b/AACM/WILLIE KENT) b. 1937-0822, CHICAGO, IL FLEAGLE, BRICK (arr/LUNCEFORD) b. 1906-0822, HANOVER, PA GODWIN, HARRY EASTON (blues promoter) b. 1906-0822, WASHINGTON, DC GRANDERSON, JOHN LEE (hca) d. 1979-0822, CHICAGO, IL 66 HARRIS, EDWARD P. "CAROLINA SLIM" (g) b. 1923-0822, LEASBURG, NC HAWKINS, DALE (DELMAR ALLEN HAWKINS) (g) b. 1938-0822, GOLDMINE, LA HOOKER, JOHN LEE (g/NOT 1917) b. 1920-0822, VANCE, MS MCTELL, KATE [RUTHY KATE WILLIAMS] (v) b. 1911-0822,?SAVANNAH, GA MITCHELL, ANDREW "SUNBEAN" (CLUB PARADISE)d. 1989-0822, MEMPHIS, TN 83 MYERS, HUBERT "BUMPS" (tsax/bsax) b. 1912-0822, CLARKSBURG, W. VA NEWTON, HUEY [HUEY PERCY NEWTON] d. 1989-0822, OAKLAND, CA 47 RILEY, JUDGE LAWRENCE (d/ARTHUR CRUDUP) d. 1977-0822, CHICAGO, IL 68 SHELTON, ROSCOE (v/SIMS REC) b. 1931-0822, LYNCHBURG, TN SIMS, HENRY "SON" (vln/PATTON/MUDDY) b. 1890-0822, ANGUILLA, MS SPIVEY, ADDIE "SWEET PEAS" (v) b. 1910-0822, HOUSTON, TX THOMAS, HOCIEL (p) d. 1952-0822, OAKLAND, CA 48 THOMPSON,ALPHONSO"SONNY"(p/prod/KING REC) b. 1916-0822, CENTREVILLE, MS ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 22 Aug 1995 09:57:49 GMT From: tdevit3@IBM.NET Subject: Re: Dirty Dishes In , BMPECH@MSCD.EDU writes: >On Mon, 21 Aug 1995, L W wrote: > >> ----------------------------Original message---------------------------- >> You wrote: >> > >> > Is "Dirty Dishes" an Albert Collins song? >> > >> >> >AC did a song titled "Too Many Dirty Dishes," on his Cold Snap >> >album. Not sure if he wrote it though--the CD I have doesn't >> >give specific credits. >> >> I think that's such a cool tune, all the time he's complaining about the > dishes >> he keeps on washing them....I also like Mastercard....I usually don't care for >> what I call "novelty songs" like Little Charlie does alot of, but I do like > the >> Albert Collins "novelty tunes"..... >> >> LW > >I know Ms. Collins wrote "Mastercard [or Mastercharge];" it sounds like >she may have written "Too Many Dirty Dishes" too. > >BP Boulder, CO Another Albert 'novelty' I really enjoy is 'Snowed In' on the Frostbite album, played LOUD!! ========================================================================= Date: Tue, 22 Aug 1995 08:33:02 EST From: "Steven G. Toney" Subject: From Geetar to Bass Delete now if you aren't into playing...tech talk. My question for all you players out there is this... I've been a living room player for 3 1/2 years now and am quite unaccomplished and have not had time to get into any technical details about music...just listen and play...lucky if I get an hour every other day with my guitar. I know the blues patterns pretty well and mess around lots with blues improvisation and all, but what about playing bass? Since I know some guitar basics, is it easy to transition to bass? I get together now and then with a couple other guys who are much better players than I am. I was thinking that we could do something fun if one of us (me) could do a little bass. Advice? Opinions? Steve Toney ========================================================================= Date: Tue, 22 Aug 1995 08:55:52 EDT From: george morales Subject: sonny landreth radio concert in Chicago I obtained this information from a listserv (radio-concerts).On Aug 27, 1995 radio station WXRT will broadcast a concert by Sonny Landreth.They have a home page on the WWW at http://www.wxrt.com.If anyone on this list will record this broadcast for me, I will pay for the tape and postage. Thanks, George ========================================================================= Date: Tue, 22 Aug 1995 08:03:32 CST From: William Shute Subject: new Lowell Fulson album! From: Bill Shute LOWELL FULSON "Them Update Blues" Bullseye Blues (Rounder) CD BB 9558 I try to avoid using terms like "the most" or "the greatest" because there's room for MANY people who are great IN DIFFERENT WAYS in the blues. Sometimes I think that we don't really realize how fortunate we are with such a wealth of talent and experience and WISDOM and joy surrounding us in the blues music world. Thankfully, Bullseye Blues and producer Ron Levy realize what a national treasure we have in Lowell Fulson, who is still as strong, vibrant, exciting, and hip as ever. Next year, l996, will be the FIFTIETH anniversary of Fulson's recording debut! Fulson's l946 recordings with his brother Martin are classic "electric country- evolving-into-urban postwar" blues that still hit hard today. So does this new release. Ron Levy has (to me at least) been guilty of overproduction and of smothering some artists in a sea of background on a few sessions, but usually he's right on, and here he keeps it stripped down to a lean LA rhythm section, the ubiquitous Memphis Horns (always welcome!), and Levy's churchy, rich-sounding Hammond B-3 organ. The emphasis throughout is kept squarely on Fulson's understated yet passionate vocals (talk about a voice of experience!) and his intriguing yet economical gtr lines, which always create an interesting counterpoint (or "contrast" if you will) with the rest of the band. As one perceptive blues-l-er commented to me privately recently, Fulson's playing on the late 40s Swingtime sides is rooted in T-Bone Walker but branching out into a style that Chuck Berry hadn't even begun to play yet. The sound here is "classic"--with the clarity and power of 90s recording, yet with the soul and the smoldering fury of ALL Fulson's recordings. I don't have the album with me now and I've only played it twice so far, but anyone whose roots are in the postwar westcoast blues world will not need a song-by-song analysis (and by the way, they are all either written or co-written by Lowell) and will not regret spending the twelve to fifteen bucks this CD will set you back. Eat macaroni& cheese for a few days, drink iced tea or ice water, write your mom a letter instead of calling her long distance--save the bucks to indulge in QUALITY in the phase of life that REALLY matters. Don't wait for some hack to proclaim this a classic in some coffee-table "Blues on CD" tome...discover it yourself! On a related note, I finally DID find another "Night TRain" label collection of Fulson's Swingtime-label masters (thanks to all those who gave me label info on this mysterious outfit!). Been playing that almost all the time, which has led me to start getting into Pee Wee Crayton's "Modern" label sides some of which I have on an old "Ace" lp and a recent P-Vine CD. And of course the T-Bone Walker 3-CD Black & White Capitol set is still high on my personal charts. Ahhhhhh, that west coast sound! Bill Shute "in a heavy bag" in San Antonio, TX ========================================================================= Date: Tue, 22 Aug 1995 15:21:34 0200 From: Vincent Vialard Subject: Re: From Geetar to Bass "Steven G. Toney" wrote: > playing bass? Since I know some guitar basics, is it easy to > transition to bass? I went from guitar to bass about 3 years ago, just 'cause I fell in love with bass, after filling in (like you're about to do) in lack of a real bassist. I still play a little guitar, mostly for composing & singing along. It sure helps to know where the notes are on the neck & to have developped your left hand technique... but bass playing, especially in blues, is mainly a right hand business... It is a different instrument, with a different role. I began as a guitarist playing bass (too many notes, poor groove) and slowly turned into a real bassist (less & better chosen notes, better groove - ? - hope so). You gotta think different - think BASS :) You have advantages compared to a real beginner, but a drummer would have others... So: keep it simple, make it groove, work, work, work... Vincent. ========================================================================= Date: Tue, 22 Aug 1995 08:30:27 CST From: William Shute Subject: Frederick Knight on Stax reissue From: Bill Shute Aside from the legendary "big names" of Stax-Volt, Frederick Knight-- a Birmingham-rooted artist who joined the label in l972--certainly has one of the most instantly-recognizable sounds of early 70s soul. The rich percussive textures and especially his patented falsetto vocals make most of his records stand out in a crowd...but then this is supposedly how he got signed to Stax initially. According to Rob Bowman's brilliant book that accompanied the third Stax-Volt box, Knight had been sending tapes to various people at Stax for some time (he had various one-off singles for a few years previous), and while he was encouraged and told that he had a lot of talent (he also writes most of his material, and went on to write hit material for others such as Shirley Brown), they said that a new artist needed a unique, attention-getting "sound" to get noticed and that Knight ALMOST had it, but was lacking that strange ineffable "kink"' to his material that would make him an identifiable persona while people listened to the radio. According to Bowman, Knight evidently got to the point where he felt that he'd give 'em "distinctive" in spades if that's what was wanted, and he came up with "I"ve Been Lonely Too Long" with its attention-getting falsetto vocal, unique percussion textures, and right before each chorus a low, Coasters-like vocal grumble from someone who presumably is NOT Mr. Knight! Anyone who listened to soul radio in the early 70s can't help but remember this song. I still remember the first time I heard it-- I put down whatever I was doing at the time, and came over to my radio and listened. At the time I felt it was a bit gimmicky, but sure enough I had purchased the 45 within a week...just like the Stax brass who signed Knight immediatelly upon hearing the demo of this tune KNEW I and millions of others would! Fantasy reissued Knight's l973 album on CD, and it's a refreshing collection of 72-73 recordings, with his first few Stax singles-- some of which tried interesting new ground, some of which tried to "follow-up" the hit, some of which tried to sound a bit more traditional...all hold up really well today, as do lesser-known tracks such as his interesting re-structuring of "Someday We'll Be Together." BTW, these recordings were made in Birmingham, not in Memphis. Which leads me to the next point...Knight did eventually come to Memphis to record, as Stax was dying financially. In its last year or two, as artists left the label in droves, Knight was viewed as a reliable and creative artist who was capable of coming up with more hits. I never could find any of the later singles back then (post-73 Stax 45s never showed up much in the used markets in places where I lived), but fortunately they are on the Stax-Volt box #3 (Knight stayed with Stax until the end). However, why were they not included on this 38-minute CD? The b-sides of those singles still haven't been reissued and even a semi-dedicated fan like me has never heard them. With the eight songs from the four post-album singles, this CD would still be under seventy minutes. What's the excuse, people at FAntasy? I wonder if the European reissue of these sides DID include any extra non-lp trax? How 'bout it, my Euro soul friends? Whatever, this CD is still quite a worthwhile affair. I can't think of anyone who made records that sound remotely like Mr. Knight's, and as I said they have dated VERY well. FREDERICK KNIGHT "I've Been Lonely Too Long" Stax (Fantasy)SCD 85642 (reissue of STS 3011) Bill Shute San Antonio, TX (too far from Memphis!...and Birmingham too!!) ========================================================================= Date: Tue, 22 Aug 1995 09:40:01 -0400 From: CATBAUER Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings On my way in a few hours to spend the day with Jack & Roger Montgomery. Anyone have questions they'd like me to ask? Will check my e-m before I leave. Cat Catbauer@vivanet.com ========================================================================= Date: Tue, 22 Aug 1995 10:00:20 -0400 From: BluesThang Subject: Stevie Ray Vaughan Memorial******************** BluesChat presents "Remembering Stevie Ray" via AOL. It was 5 years ago that Stevie Ray Vaughn left us. Join SRV's Band "Double Trouble" online in a memorial that you can not miss. Tommy Shannon, Chris Layton, Reese Wynans (band members) and other special guests. SUNDAY, AUG. 27, 1995 at 10:00 PM Eastern (USA). Brought to you by the folks at BluesChat. For more info: contact Beverly Howell-- (502) 845-2345 or (502) 845-7606 fax. On AOL go to "CenterStage". See you there ! Thanks, Bruce (BluesThang@aol.com) ========================================================================= Date: Tue, 22 Aug 1995 09:06:48 CST From: William Shute Subject: Mike Stockton and the Rhythmators(TX) From: Bill Shute I had not heard of this Fort Worth-based band before they played in San Antonio last weekend, although they used to play at Pearl's Oyster Bar in Austin (which, after having burned down last year, is almost open again) so I SHOULD HAVE...and alas, it was MY loss as they are a firstrate Texas R&B unit that others NEED to know about. Stockton's credentials include stints with ZZ Hill, Gregg Allman, and during the mid-late 70s with Delbert McClinton in a band that included San Antonio's own Chris Holzhaus on gtr (Mike plays bass). Unfortunately, I had to leave after about 70 minutes of music, but what I did see was quite impressive. The band is "fronted" by vocalist/harp player Randy Ray Pope (who, to me, looks vaguely like Peter Fonda!...a high compliment indeed!), a dynamite performer who has a VERY soulful voice, blows a mean harp, and could easily be running his own band. Whether re-interpreting a standard like "Unchain My Heart" (a great version--they ought to record it on the next album!) or handling one of Mike Stockton's fine original compositions (which run the gamut from pure Texas blues to Texas blue-eyed soul a la Roy Head or Delbert), Mr. Pope had the crowd enthralled.Stockton, a modest man on stage who seems completely into the music, held things together with his signature bass playing, while guitarist Brent Seaman has the maturity to NOT overplay or indulge in meaningless show-off wanking as do so many guitarists today...all the while keeping the music blues-steeped with his interesting fills and hot-tempered solos. Overall, Mike Stockton and the Rhythmators were quite satisfying and I can still hear in my mind some of his original compositions. I think that he could branch into songwriting-for-others while he continued to lead his own band (a la Fred James), his songs are so good and so free-of-cliches. And in Randy Ray Pope (so modest as to not even tell the audience his name, while pointing out the accomplishments of the other band members) the Stockton band has one of the best PERFORMERS I've seen recently. Check 'em out! The band also has a CD available, that has been out for about a year, although I hadn't seen a copy before and I'd guess you reading this in Massachusetts or Sweden or Canada or Florida probably haven't seen it either, so here's some info about it. MIKE STOCKTON (featuring the Rhythmators with Randy Ray Pope) "It's My Soul" Azure Productions DDS 1131 all compositions by Mike Stockton available for $15 plus postage from Azure Productions, 113 N. Cleburne St., Granbury, TX 76048. The "It's My Soul" album is a wonderful collection of Stockton compositions played by essentially the same band I saw live. If there were any justice in the world, this commercially-appealing music--solid Texas R&B but with tasty and well-arranged horns-- would be played regularly on the radio. Whether it be smokin' tracks like 'Waitin Too Long' or the assertive title track, or the beautiful slow song "October Afternoon," which I can still hear in my head from Saturday Night's live show, every track is a winner. If you're looking for a lot of meaningless flash or something appealingly crude or something primitive and non- professional, you won't find it here. This is mature, well-played, VERY well-arranged, very professional Texas R&B that is also quite commercially viable--with a few changes in attitude and sound, I could easily hear the album coming out on Black Top. Yet another great Texas band deserving of a wider audience. I'd drive to Austin to see these guys again...and I hope to see them again soon. I spoke with most of the band and for quite some time with keyboard player Robert Cadwallader, so I hope to keep informed on their future plans (3 songs are recorded for a follow-up album, and the always-composing Mr. Stockton has written a few others that haven't been waxed yet) and I'll keep YOU ALL informed also. Thanks to Chris Holzhaus for giving this band a prestige Saturday Night booking, as the crowd was quite large and it will surely give the band a lot of positive word-of-mouth exposure here in the Alamo City. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 22 Aug 1995 09:11:16 CDT From: L W Subject: Copyright Questions PLEASE We're (my wife & I, she don't know yet :-)) are considering doing a Blues Presentation for the local libraries. I see too many Kenny G and Sade CD's in the library where (IMHO) there should be blues. So I'm considering a short program on the blues to educate those who have no idea of the/their heritage. My question is: Is it legal to show videos (ie Son House, Buddy Guy, Bukka.etc) during this presentation as long as I am not charging anything it will of cours be FREE to the library patrons....etc. Would that fall under "Public Performance" and break copyright laws...? THANKS LW 'trying to spread the word, where it needs to be spread IMHO' ========================================================================= Date: Tue, 22 Aug 1995 09:33:44 -0600 From: Ranko Vujosevic Subject: Blues in Iowa City For those in the area.... Johnson County Blues Society is sponsoring the following events: 1. SATAN and ADAM live in the Wheelroom, (Iowa Memorial Union) on September 2, 8:00 pm. Advance tickets $6 ($5 for JCBS members) Call 319/354-4239 2. Lecture by Dr. Harry Oster on his folk field recordings in Louisiana. Iowa City Public Library, September 20, 7:00 pn. Free admission Part of JCBS's "Blues in the Library" program (lectures, free workshops, donating blues CDs and books, etc.) Ranko ========================================================================= Date: Tue, 22 Aug 1995 10:50:14 -0400 From: Garry Segal Subject: Van Mo''/Dan Penn Uh oh more possible flames but here goes... The new Van Morrison CD There 'll Be Days Like This is great and soulful. The production reminded me of the DannPenn CD , stripped down, cool horns gospel backround vocals. Van just keeps pumping out great songs and neglecting pop trends . Highly recommend for fans of good new soulful music . Take care, Garry BlueSngr@aol.com Bandpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Tue, 22 Aug 1995 10:57:09 -0400 From: Rick Miller Subject: Cable FM blues That cable FM service sounds quite interesting. I've have had cable FM for more than ten years, but it is quite different and costs nothing. I have always split my 75 ohm co-ax TV cable so that a line runs into the back of my tuner on my home stereo. By doing so, I don't have to deal with any of the noise static, and signal weakness/fluctuations that come with a standard antenna, like one of those split wires. I get every station, and I mean EVERY station in central and eastern Massachusetts with an absolute MAX signal on my strength meter, AND I get the audio from several satellite TV channels like HBO, VH1, and a few others. It allows my to pick several listener-supported stations in the area that play BLUES, that I otherwise would not get at all because central Mass is so hilly signals just don't go very far with low wattage. That's how I get *MY* FM blues. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 22 Aug 1995 10:13:52 PDT From: rjbauman@IQUEST.NET Subject: Re: Copyright Questions PLEASE Hey, like Nike says, "JUST DO IT." If it is done in schools, why not in libraries? This is an educational deal, right? RJ Bauman >We're (my wife & I, she don't know yet :-)) are considering doing a Blues >Presentation for the local libraries. I see too many Kenny G and Sade CD's >in the library where (IMHO) there should be blues. > >So I'm considering a short program on the blues to educate those who have no >idea of the/their heritage. > >My question is: Is it legal to show videos (ie Son House, Buddy Guy, Bukka.etc) >during this presentation as long as I am not charging anything it will of cours >be FREE to the library patrons....etc. > >Would that fall under "Public Performance" and break copyright laws...? >THANKS > >LW 'trying to spread the word, where it needs to be spread IMHO' > ========================================================================= Date: Tue, 22 Aug 1995 10:26:36 PDT From: rjbauman@IQUEST.NET Subject: Re: HAPPY BIRTHDAY, JOHN LEE HOOKER I have a good one on Pilz, released a couple years ago. ================== POINTBLANK CD 40107 JOHN LEE HOOKER - CHILL OUT POINTBLANK CD 40116 VARIOUS - DANCELAND YEARS (5 cuts by JLH) POINTBLANK CD 86237 JOHN LEE HOOKER - MR. LUCKY POINTBLANK CD 86553 JOHN LEE HOOKER - BOOM BOOM POINTBLANK CD 92146 JOHN HAMMOND - GOT LOVE IF YOU WANT IT (1 cut) POLYGRAM 314 519 219 VAN MORRISON - TOO LONG IN EXILE (2 cuts) POLYGRAM GITANES517 514 LIGHTNIN' HOPKINS - IT'S A SIN TO BE RICH (5 cuts) PRIME CUTS CD 1329 JOHN LEE HOOKER - TROUBLE BLUES RED LIGHTNIN' CD 0093 JOHN LEE HOOKER - NO FRIEND AROUND RELIX 2005 KINGFISH (1 cut) (lp only?) RHINO CD 70387 JOHN LEE HOOKER - ALONE (2 CD) RHINO CD 70388 JOHN LEE HOOKER - CREAM============= ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Tue, 22 Aug 1995 10:16:02 CST From: William Shute Subject: Shirley Brown From: Bill Shute As I understand the corporate history of the Stax organization, the "Truth" label was initially set up for Gospel and Gospel-related product, but in l974 when the evil corporate schemers at CBS had pretty much frozen Stax's ability to release product under the Stax imprint, the label started putting out ALL of its materialunder such "custom" labels such as TRUTH which were not part of the CBS agreement.... This is clearly an "end run," and it didn't last too long either. But this is the period (l974) when Shirley Brown, originally from West Memphis, Arkansas but more recently from East St. Louis. Albert King is thanked in the credits, and I think he used his influence to get her signed to Stax-Volt, who at this time were hungry for new and exciting product as their stars were leaving or becoming inactive or failing to make any more hits due to Stax's promotional resources being drained by the mere struggle to keep in business. That Ms. Brown was able to score a smash hit during his period is testimony to her unique talent and her "persona" on record which must have been hugely appealing to the black female record buyer of the day in the same way that Loretta Lynn's work was so appealing to the white working-class female music fan (a voice of "experience" that they could trust, I'd GUESS, not being a woman myself!). Anyway, her l974 "Truth" label album has been reissued on CD by Fantasy, and it's well worth getting. SHIRLEY BROWN "Woman to Woman" Stax (FAntasy) SCD 4135 2 10 songs, about 38-40 minutes, no extra tracks (once again, I don't know if the Euro reissue DOES have extra tracks) which means you DO NOT get her amazing last single for the Stax organization, Bettye Crutcher's classic "It's Worth A Whippin'" (!!!!!! excuse me while I go take a cold shower or eat some food with saltpeter in it!), released in l975, and found on CD number 10 in the third Stax-Volt box. I've never heard or seen the actual 45 of that one, so it may well have a new, non-lp B side from '75. By the way, am I the only one who regrets that GOOD B-sides were left off the Stax-Volt boxes for the most part. Don't they know that anyone fanatical enough to buy a 10-CD box of ANYTHING would want a more comprehensive package? That said, the 2 later Fantasy boxes are models in every other way of how to do a reissue. Rob Bowman is perhaps my favorite writer on R&B and I look forward to his book on Stax...altho his three book-length essays in the three box sets and the many other liner notes he's done could probably fill a large book in themselves! Oh well, leaving the b-sides off will keep the UK "Ace " label pumping out those umpteen-Thousand Volts Of Stax comps until they will soon be up to 47000 Volts of Stax! Ms. Brown's hit "Woman to Woman" is one of those songs with HIT written all over it. It starts (and many of you will remember this song as I describe it if you don't already remember it) with one soul sister calling another (thank God Jim Stewart nixed the idea of having a ringing phone sound on the record...that would have been too ginchy for me!) after she finds the other lady's number in "her man's " pocket. And they have a talk, Woman to Woman, the first minute of the record being Brown's recitation of what she'd say! She then whips it up into a luscious soul slow-burner that isn't easily forgotten. I can imagine l974 ladies playing this 45 as they wait for their man to come home and he's two, three hours late. They have a sister who understands in Shirley Brown. As for the music, just let me list the personnel: Bobby Manuel (one-time MG!) on gtr Marvell Thomas (son of Rufus) Thomas on piano Lester Snell, integral to Memphis soul for years and years, on organ Duck Dunn on bass Al Jackson Jr. on drums AND, if that's not enough, The Memphis Horns Inc. And the sessions were produced by Stewart himself in conjunction with Al Jackson Jr. Ms. Brown followed the first hit up with "It Ain't No Fun," which clocked in at over five minutes (I don't know if shorter, DJ copies were available, as was the practice in those days--ever heard the DJ copy of the Rolling Stones' "Jumpin Jack Flash" with the gtr solo cut out of it? Until the CD revolution, you'd still hear THAT version on many radio stations, and I had a Mexican 4-track 7" ep that had the EDITED version on it so they could get two full songs on a 7"record side.....oops, I digress) and was another tune where a lady speaks her mind on record (and even calls attention to the fact that she's saying it "on this record"!!! If I wanted to be pretentious, I'd refer to her "self-reflexive" stance! but I won't...) heart to heart with those other lonely sisters whose men have treated them like dirt, even though the ladies have bought these Lotharios clothes, cars (yes, she uses the plural! where can I find a babe like this!!!), etc. It's a masterful performance, and since there's a spoken part and even when she sings she assumes a kind of "character" there really is an acting-like level to these wonderful little melodramas- on-45 which Rob Bowman accurately describes as soap operas on disc. As a vocalist, Ms. Brown is a VERY deep-soul singer, on the level of a Margie Joseph, or a less-urban Lyn Collins. They really don't make 'em like this anymore--the downhome accent, the phrasing, the pronunciation, the little asides to the listener. I could imagine James Brown getting a big grin on his face while listening to these songs, knowing this is the REAL THING. I remember hearing Shirley Brown on the radio during the post-Stax period, well into the eighties, some of her recordings (as I remember them at least) having a disco flavor but still never throwing out the deep-soul baby with the bathwater, as it were. We need her kind around today. I wonder if she has kept working on the deep south club circuit doing the kind of gigs you see signs for on telephone poles?Is she back in St. Louis? Whatever, her classic album (it's not all story songs, thankfully) is available and should satisfy that deepsoul hunger inside you. Bill "Not Worth A Whippin'" Shute San Antonio, TX ========================================================================= Date: Tue, 22 Aug 1995 10:20:00 CDT From: Bonnie Kalmbach Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings Well, I'd like to know what new tunes he's written for his (several) new albums - Michael Frank says he's been writing up a storm - and I'd like to know what the New Africa String Quartet (?) is doing or going to do - i.e. perform, tour, etc. since members of the group also play with other bands and/or alone (Lonnie Pitchford). Thanks, -Bonnie >From: IN%"catbauer@AOL.COM" "CATBAUER" >To: Multiple recipients of list BLUES-L >Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings > >On my way in a few hours to spend the day with Jack & Roger Montgomery. >Anyone have questions they'd like me to ask? Will check my e-m before I >leave. Cat > >Catbauer@vivanet.com ========================================================================= Date: Tue, 22 Aug 1995 10:24:17 -0600 From: Ranko Vujosevic Subject: A/C and money for Jessie Mae Hemphill I just talked to Patty Johnson from Clarksdale who told me that A/C and money order on $358.17 for Jessie Mae Hemphill arrived and Jim O'Neal is going to take them to Jessie these days. I want to thank once more everybody who participated in this fund-raiser. Ranko ========================================================================= Date: Tue, 22 Aug 1995 15:38:44 GMT From: JHowse Subject: Looking to get some info on SRV Hi All I'm planning a visit to Texas in October and would like to visit Stevie Ray's gravesite to put some flowers there. Would someone know where he is buried? City, cemetery etc. Thanks in advance, McTell ************************************************************************** * * * "No one sings the Blues Like Blind Willie Mctell" * * * ************************************************************************** ========================================================================= Date: Tue, 22 Aug 1995 11:45:32 -0500 From: Erica Wissolik Subject: Copyright Questions PLEASE -Reply LW - Since you stated that you would be using the materials to "educate" the masses in n a not-for-profit manner, you should be OK in doing so under the "fair use" doctrine of US copyright law. See article 1 of section 107 below. Hope this helps. Erica >>>>>>>> FAIR USE One of the rights accorded to the owner of copyright is the right to reproduce or to authorize others to reproduce the work in copies or phonorecords. This right is subject to certain limitations found in sections 107 through 120 of the copyright act (title 17, U.S. Code). One of the more important limitations is the doctrine of "fair use." Although fair use was not mentioned in the previous copyright law, the doctrine has developed through a substantial number of court decisions over the years. This doctrine has been codified in section 107 of the copyright law. Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered "fair," such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair: (1) the purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work. The distinction between "fair use" and infringement may be unclear and not easily defined. There is no specific number of words, lines, or notes that may safely be taken without permission. Acknowledging the source of the copyrighted material does not substitute for obtaining permission. The 1961 _Report of the Register of Copyrights on the General Revision of the U.S. Copyright Law_ cites examples of activities that courts have regarded as fair use: "quotation of excerpts in a review or criticism for purposes of illustration or comment; quotation of short passages in a scholarly or technical work, for illustration or clarification of the author's observations; use in a parody of some of the content of the work parodied; summary of an address or article, with brief quotations, in a news report; reproduction by a library of a portion of a work to replace part of a damaged copy; reproduction by a teacher or student of a small part of a work to illustrate a lesson; reproduction of a work in legislative or judicial proceedings or reports; incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported." Copyright protects the particular way an author has expressed himself; it does not extend to any ideas, systems, or factual information conveyed in the work. The safest course is always to get permission from the copyright owner before using copyrighted material. The Copyright Office cannot give this permission. When it is impracticable to obtain permission, use of copyrighted material should be avoided unless the doctrine of "fair use" would clearly apply to the situation. The Copyright Office can neither determine if a certain use may be considered "fair" nor advise on possible copyright violations. If there is any doubt, it is advisable to consult an attorney. >>> L W 08/22/95 09:11am >>> We're (my wife & I, she don't know yet :-)) are considering doing a Blues Presentation for the local libraries. I see too many Kenny G and Sade CD's in the library where (IMHO) there should be blues. So I'm considering a short program on the blues to educate those who have no idea of the/their heritage. My question is: Is it legal to show videos (ie Son House, Buddy Guy, Bukka.etc) during this presentation as long as I am not charging anything it will of cours be FREE to the library patrons....etc. Would that fall under "Public Performance" and break copyright laws...? THANKS LW 'trying to spread the word, where it needs to be spread IMHO' ========================================================================= Date: Tue, 22 Aug 1995 11:15:11 -0400 From: Willy Evans Subject: KLON in LA Recently there was a post from a Gary Wagman in LA who hosts a radio show that pushes unknown talent. He likes blues a lot and even had a mention on this list recently. I sent him a CD and from his airplay I've gotten calls here in NC from LA interested in my music. This guy is really trying to help musicians and if there are any blues-l'ers who would like some good exposure (around 60,000 in LA plus some cable) then this guy might be able to help. He can be reached at wagman@earthlink.net. I am in no way connected with KLON or Gary Wagman. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Tue, 22 Aug 1995 12:01:57 -0400 From: Rick Miller Subject: My INCREDIBLE wife & mo' better Blues. This is just unbelievable! :) Yesterday, out of the clear blue sky, like a bolt out of the blue, my wife Karen, and Pat (my harp player) conspired to drag me down to my fave-o-right music store under the pretense of needing my help and expertise selecting some little gifts. I wasn't happy. I was not done with my dinner yet and was looking forward to channel surfing from my leather recliner, when they connived and deceived me to go. So they're busying themselves with stuff up at the counter, and of course I wander to the guitar area and pick up (as I ALWAYS do) this gorgeous Gibson/Epiphone resonator and start to entertain myself with some delta style slide. Then, it's pointed out to me that a "SOLD" tag is hanging off the headstock. A tag that was not there the day before, when I stopped in to play it. :) I was sure that my buddy Bob, (who works there) bought it with his employee discount, cuz he said that he might. Nope. My bride was up at the counter with Bob, writing the check. :) I thought I wuz gonna faint. This whole drama unfolded in front of a crowd of customers who were highly amused by this whole scene. It was great. I am completely floored. I had NO IDEA. And there is no special occasion. She just fucking bought it for me cuz she knew I wanted it. ('scuze French, please). I love my wife and my new Epi "dobro". :) :) :) :) :) !!!!!! For those interested in the instrument...this is a wood guitar with the big steel resonator in the middle and two little vented soundholes up near the neck. It has GREAT feel and sound. The neck is perfect for me (being a Gibson man anyway) and has that awesome dobro sound, picked or plucked. The wood is beautifully matched and blonde in the front, darker with a nice grain pattern on sides and back. Fully bound. Rosewood neck with dot inlay. Headstock is black laquered on the face with mother-of-pearl Fleur-de-Lis emblem and Epiphone name inlayed in"script". Neck adjustment cover has the Gibson tag on it. And it plays just as sweet as honey. :) ....just wanted to share that with all my friends. Riffin Rick (((( oo-) /- Woke up this morning, felt around for my shoes.... F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 22 Aug 1995 09:13:47 -0700 From: Joe Lempkowski Subject: Bay Area Blues Society & Jerry Garcia (long) Here is a little something for all of you folks who wondered about the relationship of the late Jerry Garcia and the Blues. (Reprinted without permission from the Oakland Tribune.) "The uncertain future of the Greatful Dead following leader Jerry Garcia's death has had numerous side effects, with the Oakland-based Bay Area Blues Society feeling the sting particularly sharply. The society has been a long time beneficiary of the Rex Foundation, the philanthropic organization set up by the Dead to dole out money to numerous worthy causes. With the future of the Dead and thus the foundation, up in the air, Blues Society founder Ronnie Stewart is afraid the group's upcoming Oakland Heritage Festival could be its last hurrah. The fifth edition of the Labor Day festival will feature veteran rhythm and blues singer Clarence Carter, blues newcomer (and grandson of Albert King) Little Jimmy King, flamboyant string- bender Guitar Shorty, East Bay singing sensation E.C. Scott and local blues fixture The Delta Wires. The music runs from 11am to 6pm September 4 at Oakland's Dunsmuir House, Foothill Boulevard off I-580. Tickets are priced at $15 in advance and $20 at the gate. Call (510)836-2227." So put that in yer pipe and smoke it ;-) Joe ========================================================================= Date: Tue, 22 Aug 1995 11:29:54 CST From: William Shute Subject: Happy Birthday, John Lee Hooker From: Bill Shute Like many of you, I have countless John Lee Hooker albums, and he is, was, and will always be THE MASTER to me. Even on some of his ill-advised recent work with rock stars, his authority and soul come through loud and clear. What I wanted to say was that for many of us, Hooker was one of the men who got us into the blues initially. I've said this before, but it was The Animals covers of Hooker songs that got me, as a little boy of elementary school age in the late 60s, wanting to hear the originals of the songs with "Hooker" listed on the composer credit. Fortunately for my finances, which then consisted of an occasional dollar or two gotten from mowing someone's lawn or saving soda bottles, cut-out 99-cent copies of Hooker's Vee-Jay product were then available everywhere (I got my first one at a supermarket!). About a year or so after that, and after having played the grooves off of the Vee-Jays, I went to an "adult" record store (no not pornographic, but adult as in "not kiddie") that sold more than top 40 items and saw something called DETROIT BLUES; THE EARLY 50s, on a label called Blues Classics. It featured a song called "House Rent Boogie" by Hooker. Wow, this was even better than the Vee-Jay stuff! What was this alien-to-me-at-the-time kind of music? It was sure as hell better and cooler and hipper than the garbage my friends listened to and what was played on the radio. (by the way, I had never heard nor heard of ZZ Top at that time) I was Hooked by the Hook! And 25 years later, here I am still riding the same wave excitedly and with the passion of a little kid. Thank you, John Lee Hooker. I still turn to the master when I need THE REAL THING! Bill "It's In Him/And It's Got To Come Out" Shute San Antonio, TX ========================================================================= Date: Tue, 22 Aug 1995 12:47:30 -0400 From: Garry Segal Subject: Geetar to Bass Steve recently asked about trying bass. Go for it Steve you will be a popular guy as bass players willing to play blues and R&B are in short supply. It should be an ez transition if you already know some basic blues on guitar. Garry ========================================================================= Date: Tue, 22 Aug 1995 12:56:12 GMT From: "DUTTWEILER.J" Subject: NOTE 08/22/95 12:56:50 TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: I recently purchased two CD's on the Evidence label that I am absolutely in love with: LITTLE MILTON: The Blues is Alright; and BIG VOICE ODUM: Feel So Good. Both CD's are done with Magic Slim's band, the Big Voice Odum one with the Magic man himself on guitar. Both are, imo, very tight and very bluesy. I am interested in more music by both these gentlemen. I know the Jimmy Dawkins "All for Business" is highly recommended, in part due to Big Voice's presence. I have, so far, been unable to locate CD locally. However, does anyone have any other suggestions as to recommended "BB" Odum CD's? I have read that this Little Milton CD is one of his, at least recently, bluesier CD's with most of his recent output being more in the soul/blues (heavy on the soul side) vein with much less emphasis on his guitar work. In saying that I prefer a more bluesy approach and I thoroughly enjoy Little Milton's guitar, I would not be adverse in sampling some of his other output. His *voice* is simply tremendous. This CD is one that get's my wife tapping her foot and saying "Now I like *that*, his voice is so *smooth*." (Now, I have been slowly working on this woman re the blues, and she has just recently begun to admit (somewhat sheep- ishly) to actually *liking* (gasp ) some of my music, so this is still quite a phenomenon.) Anyway, any recommendations re both gentlemen would be welcome ========================================================================= Date: Tue, 22 Aug 1995 13:04:03 EDT From: Toby Levy Subject: Norwich NY Blues Fest - Kenny Neal / Lucky Peterson A Blues Festival in Norwich, New York? As I neared the site of the festival I was surprised to see a sign saying "Entering City of Norwich." Since my almanac said that Norwich had under 10,000 residents I assumed it must be a village. The festival site, Chenango County Fairgrounds was just a little way down Main Street. The fairgrounds provided ample space for size of the crowd gathered to see some of the best young talent the blues has to offer. I'm terrible at estimating the size of crowds so I won't even try. Three upstate New York bands appeared before the national acts came on. First up was Bernie Clark and the Rythym Sharks. Bernie, a member of the Blues List, works a few buildings down from me. I'd met him a couple of times but never heard him play. He sang soulfully and played harp quite well. Next was Blueprints, a band I had heard in a bar a couple of years ago. Since that time they had recorded a cd and were working on another. They were a solid band, but rather unemotional. Hard for me to imagine a blues band being very good without showing emotion. The final upstate New York band was from Woodstock, a band called Big Sister composed of two female guitar players, a female bass player and a male drummer. The drummer had only joined the band the week before. The women all looked very young. They played more roots rock than blues. One of the guitarists did all the singing in a nice voice that sounded more than a little like Melissa Ethridge. Then a long pause after Big Sister while we waited for Kenny Neal to get to the fairgrounds. The organizers said he called from nearby saying he had car problems along the way. It was a warm sunny day, the fairgrounds were lined with booths selling food and drink, so the crowd did not seem to mind the wait. Two more comments about the organizers: First, a raffle was held to raise money for the Johnny Copeland Heart Fund. What a nice gesture! If they said how much they raised, I didn't catch it. Second, the program included the name of every member of each of the five bands. I'd never seen that before, but what a great idea! Kenny Neal finally showed up about an hour late and took the stage another half hour after that. Accompanying him were his brothers Frederick on keyboards and Darrell on bass. They both looked much younger than Kenny. Neal announced that the drummer, Ken Johnson, had for many years worked for James Cotton. Kenny flew right into an uptempo instrumental that sounded like it might be "Neal and Prey" from the Bayou Blood album. No lack of emotion with this band. Kenny, slim and athletic looking, has a smile as big as all outdoors. Darrell and the drummer looked like they were having as much fun as the audience. Frederick stared very hard at the keyboards, shaking his head in amazement from time to time at the sounds he was getting out of his instrument. The next song was "There is Something on Your Mind," followed by "Recipe for breaking up the blues." Neal then gave quick biography of Guitar Slim and then played Slim's "The Things I Used to Do." After "Since I Met You Baby," Neal put down the guitar and took out his harp for "Hoodoo Moon." It was the only time he played harp that set. The last two songs of the set were "Bop Til I Drop" and "I'm a Blues Man," during which he toured the audience and sat in a pretty lady's lap. He came back out for an encore, playing a song I wasn't familiar with. The first line was "I'm going home and spread the news - Georgia women don't have no shoes." During the encore he took his brothers bass and announced that it used to be his instrument twenty years ago when he played bass for the Buddy Guy/Junior Wells band. Then he flipped the bass over to show the audience a portrait of himself with the words Kenny Ray painted on the back. Afterwards, while Kenny stood around to sign autographs and have his picture taken, I went up and shook his hand. Like other great guitar players I've had the privilege of meeting, he had very a very large hand. I told him I'd seen Buddy and Junior play a couple of times in the Belle Star near Buffalo NY about 18 years ago and he said he was there playing bass! He would have been all of about 20 years old at that time. After the inevitable interminable shuffling of amplifiers and other equipment, Luck Peterson's band took the stage. Besides the drummer, bass player and rythym guitar player, the band included a trumpet player, a tenor sax player and a trombone player. The trumpet player announced they were "The Lucky Peterson Organization." He then announced that they had brought a special guest with them that night, a man known as "The Texas Thriller, Greg Smith." Mr. Smith came out dressed in a fancy suit looking like Motown personified and sang "Stand By Me." Twenty minutes after the band started playing the trumpet player announced Lucky, calling him "The Young Prince of the Blues." He mentioned that Lucky has a new cd coming out on January 1st of 1996. Why are they waiting so long to release it? Also curious was the fact that before the band came on, an organizer told the crowd that Polydor Records wanted it announced that it was illegal for anyone in the audience to make any video recordings of Lucky's concert. Well the Young Prince finally came flying out onto the stage playing more notes per second than you ever heard in your life before settling down to "You know it ain't right." After he took his sunglasses off I was surprised to see that he kind of looked like the Fresh Prince. A wonderful rendition of "I'm Ready" was followed by "Who's Been Talking?" Then he interpolated some of Hendrix's Voodoo Child into a blues song I didn't recognize, followed by the day's first rendition of "Sweet Home Chicago." Well, somebody had to play it! Lucky announced that his new cd would be called "Lifetime" and he at the keyboards played the title track, a very nice bit of funk. Lucky said "Let's take it back to the Alligator series," playing "Dead Cat on a Line" and "Six Oclock Blues," whereupon he took HIS stroll through the audience. He then called for Neal to join him on stage. Lucky played keyboard while Kenny Neal played harp on an instrumental number. They both donned guitars for "Yak Yak Yak." They traded solos, played note-for-note together and just generally amazed the crowd with their virtuosity. Some time after Lucky relinquished the keyboards, Frederick Neal snuck on stage and took over. Then Kenny sang "Long Distance Call," sitting down and playing a pedal steel guitar brilliantly. Greg Smith came back out (now wearing a Lucky Peterson tee shirt and shorts!) to sing "Everybody wants to Go to Heaven." Next Lucky Peterson led the band into a spirited "Theme from Peter Gunn." Called back for an encore, Lucky performed "We'll be together" and "Any Way You Want Me to Go." With Kenny Neal a youthful 38 years old, and Lucky Peterson an even younger 31, the future of the blues looks very promising. Toby ========================================================================= Date: Tue, 22 Aug 1995 13:58:00 EDT From: edward c liu Subject: Re: Dirty Dishes Howdy all, Maria Wegscheid wrote: >Albert Collins is someone that I don't see discussed much on the list but >personally happen to miss terribly. What do you all think of him? My Albert Collins anecdote... There was a double bill in Pittsburgh while I was in grad school -- Johnny Copeland and Albert Collins. Unfortunately, the show was the night before our Distributed Systems midterm, one of about 3 grades that would determine our grade. After much debate, a grad school buddy and I decided we were going, hell with the midterm. During the show, during Albert's audience walk, he went up one of these little balcony things in the club, about 10 yards across from me. By now, I was out of my chair whooping and hollering and cheering him on. He looks right at me, waves, and shouts, "How y'all doin?" which made me whoop and holler and cheer that much louder. This was in March. That following November, I heard he passed away. I still don't really believe I'm not going to see that capo'ed blonde Tele again. I managed to do well on the midterm anyway =8^). Moral: catch that live music when you can, 'cuz you never know. As a related side note -- happy birthday to Debbie Davies, rhythm player to AC for a few years running. If you've got all Albert's albums and find you need an extra AC fix, check out her album _Picture This_ on Blind Pig (BPCD 5004) -- AC guest picks on one track. -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 22 Aug 1995 17:12:43 GMT From: Tony Burke Subject: Re: WEST INDIES MUSIC AND R&B I shoulda mentioned a fine CD worth checking out on Jamaican R&B called Ska Boogie issued by Sequel featuring 20 sides from the early 60's (Sequel NEX CD254) definately worth checking out. TB ========================================================================= Date: Tue, 22 Aug 1995 14:12:00 -0500 From: VT Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings >DATE: Mon, 21 Aug 1995 13:38:36 -0400 >FROM: CATBAUER > >The New Africa String Band is: Big Jack Johnson, vocals & guitar; Lonnie >Pitchford, vocals, guitar & diddley bow (one-string guitar); Kash Killion, >vocals, cello & bass; and Michael Ward, violin. The band has recorded a CD >for Rooster Blues which will be out around the end of the year. Eugene >Powell also sings & plays guitar on a few tracks on the CD. The Chicago >Blues Fest gig was the band's first public performance. They also have a >tentative NYC booking in September. > The New African String Band are listed for the "Mississippi Blues Festival" part of the Arts & Events at the World Financial Center, NYC Fall 1995. It's a FREE concert on Wednesday September 20, 7PM at the Winter Garden of the World Financial Center, NYC. Other acts are: Wed. Sept/6 - 7PM (@ Plaza, raindate: Thurs Sept/7) - R.L Burnside and Junior Kimbrough with Kenny Brown, Cedric Burnside and Gary Burnside. Sun. Sept/10 - 3PM - Lumzy Sisters Wed. Sept/13 - 7PM - Eddie Cusic with son Dale Cusic Wed. Sept/27 - 7PM - Guy Davis These are all FREE and at the Winter Garden unless otherwise indicated. For more information phone 212 945 0505. Vincent p00061@psilink.com ========================================================================= Date: Tue, 22 Aug 1995 14:18:56 -0400 From: Lynn Moncrief Subject: Re: WWW & No Mail In a message dated 95-08-21 22:42:41 EDT, you write: >I'm only getting 1 - 2 postings a day from Blues-L... I think AOL is ... >um.... messing up or something. Anyway I have a very modest home page, >monthly ramblings about the blues with links to some places we've all been >to, I'm sure! > >http://www.teleport.com/~tlo/ > >Later > >Terry Terry, I've been wondering the same thing. But suspected that the BLUES-L listserve was having problems. Thanks for the URL for your site, BTW! (I'm collecting all of the ones I see here in hopes of eventually assembling a mega-index on the Web to blues sites.) Lynn ========================================================================= Date: Tue, 22 Aug 1995 14:57:31 -0400 From: Tom Morgan Subject: Re: Norwich NY Blues Fest - Kenny Neal / Lucky Peterson In another time and place, Toby Levy said: > > emotion. The final upstate New York band was from Woodstock, a > band called Big Sister composed of two female guitar players, a > female bass player and a male drummer. The drummer had only > joined the band the week before. The women all looked very > young. They played more roots rock than blues. One of the > guitarists did all the singing in a nice voice that sounded more > than a little like Melissa Ethridge. Big Sister used to feature Jerry Wexler's daughter as the drummer. It didn't make them probably any better but it was a reason to go see them when they were in last year's Virginia Blues Festival. Tom ========================================================================= Date: Tue, 22 Aug 1995 19:38:27 GMT From: Raymond Sneed Subject: Help locate a tune I am interested in finding a copy of "Oreo Cookie Blues". I think it was recorded by Roy Buchanon, but I cannot be sure. I am also interested in finding a live recording of his "Cincinnati Jail". If you have any ideas or leads, please respond to sneed@a1.isd.upmc.edu Thanks ========================================================================= Date: Tue, 22 Aug 1995 12:40:24 +0800 From: "Roy W. Forgy" Subject: Albert Collins (was re;dirty dishes) Howdy all, Maria Wegscheid wrote: >Albert Collins is someone that I don't see discussed much on the list but >personally happen to miss terribly. What do you all think of him? My Albert Collins anecdote... Snip Edward C. Liu wrote snip Which reminded me of the last time I saw Albert. It was in a little mountain bar in Evergreen Co. We got there early as it was first come first serve and got a table in the first row at the corner of the stage. When he did his walk around he came off the stage at out end and sat in a empty chair next to me and played for a while then went outside and around the bar then came back in and sat next to me again. WOW!!! I got an autographed picture after the show which is framed and on the wall next to my SRV picture. I had seen him several times before this and once afterwards but none of the shows left me with the memories that this one did. He is missed here very much. Blueslvr@megaweb.com (Roy W. Forgy) "No Black, No White, Just Blues!" ========================================================================= Date: Tue, 22 Aug 1995 14:44:12 CDT From: L W Subject: Albert Collins (was re;dirty dishes) >"No Black, No White, Just Blues!" I agree the hell with the heritage & the culture. LW "no black, NO BLUES" IMHO and rule #7 states: A person can not be flamed for stating his opinion, even if he is a trouble maker :-) ========================================================================= Date: Tue, 22 Aug 1995 14:15:45 -0600 From: Gary Constantine Subject: Blues in Brussels?? I am going to be in Brussels for a four day weekend sometime in September. Can anyone give me the names of a couple of clubs that might be worth checking out. Will be staying at the Metroplis(?), which is in the city center (I think). Walking distance would be preferrable. PRIVATE REPLIES ONLY PLEASE. Thanx, Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Tue, 22 Aug 1995 13:29:19 -0800 From: Don Cicchetti Subject: Amps again! Hi Everybody! Last week I went down to El Lay and tried out a Matchless HC-30 head, with one of their 4-12 cabinets. Holy Cow! what tone! It's a super refined and upgraded version of the old Vox AC-30, with 4 class-A EL84's and no negative feedback. It is rated at 30 watts (har har) and anyone who doesn't think it is loud enough is deaf already. I was able to get a great smooth jazzy tone, clear bell-like country or folky tone, SRV tone, credible Billy Gibbons, and killer "Live at Leeds" PT tone. I was playing a bunch of Who stuff for a while, and this amp just jumps out and sinks it's silvery teeth into your leg, gives you a good shakin' and won't let you go until you say "uncle"... Simply by far the best amp I have ever heard. So I am going to sell a couple of amps, a dobro, a preamp, and do some extra work and go buy one... yikes! not cheap.... But handmade quality never is. What an amp! I'm not associated with Matchless in any way, but I wish I was so I could get an employee discount ;-] Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 22 Aug 1995 15:24:02 -0600 From: Ranko Vujosevic Subject: Re: Norwich NY Blues Fest - Kenny Neal / Lucky Peterson > > In another time and place, Toby Levy said: > > > > emotion. The final upstate New York band was from Woodstock, a > > band called Big Sister composed of two female guitar players, a > > female bass player and a male drummer. The drummer had only > > joined the band the week before. The women all looked very > > young. They played more roots rock than blues. One of the > > guitarists did all the singing in a nice voice that sounded more > > than a little like Melissa Ethridge. > > Big Sister used to feature Jerry Wexler's daughter as the drummer. It > didn't make them probably any better but it was a reason to go see them > when they were in last year's Virginia Blues Festival. > > Tom > Now, wait aminit! Big Sister is also name of a blues band from Iowa City that features Mary Fickel on (very good) vocals. Big Sister is featured on the Iowa Blues Compilation, Volume II, just released. Any other Big Sisters around? No Faulkners need apply, please... Ranko ========================================================================= Date: Tue, 22 Aug 1995 16:58:30 -0400 From: Rick Miller Subject: "Blown" harps- tech question For you harp experts out there.... My harp player doesn't have access to the INternet, so he axed me if I could pose this question to the group. Here's the deal. Pat is a SUPERB harp player, IMHO. He bends notes like you can't imagine, which I gather (not being a harp guy myself) is an inhalation thing. Problem he has is that he "blows out" a harp practically on a weekly basis, in one key or another, between our rigorous rehearsals and regular gigs. At something between $20 - $30 bucks for the good Hohners, this gets to be a big deal on the wallet. He sends blown "new" harps back to Hohner and they replace or repair them for something like five bucks or so. Still, there's significant cash outlay for a guy who owns and actively PLAYS practically every key of harp imaginable. I mentioned to Pat that he really goes thru a lot of harps, and that I never heard of such a thing. He retorted, well, how many harp players do you talk to on a regular basis? Ah. There's the rub. So, do you SERIOUS harp players blow-out your Hohners on a regular basis? Is there a particular key that tends to crap out more than others? I'm addressing you guys who are heavy players and put them through the working grind on a regular basis. Pat is a serious harp player and really gifted. But his playing just beats the shit outa dem harps. Hey, he's from Chicago, he can't help it. :) Needless to say, he and the folks at Hohner are on a first-name basis, much to his chagrin. Any thoughts on this? Similar experiences? Thanks, gang. Riffin Rick (((( oo-) /- ....goin' home to play my new dobro :) [heh-heh-heh] :) -can you wear out a brass slide? (kiddin') :) F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Tue, 22 Aug 1995 16:58:40 -0400 From: "Alan C. Rollins" Subject: Blues-L Marketing As is being discussed here over the last few days Mr. Paul Fenton has offered to post information re: artists onto a home page he is designing. These postings would be free to the artists. He would set up (or has set up) specific criterian for the artists to meet in order to qualify. I see nothing wrong with this as it is his space and to provide such a service is most gracious of him. Since it is his space I feel that he too should call the shots concerning the page. However I am not quite so sure that by naming it the Blues-L Marketplace he retains the same degree of autonomy. I am not saying he can not do this nor am I endorsing the idea. I am saying that if he is going to do this using the name of the Blues-L I feel that the Blues-L then gets input as to what he can or can not do in its name. Further I feel that asking to do this is appropriate rather than assuming to use the name. I feel that Paul means well and is getting tripped up in an attempt to do good things for the Blues artists he respects and genuinely wants to help. Please remember if we allow him or anyone else the use of our name we take on a certain amount of liability for what they do in our name. I feel that we need to design a policy re: the use of the Blues-L name as it is specific in what it stands for and one bad experience could destroy the good image it has. Also we owe our host, Brown University every consideration in our deliberations. They may and probably do not care what we do, but we need to be considerate just the same. I am seeking input re: two things here. 1. How should we deal specifically with Mr. Fenton's offer at this time? 2. What should the policy be re: the use of the Blues-L name? Any input from some of our learned friends from the legal community would be appreciated here too. Let me know your inputs on or off line. Alan ACR ========================================================================= Date: Tue, 22 Aug 1995 21:01:06 GMT From: Peter Groves Schweitzer Subject: *I need music for a radio show* oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Tue, 22 Aug 1995 13:59:37 -0700 From: Ron Daschmans Subject: Re: Dirty Dishes Maria! Albert Collins is my absolute favorite music performer of all time -- I just can't get enough of that stinging guitar and great sense of humor. My Albert Collins story is somewhat indirect, but means a great deal to me... The short order cook in the cafeteria where I work introduced me to the music of Albert Collins shortly before his (Mr. Collins') death. His was "THE" sound I had always been searching for -- with some thanks to Dick Shurman no doubt :) David, the man behind the grill, was 40+ years older than I; however, we developed a friendship based on our mutual love and respect for Mr. Collins music. David had heard rumors of an Albert Collins' tour stopping by Sacramento, CA around New Years... We were there man! Unfortunatley, that concert never materialized. It wasn't until February '95 that I found out why :( A short while ago, my friend David passed away in January of '95 and I miss him greatly. Whenever I put on an Albert Collins album, not only do I think of what a great talent the late Mr. Collins was, but I think of my friend as well... Sorry so sappy, Ron Daschmans aka MrMudPuppy > Maria Wegscheid wrote: > > Albert Collins is someone that I don't see discussed much on the list but > personally happen to miss terribly. What do you all think of him? ========================================================================= Date: Tue, 22 Aug 1995 21:00:31 GMT From: Brian.Robertson@BGA.COM Subject: Big Blues Family! I'm amazed to read hre and there of the fact that so many blues greats and almost greats are related. Bukka White and BB King, for one example. Can somebody give me some examples of the blues being all in the family? Brian -- \\\|/// (-@^@-) "PEEK-A-BLUES" ----o00--(_)--00o------ bluesman/storyteller/tarot reader Bluesman (aka BluesGuy) "I got my mojo workin'!" P.O. Box 33367 Austin, Tx. 78764 from Austin's legendary 6th Street ========================================================================= Date: Tue, 22 Aug 1995 17:20:05 -7 From: "P.W. Fenton" Subject: Re: Help locate a tune On22 Aug 95, Raymond Sneed had this to say... > I am interested in finding a copy of "Oreo Cookie Blues". I think it was > recorded by Roy Buchanon, but I cannot be sure. I am also interested in > finding a live recording of his "Cincinnati Jail". > > If you have any ideas or leads, please respond to sneed@a1.isd.upmc.edu > > Thanks "Oreo Cookie Blues" is on Lonnie Mack's "Strikes Like Lightning", an Alligator release, and features SRV on acoustic. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 22 Aug 1995 17:25:11 -0400 From: Barry Silverberg Subject: Re: Help locate a tune Raymond Sneed (sneed@A1.ISD.UPMC.EDU) wrote: : I am interested in finding a copy of "Oreo Cookie Blues". I think it was : recorded by Roy Buchanon, but I cannot be sure. I am also interested in : finding a live recording of his "Cincinnati Jail". : If you have any ideas or leads, please respond to sneed@a1.isd.upmc.edu It is on Lonnie Mack's Strike Like Lightning CD Alligator #4739. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Tue, 22 Aug 1995 13:24:00 CDT From: Paul Garon Subject: Re: Blues Histories >Over the last couple of years I have become an avid blues >listener, but now I am trying to learn more about the >history and structure of the music I love. >What suggestions do you have for books, videos, etc. that >would help educate me? There are a number of comprehensive histories on the market right now, the newest of which, NOTHING BUT THE BLUES edited by Larry Cohn, is also a spectacular pictorial as well. I still like Paul Oliver's STORY OF THE BLUES for all its detail, but it may be hard to find. His BLUES FELL THIS MORNING (or MEANING OF THE BLUES) is more of a sociological history. Wm Barlow's LOOKING UP AT DOWN is a history with sociological meaning included; recommended. DEEP BLUES is perhaps the "best read" but lacks comprehensiveness and is a bit narrow in focus. This list just scratches the surface, though, and once you've purchased a few books and glanced at their bibliographies, a whole new world of blues literature will open up! Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 22 Aug 1995 17:16:08 -0500 From: Jeff Seale Subject: Re: Blues-L Marketing On Tue, 22 Aug 1995, Alan C. Rollins wrote: > 1. How should we deal specifically with Mr. Fenton's offer > at this time? Well, Paul has been an oustanding member of the list since almost the beginning and there isn't any indication that he intends to do anything to tarnish the image of this list. Furthermore, the artists listed on his page are required to be participants in Blues-L, so I think the name that he has chosen is appropriate. > 2. What should the policy be re: the use of the Blues-L name? In reality, anybody could probably use the name Blues-L and do whatever they please. As much as we'd like to think that it belongs to us, it really doesn't. (Correct me if I'm wrong). Personally, I think a bigger problem is that we have had people on here hawking things in which they have a direct financial interest. While I realize that the 2000+ people on the list represent a substantial market, this list wasn't put together so we could be bombarded with people saying, "buy my stuff, you'll really find it useful." Don't take this wrong, though. I'm all for people hyping artists that they enjoy. In fact, that's how we find new things here. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Tue, 22 Aug 1995 22:18:43 GMT From: Tony Burns Subject: Re: Luther "Guitar Jr." Johnson In <199508180027.UAA21038@kanga.INS.CWRU.Edu>, Sandy Quandt writes: >I have a chance to go see Luther "Guitar Jr." Johnson at the >end of the month. Just wondered if anyone who has seen his show >could provide some feedback. Also, which of his cd's do you >recommend? > My wife bought the Pinetop Perkins _Boogie Woogie King_ CD. It had some great guitar solos on it -- Luther! Buy it. Tony Burns | ynot@io.org | http://www.io.org/~ynot/ [Home page - Canadian Masters Windsurfing, Jughead, Greenbank Folk Music Society, Toronto Blues Society, ...] ========================================================================= Date: Tue, 22 Aug 1995 17:27:22 -0500 From: T-Bone Subject: Request Does anyone happen to have, or know where I can get, or is able to scan, a good .gif or .jpg of Yank Rachell? I have Yank's web page ready to go, but I'd like to add a picture, and none of the ones I have scan very well, for some reason. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Tue, 22 Aug 1995 17:52:11 -0500 From: Henry Busse Jr Subject: August 23rd Happy Birthday Danny Barcelona / 1929 / honolulu / drummer Gil ( Gilbert Lloyd ) Coggins / 1928 / New York / Piano Bob (George Robert) Crosby / 1913 / Spokane / Leader-Singer John Lindsey / 1894 / New Orleans / Bass Terje Rypdal / 1947 / Oslo / guitar-flute-soprano sax-composer Martial Solal / 1927 / Algiers / Piano Bobby ( Robert Michael ) Watson / 1953 / Lawrence,KS / Alto Sax P.S. Spike Knoblaugh passes away on this date in 1963 in Plymouth, MA and We know who this is ? >From Henry Busse Jr's Players" a 3000+ Database of birthdays / passings for sale.Check http.//www.wp.com/HOTLIPS or shuffle@ic.mankato.mn.us ========================================================================= Date: Tue, 22 Aug 1995 18:04:52 GMT-6 From: Eliot Williams Subject: Re: "Blown" harps- tech question "Blowing out" a new harp is not all that uncommon - I read somewhere that Jimmy Reed used to go through a case of harps on no time at all. (Of course that was back when they only cost a couple of bucks.) It happens more often with some types of harp than others (for example, Hohner Blues Harps tend to blow out faster than Marine Bands because the reeds are "softer") and if the harp player draws hard on bent notes (as opposed to using less wind and letting the amp provide the volume). Some people claim that a breakin period (during which there is no heavy bending etc) also helps but this is not a universally accepted opinion. Lee Oskar harps, in my experience, hold up pretty well and if you do blow out a reed you can buy a new reedplate (which isn't that easy to do with Hohners). However they're more expensive to start with thanks to the unfavorable dollar:yen exchange rate. If you want some really heavy-duty expert opinion on this question, sent it to harp-l@garply.com. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 22 Aug 1995 17:34:31 PDT From: rjbauman@IQUEST.NET Subject: Festival Update I hope this news comes in time for all of you within driving distance of Indianapolis! The weather is cooling down, finally, and we've got one hell of a good show lined up! The set times have only recently been resolved. THE BLUES SOCIETY OF INDIANA PRESENTS THE 5TH ANNUAL BLUES BREW AND BARBECUE FESTIVAL. This festival is always a blast. This year we have moved the event to a spot where some of the staff are paid employees of the grounds. This assures a well organized event, as that is what these people do for a living. We've got a lot invested here, and we hope you will support our efforts! Date: Saturday August 26th Time: gates open at noon, music runs from 1pm to 11:00pm raffles: Flying V guitar signed by Lonnie Mack, lots of other second prizes. Tickets: $10.00 in advance/ $12.00 day of show. E-mail me and I'll take care of ya. Where: Indiana State Fair Grounds on east 38th St immediately west of State Rd. 37. Follow the signs. THE MUSIC: ELECRIC STAGE 1pm to 1:45 pm----------------------Living legend YANK RACHEL(L) This is a special engagement for Yank. Don't miss him! 2:05pm to 3:05pm-------------------- Gene Deer Blues Band Very capably backed Eddie Shaw last winter (locally) 3:25pm to 4:25pm-------------------- The Cooler Kings featuring talented guest/ former member Gordon Bonham 4:45pm to 5:45pm-------------------- In Full Transition formerly known as the Rebirth Blues Band 6:05pm to 7:20pm--------------------EDDIE SHAW and The Wolf Gang awesome blues saxophone! 7:40pm to 8:50pm--------------------THE KINSEY REPORT with Big Daddy Kinsey Led by Big Daddy Kinsey tonight! Yahoo! 9:25 to 10:55pm---------------------LONNIE MACK phenomenal blues guitarist! ACOUSTIC STAGE: 12:30pm to 1:15pm-------------------Bo Blues 1:35pm to 2:20pm--------------------Charlie Edmonds, "The Preaching Bluesman" 2:40pm to 3:25pm--------------------Songwriting clinic by Pat Webb 3:45pm to 4:40pm--------------------DAVID MORGAN 4:50pm to 5:35pm--------------------Marketing Your Act (Hal Yeagy, Slippery Noodle Sound) 5:50pm to 6:40pm--------------------WEBB,STRAYTNER, and WEBB ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Tue, 22 Aug 1995 18:17:31 PDT From: rjbauman@IQUEST.NET Subject: Re: "Blown" harps- tech question Everything I've read or heard suggests that your friend is probably blowing TOO hard. A really good harp player can bend notes without sucking the dirt off the floor in front of him. Although that's one way:-) ( I had to nearly pass out from lack of wind at first) Is he miked adequately? ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Tue, 22 Aug 1995 16:19:13 -0800 From: Michael Hewitt Subject: Care and Feeding of a new baby harp Well, I'm the proud new papa of a bouncing baby harp...actually it's a Hohner Official Scout Harmonica. My primary motivation in buying this particular model of harp was the fact that they sold it to me for half the retail price. Sticker price, including dealer prep and options, was $18.95 and I got it for $9.50. Probably not the best harp for blues, but I figured it would do to learn on. My questions now are: 1) Is there a trick to breaking the harp in so that the reeds will bend easily? 2) Are there any tricks I should know about keeping the harp in good playing condition? I've seen/known harp players that soak their harps in water before playing them onstage. What, exactly does this do? 3) In playing cross harp, if the song is being played in E, then you would use an A harp...correct? Which would mean that my C harp is good for the key of C and cross harp in F...? Please excuse my ignorance and feel free to offer any advice to this neophyte harp player. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Tue, 22 Aug 1995 18:34:03 -0500 From: T-Bone Subject: Re: Blues-L Marketing On Tue, 22 Aug 1995, Jeff Seale wrote: > On Tue, 22 Aug 1995, Alan C. Rollins wrote: > > > 1. How should we deal specifically with Mr. Fenton's offer > > at this time? > > Well, Paul has been an oustanding member of the list since almost the > beginning and there isn't any indication that he intends to do anything > to tarnish the image of this list. Furthermore, the artists listed on > his page are required to be participants in Blues-L, so I think the name > that he has chosen is appropriate. How about a comprimise? Perhaps he can call it The Officially Unofficial But Unofficially Official Blues-L Page. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Tue, 22 Aug 1995 19:34:56 -0400 From: "King, Tony" Subject: Re: Rick Riffin' Rick You ever get a divorce, man, let me know!!!! :-) :-) ========================================================================= Date: Tue, 22 Aug 1995 21:17:21 -0400 From: DeniseTapp Subject: Re: Blues Histories One of the best and most heartfelt histories I can recommend is Ms. Lane Wilkins memoir of her grandfather, Rev. Robert Timothy Wilkins (author of "Rolling Stone Blues" and "Prodigal Son"--later performed by the band who named themselves after Rev. Wilkins' song.) The book, entitled "1964: To Profit a Man" is a very intimate portrait of the kind of person who made Beale Street and the Blues. Ms. Wilkins has also written a recent book about Gus Cannon. I have not yet read it, but I understand that it is quite good. Lane's books are available for $7.95 each, plus postage, from the Center for Southern Folklore, 126 Beale Street, Memphis, TN 38103, or by phone at 901/525-3655. I have yet to meet Ms. Wilkins, although I look forward to doing so in the near future, and I am not associated with her publishers. In fact, as far as I can tell, she publishes her own books at Kinko's. But I do recommend Lane's contributions to blues history, wholeheartedly. Denise ========================================================================= Date: Wed, 23 Aug 1995 01:28:17 GMT From: Art Schuna Subject: Re: Shirley Brown In article <19950822.111642.792146.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: >SHIRLEY BROWN >"Woman to Woman" >Stax (FAntasy) SCD 4135 2 >I remember hearing Shirley Brown on the radio during the post-Stax >period, well into the eighties, some of her recordings (as I remember >them at least) having a disco flavor but still never throwing out >the deep-soul baby with the bathwater, as it were. We need her >kind around today. I wonder if she has kept working on the deep >south club circuit doing the kind of gigs you see signs for on >telephone poles?Is she back in St. Louis? Whatever, her classic >album (it's not all story songs, thankfully) is available and >should satisfy that deepsoul hunger inside you. I would have to echo Bill's enthusiasm for this Stax reissue, but would also like to put in a plug for some of her more recent releases. I picked up a copy of her most recent release, "Diva of Soul" (Malaco - MCD7476) after an enthusiastic recommendation from Bonnie K. This has ten of the tastiest soul blues tunes by a female vocalist you are likely to find this year. In just the past couple of weeks I found a used copy of her 1993 Malaco release, "Joy & Pain" (MCD7467). I find this to be equally satisfying. Her "disco flavor" seems to be long past her, as it is with most artists. It's a crime this lady has not received wider recognition. Art Schuna ========================================================================= Date: Tue, 22 Aug 1995 22:01:27 -0400 From: Linden/Powers Subject: Colin Linden/Colin James Shows I am going to be opening a bunch of shows for my friend, Colin James over the next couple of weeks. The dates I'm on are: August 26-BOURBON STREET, St. Saveur, Quebec August 29-STAGES, Kingston, Ont. August 30-GRAND CENTRAL, Ottawa, Ont. August 31-THE PINES-Bridgenorth (Peterborough), Ont. Sept.1- THE DARDENELLA-Wasaga Beach, Ont. Sept..2-KEE TO BALA-Bala, Ont. Sept. 6-BROCK UNIVERSITY THEATRE-St.Catherines, Ont. Sept.7-ANNANDALE COLLEGE CONCERT HALL-Ajax, Ont. Sept. 8 & 9-LULU'S-Kitchener, Ont. Sept. 10- Kingsville (Windsor), Ont. (VENUE TBA) Also, I'll be opening for Robert Cray at Toronto's Massey Hall on Sept. 15. Maybe I'll see some Bluezellers out there. Colin Linden ========================================================================= Date: Tue, 22 Aug 1995 22:22:23 -0400 From: Garry Segal Subject: Re: Blues-L Marketing Hi Alan, I missed the controversy(AOL probs)with PW's Blues L Shopping Center but was there when he set it up. I think its fine to have Blues L subscribers with bands on their own label be on it. It would be a drag to have it cluttered with major label releases that already have plenty of ad $$'s. To tell you the truth nobodys gonna clean up by advertising their CD on it. Im certainly not. I see it as an extension of the regulars on the list. So ads dont have to come up in posts , Lers can just be directed to PWs site or a bands homepage and thats that. Blues L doesnt bear the responsibility of endorsing anybody, all it is saying is that they subscribe to the list. Unless I missed something about criteria, PW gets my vote and appreciation. If a simple name change would help so as not to offend BluesLers, that might solve any controversy but I kinda like the community feeling on BluesL (flames and all) and am proud to be found in the Blues L Shopping Center. Well there's my $0.02 Take Care, Garry and those darn MOODSWINGERS Band page http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Tue, 22 Aug 1995 22:47:27 -0400 From: Garry Segal Subject: Re: Care and Feeding of a new baby harp So ya got yerself a harp didja? Get ready to lose some old friends and make new ones:) Some tips, Dont soak them... temporarily makes them louder ez to bend but cuts life in half. Keys KEY A-use-D HARP KEY G use-C HARP KEY C-use- F HARP Thats the basic cross harp position. Draw in on the #2 hole and that is your root note for the key. On a D harp the #2 draw is an A note etc. Staight harp 1st position is same key..KEY A use A harp. Thats just the bare basics, Listen and play along with records Little Walter etc..... Have fun ! Garry ========================================================================= Date: Tue, 22 Aug 1995 22:15:16 -0500 From: Rob Varak Subject: Re: "Blown" harps- tech question If he wants to switch to Lee Oscar harps, they sell new reed sets individually. You end up paying a little more for the initial sale, but it pays for itself pretty quickly. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 22 Aug 1995 22:23:29 -0500 From: Rob Varak Subject: Re: Care and Feeding of a new baby harp When I first started "playing" I found that my best bet was to listen to the greats (___ Walter, SBW's et al) and then play along with other stuff that had _no_ harp in the song. Acoustic stuff was usually best. This let me hear myself (no great pleasure in the early days) and forced me to improvise. Now I feel more comfortable with playing along with good harp players. Actually, I should probably be doing that more :). Have fun!! Rob PS Nice to see a little harp talk on the list after all that guitar-bage:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Wed, 23 Aug 1995 00:16:21 -0500 From: Patti Bowman Subject: Re: From Geetar to Bass > I was thinking that we could do something > fun if one of us (me) could do a little bass. > > Advice? Opinions? Steve- Do you want Shannon or me to answer this one?! -Patti ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Wed, 23 Aug 1995 00:47:11 +0000 From: "P.W. Fenton" Subject: Re: Blues-L Marketing On 22 Aug 95, Alan C. Rollins had this to say: > As is being discussed here over the last few days Mr. Paul > Fenton has offered to post information re: artists onto a home page he is > designing. These postings would be free to the artists. He would set up > (or has set up) specific criterian for the artists to meet in order to > qualify. I see nothing wrong with this as it is his space and to provide > such a service is most gracious of him. Since it is his space I feel that > he too should call the shots concerning the page. > However I am not quite so sure that by naming it the Blues-L > Marketplace he retains the same degree of autonomy. I am not saying he can > not do this nor am I endorsing the idea. I am saying that if he is going to > do this using the name of the Blues-L I feel that the Blues-L then gets > input as to what he can or can not do in its name. > Further I feel that asking to do this is appropriate rather than > assuming to use the name. > I feel that Paul means well and is getting tripped up in an attempt > to do good things for the Blues artists he respects and genuinely wants to help. > Please remember if we allow him or anyone else the use of our name > we take on a certain amount of liability for what they do in our name. > I feel that we need to design a policy re: the use of the Blues-L > name as it is specific in what it stands for and one bad experience could > destroy the good image it has. Also we owe our host, Brown University every > consideration in our deliberations. > They may and probably do not care what we do, but we need to be considerate > just the same. > I am seeking input re: two things here. > 1. How should we deal specifically with Mr. Fenton's offer > at this time? > 2. What should the policy be re: the use of the Blues-L name? > > Any input from some of our learned friends from the legal > community would be appreciated here too. > > Let me know your inputs on or off line. > Alan > > ACR You may have noticed that Mr. Rollins doesn't actually know what the web page is called, or what it's content is, or what the state of my own pages are, or what my actual stated policy is. What he does know is that I'm giving away for FREE something that he has plans to SELL. That is what we are really talking about here. Alan Rollins has plans to sell computer services, including web space, to Blues musicians. What is now supposed to happen is that I get all pissed off about being told what to do with my own time and money, and rescind my offer of free space to active members of Blues-l who have Blues related products to offer. Well, that is not going to happen. I intend to maintain it exactly as it is, for as long as I can afford to, and under it's present name. What the members of Blues-l might actually want to think about sanctioning instead of my free offering is Mr. Rollins relating to potential clients that one of the reasons they should consider buying his services is that he "owns" Blues-L. That's exactly the way he put it, when he tried to sell me his services a week ago. I know better, but not everyone he approaches will know that "list owner" is just a title that has nothing to do with "ownership" of real, or intellectual property. P.W. Fenton ========================================================================= Date: Wed, 23 Aug 1995 00:33:26 -0600 From: Don O Subject: Gregg Smith > From: Toby Levy > He then announced that they had brought > a special guest with them that night, a man known as "The Texas > Thriller, Greg Smith." Gregg is a fine soul blues man from the Dallas area that has been playing around here for a dozen years or so. I have a fairly extensive interview with him that I can post to the list if there is sufficient interest. He has also been known as the Texas Blues Wailer, but I guess he has switched that to avoid confusion with Johnny Taylor who is often introduced as Johnny Taylor the Blues Wailer. Gregg has two albums out on Ultrax Records, the first of which, "Money Talks" was distributed by Ichiban. > Twenty minutes after the band started playing the trumpet player > announced Lucky, calling him "The Young Prince of the Blues." He > mentioned that Lucky has a new cd coming out on January 1st of > 1996. Why are they waiting so long to release it? Our local Polygram rep already has a preview tape of this album. My guess is it will come out in Europe about 6 months before it appears in the USA. I'm not sure why that is, but it seems to be SOP with all the Verve/Gitanes blues stuff. Is it already out in Europe?? Lucky is playing here in Dallas this Thursday and Friday at a small club (code is 175) called the Blue Cat. Looking forward to seeing him there. Don O. ========================================================================= Date: Wed, 23 Aug 1995 05:56:35 GMT From: Greg Harrison Subject: Re: Slim Harpo/Otis Clay Could someone please help me to find copies of "Rock Me Baby" by Slim Harpo and/or "Baby Jane" by Otis Clay? I have an extensive collection of blues and other music and I would be happy to do a swap. ========================================================================= Date: Wed, 23 Aug 1995 04:39:51 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - Aug 23 ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERKOWITZ, BRIAN (keyb/JUNIOR WELLS) b. 1970-0823, BELLEVILLE, NJ CARR, WYNONA "SISTER" (p/SPECIALTY REC) b. 1924-0823, CLEVELAND, OH GIBSON, HOOT (g) d. 1962-0823, WOODLAND HILLS, CA 70 GREEN, JESSE b. 1937-0823, DELHI, LA IVORY, DOTTIE (DOTTIE M. JACKSON) (v) d. 1988-0823, SAN FRANCISCO, CA 61 LEWIS, RUDY (lead/THE DRIFTERS) b. 1936-0823, PHILADELPHIA, PA LINDSAY, JOHN (b/HARLEM HAMFATS) b. 1894-0823, NEW ORLEANS, LA MOON, KEITH (:) (d/WHO) b. 1947-0823, LONDON, UK PAGE, NATHEN (g) b. 1937-0823, LEETOWN, W. VA RAINEY, WILLIE GUY (g) d. 1983-0823, COLLEGE PARK, GA 82 REED, DALTON (v/BULLSEYE BLUES REC) b. 1952-0823, CADE, LA ROSE, DAVID (:) (comp of THE STRIPPER) d. 1990-0823, BURBANK, CA 80 VALENTINO, RUDOLPH (:) (v) b. 1895-0823, CASTELLANETA, ITALY WATSON, BOBBY (asax/BASIE) b. 1953-0823, LAWRENCE, KS WEBB, BILL "BOOGIE" (g/IMPERIAL REC) d. 1990-0823, NEW ORLEANS, LA 66 WEST, TOM (o/DUKE LEVINE) b. 1958-0823, WORCESTER, MA ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 23 Aug 1995 11:23:48 +0100 From: Bo Carlsson Subject: Re: Dirty Dishes Edward wrote: > As a related side note -- happy birthday to Debbie Davies, rhythm >player to AC for a few years running. If you've got all Albert's albums >and find you need an extra AC fix, check out her album _Picture This_ >on Blind Pig (BPCD 5004) -- AC guest picks on one track. > And if you need some more nice music that celebrates AC - try to get your hands on "Hand Made" by Ole Frimer. He s a singer/guitarist from Denmark. I had seen his name but never heard him before we met at the Notodden =46estival in Norway. His album is realy very good with mostly originals. He plays a beutiful guitar in the AC-style with som of his own twists. But what realy striked me was his singing, you don t hear many singers that is influensed by AC, do you? Well Ole is and his phrasing is very close to AC:s, It gave me some new light on the finesse in AC:s singing, the part of his art that he had least confidence in. But he realy had a personal and great singing style, if not the most powerfull sets of pipes. Mr Bo ========================================================================= Date: Wed, 23 Aug 1995 06:46:59 -0400 From: Francisco Molla Ruiz Subject: About Larry McCray I am very sorry to have spread the rumor that Larry McCray had recently passed away--which, fortunately, is false. We hardly get any news in Spain about the blues world. There is only a nationwide blues radio programme, two hours twice a week. News are scarce and, occasionally, also erroneous. In the media, news about gigs and concerts are nonexistent. In April, Gatemouth Brown and Joe Louis Walker played in Madrid and, in both cases, I was lucky to learn the news the day before. Of course, no review or article about the concerts appeared in the newspapers. Specialized recordstores are also nonexistent, and we have to buy directly from labels (Alligator, Roundup) or foreign stores (Red Lick). There is only one blues magazine (Solo Blues) published in Spain, but its publication is highly irregular--the latest number appeared in 1994. Such is the discouraging panorama in Spain, yet sometimes partly relieved by this list. Again, we are sorry to have spread the false rumor. We hope Mr. McCray--still alive and well--comes to Spain in short. To my knowledge, he has never been here. If the rumor has reached him, please accept our apologies. Bests to everybody Paco Moll¤. ========================================================================= Date: Wed, 23 Aug 1995 07:37:23 +0000 From: Ian Angus Subject: Going off=net I will be off blues-l until Labor Day -- I've set the server to NO-MAIL. If anyone really needs to email me, please use ian angus@dis.on.ca but I won't be checking that for a week oer so, either. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 23 Aug 1995 15:22:01 +0300 From: Jouni Ilari Hyyti{inen Subject: johnny mars today ? How is Johnny Mars doing these days ?. I mean gigs and his latest album. any opinions ?. I think he is back in London. (?). I ask these questions because we are working on to book him to our festival . thank you, jouni ========================================================================= Date: Wed, 23 Aug 1995 07:50:16 -0400 From: Willy Evans Subject: Re: Blues-L Marketing As regards Mr. Fentons Home Page: It is simply a list of artists tapes/cd's/lp's with pertinent info. The artists are from the Blues-L so the name is a natural. There is no editorial content in his page so I don't see what the big deal is. He is paying for the page (and I appreciate it!) so that gives him some degree of autonomy. So until he begins spouting opinion, I say let him be, he is providing a service to some of us very unselfishly. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Wed, 23 Aug 1995 07:35:56 CST From: William Shute Subject: upcoming Ichiban Soul Classics reissues From: Bill Shute Available 29 Aug. DIONNE WARWICK***** "From The Vaults" 23 tracks--material from five l963-65 Scepter albums, b-sides, demos (sure to give you more of a buzz than Dionne's "psychic friends network") Available late Sept. ARTHUR CONLEY ***** "Sweet Soul Music" 22 tracks--Atco material PLUS l965-66 singles from Jotis and Fame labels (this one is long overdue! I've never heard the Jotis material (Jotis was Otis Redding's own label--Conley was to some extent a Redding protege)), so this ought to be exciting. LORRAINE ELLISON***** "Stay With Me" 23 tracks Available late October DEE DEE WARWICK***** "She Didn't Know" 22 tracks (gee, with the Warwick Sisters AND Cissy Houston all being subjects of recent Ichiban reissues, they ought to start an Ichiban subsidiary devoted to nothing but the Warwick/Houston clan) various artists***** "Lifting The Spirit" various artists***** "Love Peace And Understanding" according to Ichiban, "these compilation releases feature uplifting songs of inspiration" and various pop-soul performers of the 60s/70s/80s are featured. Ichiban says that many of these comps are put together from the requests of "Soul CLassics" customers, so if you want something reissued why not suggest it to them. How about a collection of Syl Johnson's "Twinight" label sides (not included on the Japanese CD "The Chicago-Twinight Soul Story")? How about some of those legendary Dan Penn songwriting demos from the 60s? How about Pic 'n' Bill? Bill Shute San Antonio, TX ========================================================================= Date: Wed, 23 Aug 1995 08:13:04 GMT-6 From: Eliot Williams Subject: Re: Slim Harpo/Otis Clay > From: Greg Harrison > Could someone please help me to find copies of "Rock Me Baby" by Slim > Harpo and/or "Baby Jane" by Otis Clay? I have an extensive collection of > blues and other music and I would be happy to do a swap. "Rock me baby" is available on Rhino 70169, "Best of Slim Harpo", or on Excello 2001, "Hip Shakin': The Excello Collection". If anyone on the list knows where to find "Baby Jane" please let me know - I've been looking for this (any format) for years! EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 23 Aug 1995 08:09:41 -0500 From: Jeff Seale Subject: Re: August 23rd Happy Birthday On Tue, 22 Aug 1995, Henry Busse Jr wrote: [dates deleted] > >From Henry Busse Jr's Players" a 3000+ Database of birthdays / passings > for sale.Check http.//www.wp.com/HOTLIPS or > shuffle@ic.mankato.mn.us I don't mean to be tacky here, but why would we want to buy this list when we get Uncle eRIC's list every day for the mere price of subscribing to the list? -Jeff (damn commercial b.s.) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Wed, 23 Aug 1995 09:16:46 -0500 From: Patti Bowman Subject: Re: Blues-L Marketing I wasn't going to get in this one, but I feel now I have to....... As some of you know, I have started a service for indie musicians (not just blues) which I will charge for as it involves a great deal more than just putting up a web presence (getting reviews, getting airplay, publishing a catalog for retailers & distributers, etc.). In my opinion, what PW is doing is not the same thing and doesn't compete with me at all. I think that _any_ help that indie artists can get is great and when it's free that even better. I don't see anyone getting rich on this plan or the rep of the list getting "tarnished". As for the "list-owner" and the name "Blues-L".........I didn't see anyone bustin' a gut over the proposed name of the album PW is planning - Bluezelle - a great name IMHO. I say unless it is a copyrighted or trademarked name he can use it to his hearts content. (Maybe add some interest in Blues-L in the process. I haven't visited the site yet but it there some note about Blues-L? Or maybe a disclaimer?) Let's face it folks, the name Blues-L isn't that exciting to start with. PW, you could probably do better if you put it out for suggestions. Bottom line........it's _your_ site, have fun, good luck and joke'm if they can't take a f---. -Patti (stop here if you have read the great ACR/PWF debates already!) ---------------------------------------------------- >On 22 Aug 95, Alan C. Rollins had this to say: > >> As is being discussed here over the last few days Mr. Paul >> Fenton has offered to post information re: artists onto a home page he is >> designing. These postings would be free to the artists. He would set up >> (or has set up) specific criterian for the artists to meet in order to >> qualify. I see nothing wrong with this as it is his space and to provide >> such a service is most gracious of him. Since it is his space I feel that >> he too should call the shots concerning the page. >> However I am not quite so sure that by naming it the Blues-L >> Marketplace he retains the same degree of autonomy. I am not saying he can >> not do this nor am I endorsing the idea. I am saying that if he is going to >> do this using the name of the Blues-L I feel that the Blues-L then gets >> input as to what he can or can not do in its name. >> Further I feel that asking to do this is appropriate rather than >> assuming to use the name. >> I feel that Paul means well and is getting tripped up in an attempt >> to do good things for the Blues artists he respects and genuinely wants >>to help. >> Please remember if we allow him or anyone else the use of our name >> we take on a certain amount of liability for what they do in our name. >> I feel that we need to design a policy re: the use of the Blues-L >> name as it is specific in what it stands for and one bad experience could >> destroy the good image it has. Also we owe our host, Brown University every >> consideration in our deliberations. >> They may and probably do not care what we do, but we need to be considerate >> just the same. >> I am seeking input re: two things here. >> 1. How should we deal specifically with Mr. Fenton's offer >> at this time? >> 2. What should the policy be re: the use of the Blues-L >>name? >> >> Any input from some of our learned friends from the legal >> community would be appreciated here too. >> >> Let me know your inputs on or off line. >> Alan >> >> ACR > >You may have noticed that Mr. Rollins doesn't actually know what the >web page is called, or what it's content is, or what the state of my >own pages are, or what my actual stated policy is. What he does know >is that I'm giving away for FREE something that he has plans to SELL. > >That is what we are really talking about here. Alan Rollins has >plans to sell computer services, including web space, to Blues >musicians. What is now supposed to happen is that I get all pissed >off about being told what to do with my own time and money, and rescind >my offer of free space to active members of Blues-l who have Blues >related products to offer. > >Well, that is not going to happen. I intend to maintain it exactly >as it is, for as long as I can afford to, and under it's present >name. > >What the members of Blues-l might actually want to think about >sanctioning instead of my free offering is Mr. Rollins relating to >potential clients that one of the reasons they should consider >buying his services is that he "owns" Blues-L. That's exactly the way >he put it, when he tried to sell me his services a week ago. > >I know better, but not everyone he approaches will know that "list >owner" is just a title that has nothing to do with "ownership" of >real, or intellectual property. > >P.W. Fenton ========================================================================= Date: Wed, 23 Aug 1995 08:24:07 CST From: William Shute Subject: blues cruises (query) From: Bill Shute I haven't gone on a "blues cruise" yet and I probably won't anytime in the near future, but I was wondering about something that perhaps some of you who HAVE been on such a cruise could tell me: If, to cite one cruise I see advertised, James Harman, Chubby Carrier, Debbie Davies etc. are on a cruise, do they all bring their entire bands with them? Or is there a basic group which "backs everyone"? Or do all the musicians on the cruise just act as a collective where a rhythm section is put together behind one artist from a combination of other artists (ie, Davies would be Harman's gtrist, etc.)? Thanks in advance for your response! Bill Shute San Antonio, TX ========================================================================= Date: Wed, 23 Aug 1995 09:02:05 -0400 From: Willy Evans Subject: Eric Von Schmidt Has anyone on the list heard of a singer from the 60's/70's named Eric Von Schmidt? I remember him from an album called something like 3rd right second row. He was mostly pretty dismal, but had one good tune called Turtle Beach that was a pretty good blues tune. I'm trying to find whatever happened to him. Maria Muldare sang on the album. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Wed, 23 Aug 1995 13:26:30 GMT From: George Myers Subject: Re: Lucky Millinder For those who have heard his "Goin' To Kansas City" and have checked out its recording date, there is great cause for wondering what, in fact, the real origin of the song is. The version preceeds both Little Willie Littlefirld and Leiber & Stoller. ========================================================================= Date: Wed, 23 Aug 1995 09:46:49 -0400 From: POXY MAN Subject: Re: blues cruises (query) Bill...My wife and I went on the 2nd Ultimate R&B Cruise and had the time of our lives!! Fabulous music in your cabin and everywhere on board. No usual shipboard BS, just good ol' feel good, party time Blues & R&B. All of the artists had their own bands and of course some mixed jammin' happened! What a hoot! Plan on drinkin' alot! We plan to go on another one some time but there are so many now it would be hard to pick! Regards, Pat Seay PS.....The islands were ok , too. ========================================================================= Date: Wed, 23 Aug 1995 09:57:07 -0400 From: Steve Levine Subject: Re: "Blown" harps- tech question It sounds to me that he's probably playing too hard and not breaking his harps in. You don't need to breathe too hard to get a good sound from a harp - especially if you're playing amplified. I try to beak mine in by playing gently when I frst get them and not bending at all. I find that by gradually breaking them in they get more responsive and easier to play. (I play Marine Bands, btw) Phil Wiggins told me that he never breaks his harps in and he sometimes will wear out a harp in one night. But that was a few years ago when Marine Bands were much cheaper - plus he probably has an endorsement deal with Hohner and gets them at a discount. Does your harp player ever retune his harps? Many players are doing that now, and it is pretty simple to learn - just becasue the harmonica is a small instrument doesn't mean that it can't be worked on. (and in fact lots of times brand new harps have to be worked on). He should get a copy of Steve Baker's "The Harp Handbook" (a book that every serious player should own). He can get it from F&R Farrell (800-438-3453 or 800-438-3544) or Kevin's Harps (800-274-2776). Last but not least - if he's spending too much on new harps he may want to invest in some Marine Bands customized by Joe Filisko. "Joliet" Joe Filisko is a harmonica teacher, player and maker. He rebuilds Marine Bands that feel, look and sound just beautiful for around $50. I have two of his Marine Bands and they have lasted me a long time (I had to retune the A harp - the key that usually craps out on me themost - for the first time a couple of weeks ago). Howard Levy plays Filisko Marine Bands. Filisko also makes custom harps with a brass comb, square or round holes and the player's name or logo on the cover plate. He's made these for many players, including Peter "Madcat" Ruth, Charlie Musselwhite, Jr. Wells and even President Clinton! I don't have his number handy but I can find it for you. I hope this helps. Let me know if you have any more questions. -Steve ========================================================================= Date: Wed, 23 Aug 1995 13:36:08 GMT From: George Myers Subject: Re: WC HANDY AWARDS/Contests incidentally, the winner of this year's cruise has been invited on the Ultimate Rhythm & Blues Cruise 4 leaving 1/7-14 to San Juan, St. Croix, and Port Lucaya. They will be the 11th band on board. The others: Taj Mahal, Magic Dick/J Geils BluesTime, WAR, Lonnie Brooks, Koko Taylor, James Harman, Latimore, Debbie Davies, Jimmy Thackery, and Chubby Carrier and the Bayou Swamp Band. ========================================================================= Date: Wed, 23 Aug 1995 09:01:35 -0500 From: T-Bone Subject: Yank Rachell Home Page Since Yank is playing at the festival in Indy this weekend, I'll go ahead and put his web page up. I don't have any worthwhile pictures available yet, and I probably need to proofread it one or two more times to make sure it flows more smoothly. Still, time being of the whatnot, you can check it out at http://www.io.com/~tbone1/blues/yank.html T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 23 Aug 1995 10:25:29 -0400 From: Rick Miller Subject: Blown harp help--thanks! Thanks to all you pro harp players out there for the advice and feedback on this. The concensus from you guys is that my bud Pat is just blowing too damn hard. For starters I'm gonna try tilting his amp back so he can hear himself a little better. We don't mike him thru the PA, he plays his Shure "Green Bullet" straight out thru his Fender Blues Deluxe. After reading a few of your suggestions, I put two and two together, that maybe he just doesn't hear himself that well. This makes sense. You have to know Pat. Pat spent four years on the flight deck of the carrier USS John F. Kennedy. He was one of those guys you see in "Top Gun" that stands right under the front of friggin' F-14 Tomcat fighter jets with the little flashlights and signals the cockpit around the deck and off the catapult. It's loud there. REAL LOUD. I'm sure it never occured to Pat to have his hearing checked. He does talk real loud too. But he's such a wiry, animated, Type-A, chain-smokin' little mother f-er that I just figgered his personal volume level was part of his persona and his charm. :) Okay, so, we'll try pointing the amp more at his head. See if we can work on making him MORE deaf. :) [kidding] Maybe put the amp up on a chair? Hmmmmmm! Thanks again all. Riffin Rick (((( oo-) /- The wife and the new dobro are resting comfortably. :) F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Wed, 23 Aug 1995 10:42:36 -0400 From: Marcia Grodsky Subject: Re: blues cruises (query) There are so many different blues cruises being put on now that there is no one answer. The particular cruise that Bill mentioned has always included the entire band of each featured artist. Some of the artists would sit in with eath other, i.e. Charlie Musselwhite sitting in with Little Charlie & the Nightcats; Charlie Batey sitting in with the T Birds, etc. There would also be jam sessions for passengers and some of the featured musicians would sit in. But the each artist brought their whole band. The Black Top cruise to Alaska this month was supposed to operate differently. The Black Top All-Stars were to be, in effect, the house band, backing up the individual Black Top artists that were scheduled to appear. I suspect, based upon what I've heard (but I may be wrong) that on Delbert McClinton's cruise things are a little more informal with respect to who backs up who. I think his features a number of solo artists who don't have back-up bands. The December cruise which features Etta James, Junior Wells, Jr. Walker etc. is the one I'm considering this year. It's the best value for the money and the nicest ship. I don't know how they're handling it. I'll try to find out. ---Marcia ========================================================================= Date: Wed, 23 Aug 1995 14:41:29 GMT From: B Foster Subject: Re: My INCREDIBLE wife & mo' better Blues. Forget the guitar. I'm interested in your wife. ;- p Actually, my girlfriend did the exact same thang about 3 months ago, but it was a 40th anniversary strat. For all you players who want to know where to sign up--all the good ones are (unfortunately) taken. Gettin' Busy ========================================================================= Date: Wed, 23 Aug 1995 14:48:52 GMT From: B Foster Subject: Re: Copyright Questions PLEASE > Would that fall under "Public Performance" and break copyright laws...? > THANKS I'm not a lawyer, but work for an advertising agency (people view us the same way they view lawyers). Here's the deal. You might possibly infringe on the laws, but who cares? You're not making any money for it, just promoting a category. EVEN IF someone found out what you were doing, the worst that would happen is someone would tell you to stop. We recently had the same type of situation with Anheuser Busch, and their lawyers called us and said, "stop it." So, in summary, go for it. ========================================================================= Date: Wed, 23 Aug 1995 14:37:00 GMT From: B Foster Subject: Re: Dirty Dishes > Albert Collins is someone that I don't see discussed much on the list but > personally happen to miss terribly. What do you all think of him? Albert was so cool, he used to drive his own bus. I saw him at the Blue Note in Columbia, Missouri about 10 different times. I have a Gibson 335 Dot, and his signature was the first one I ever got on it. (Followed by Buddy Guy, WC Clark, Tab Benoit, etc.) I miss him too. Unfortunately, I blew the stereo out last week, so I miss all of the music. You might say "I got the blues for blues." Sounds like a good start to a song... Gettin' busy. ========================================================================= Date: Wed, 23 Aug 1995 14:51:01 GMT From: B Foster Subject: Re: Geetar to Bass In article <950822124353_60476982@mail02.mail.aol.com>, BlueSngr@AOL.COM wrote: > Steve recently asked about trying bass. Go for it Steve you will be a > popular guy as bass players willing to play blues and R&B are in short > supply. It should be an ez transition if you already know some basic blues on > guitar. > Garry ...and if you live in St. Louis, give me a call. I really need a blues bass player. ========================================================================= Date: Wed, 23 Aug 1995 11:06:38 -0400 From: Doordog Subject: Re: Care and Feeding of a new baby harp Michael, I have been playing harp for longer than I care to remember. As I see it these are the answers: 1. I never felt that there was any need to break in a harp. They either play fine when you first start on one or they never do. They will wear out. This you can tell by when they go flat. There is no recovering them. Lee Oscar harps can be repaired by replacing the comb. On yours you do not have this option. 2. If you soak a harp such as a Hohner in water it will make the comb (the wood part) swell. This makes the chamber smaller which allows higher pressure and velocity of the air as it passes over the reed enabling higher volume. It also softens up any deposits which are in the harp to ease their removal. When I was starting off for some dumb reason I soaked mine in orange juice. This is my opinion, there is no point in soaking your harp in water, let alone orange juice. Your best bet though is to try it and make up your own mind. 3. You are correct on the cross harp question. If the song is in E you play an A harp in the cross harp style. Your C harp will work fine for songs in the key of G. You will find the cross harp style works very well with the blues. I hope this has answered your questions. Ron (The Doordog) Stone ========================================================================= Date: Wed, 23 Aug 1995 10:57:28 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Blues cruises...good idea! Personal account here...this past Friday night, "my" band, Sonny Moorman & the Dogs, hosted/played on a midnight blues cruise on one of the riverboats here in Cincinnati. If you are in a band and are looking for a way to make some money, AND you live in a river city, here's your chance! We planned this event a couple months ago, scraped up the $$$ for the deposit for the riverboat, made up a load of flyers, and started selling tickets. We had one ticket price for the public, a lower price for Blues Society members. We had 350 tickets to sell. At first (2 months before the event) sales were slow, but in the last couple weeks tickets were selling like hotcakes. We ended up with 303 out of 350 tickets sold. The riverboat left the dock at midnight and cruised the Ohio River for almost three hours. The band played two great sets (easier than a 'regular" gig), the riverboat folks said they have NEVER sold that much beer on one cruise and we're welcome back any time, and EVERYONE said, "Great party! Have another one soon!" Financially we are well in the black...positive outcome all around. The Greater Cincinnati Blues Society has talked (and talked and talked) about putting one one of these blues cruises, and they/we haven't ever gotten our act together ("what if this goes wrong," "what if that goes wrong," etc.) to do it. Instead one band did it, on their/our own, and it was great! Good idea for a fundraiser and/or a memorable party! Shannon ========================================================================= Date: Wed, 23 Aug 1995 11:31:08 -0400 From: Steve Levine Subject: Re: Blown harp help--thanks! *Okay, so, we'll try pointing the amp more at his head. See if we can work on *making him MORE deaf. :) [kidding] Maybe put the amp up on a chair? Hmmmmmm! * Put the amp on a chair or on a milk crate (they often can be convenienty "found" behind bars, restaurants, 7-11's etc. ;-) and have the rest of the band turn their levels down. -Steve ========================================================================= Date: Wed, 23 Aug 1995 08:38:00 -0700 From: Ned Kraft Subject: Blown harps Blown harps, Yep, I've got a box full. Mostly flatted out - you can re-tune them yourself if you've got the time (I've done it a couple of times just for grins, but it's slow). I actually started playing Huang Star Performer harps a couple of years ago. I like the tone and they hold up well. I think the Lee Oskar harps are the most durable I've used, but I like the Huang tone better (also I can get 3 Star Performer for the price of 1 Lee Oskar). Hohner harp durability review: Blues harp: the worst, just when they get broken in they flat. Marine band: Lasts well, with heavy playing the comb will swell. Special 20: My fav. from Hohner. I prefer the upper register tone and the durability is good. There's my 2 cents. E-mail me directly if you can teach me anything. Dirty Ned Hoosier Daddys San Jose, CA a.k.a. ned_kraft@hp0000.desk.hp.com ========================================================================= Date: Wed, 23 Aug 1995 09:44:05 -0600 From: "Paul R. Leach" Subject: Re: Eric Von Schmidt >Has anyone on the list heard of a singer from the 60's/70's named Eric >Von Schmidt? I remember him from an album called something like 3rd right >second row. He was mostly pretty dismal, but had one good tune called >Turtle Beach that was a pretty good blues tune. Turtle Beach is a promising tune that starts off a record that other than that is, as you say, pretty darn dismal. I just got this LP last week (you were close Willy...2nd Right, 3rd Row). When I thumb thru the 4 bit LP's at the thrift store I will pick up anything that looks mildly promising if its Blues. Luckily at the same time I picked up Alberta Hunters soundtrack to Remember My Name. I'd recognized the name from talk on Blues-l a few months back. What a find, what a voice...no matter what age she was when she recorded it... and she just happened to be 83. Anyway, sorry I dont know what Eric has done since then...but I know he makes an appearance on Blues With a Feeling, the recently released Vanguard 2CD set of mid 60's Newport performances. -- Paul { * }====# ========================================================================= Date: Wed, 23 Aug 1995 15:43:59 GMT From: Bob Ancheta Subject: Re: Dirty Dishes I do a blues show Sundays on KGON in Portland, Or. I'm always looking for new and exciting product. Portland does the Waterfront Blues festival July 4th week every year, so you know Blues is big in Portland. Mail your stuff to: Bob Ancheta, KGON, 4614 SW Kelly, Portland, Or 97201 or call (503)223-1441 Fax (503)223-5466 E Mail BA@KGON.com ========================================================================= Date: Wed, 23 Aug 1995 12:00:06 -0400 From: James Leftwich Subject: Re: Eric Von Schmidt Eric Von Schidt is from Cambridge, Mass. He is most famous for Bob Dylan's aside about him during his tune _Baby Let me Follow you Down_. Jim On Wed, 23 Aug 1995, Willy Evans wrote: > Has anyone on the list heard of a singer from the 60's/70's named Eric > Von Schmidt? I remember him from an album called something like 3rd right > second row. He was mostly pretty dismal, but had one good tune called > Turtle Beach that was a pretty good blues tune. > > I'm trying to find whatever happened to him. Maria Muldare sang on the album. > > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > *** Some folks rip and run ... **** > ========================================================================= Date: Wed, 23 Aug 1995 08:58:00 -0700 From: Ned Kraft Subject: new harps Gary, you are COLD. Little Walter changes harps during songs and plays Chromatic (it's great, but as a beginner a bit overwhelming). Find your local harp ace and ask for a lesson if you've got the cash. Otherwise I'd listen to some Kim Wilson or James Harman - great, but not clever. Everything else Gary said is on the money. Have fun and welcome to the club. Keep cool, Dirty Ned ========================================================================= Date: Wed, 23 Aug 1995 12:09:18 -0500 From: Patti Bowman Subject: Re: Copyright Questions PLEASE > > Would that fall under "Public Performance" and break copyright laws...? >> THANKS > > >I'm not a lawyer, but work for an advertising agency (people view us the >same way they view lawyers). Here's the deal. You might possibly >infringe on the laws, but who cares? You're not making any money for it, >just promoting a category. EVEN IF someone found out what you were doing, >the worst that would happen is someone would tell you to stop. We >recently had the same type of situation with Anheuser Busch, and their >lawyers called us and said, "stop it." > >So, in summary, go for it. I had a photographer teacher whose first lesson included his motto: "It's easier to ask forgiveness than it is to ask permission." Love that line. -Patti ========================================================================= Date: Wed, 23 Aug 1995 12:14:13 EDT From: Toby Levy Subject: Re: Black Top label super-sale! Hot tamales! The Black Top sale sounds great! I just received the shipment from Alligator as a result of their super-sale. I don't remember who posted the message, but it gave Alligator's 800 telephone number and said they were selling 15 randomly selected vynyl records from the backlist for $30 bucks, shipping included. Here's what I got: ID# Date Artist Title 4721 1981 Lonnie Brooks Turn on the Night 8310 1984 Anthology Rockers All-Star Explosion (Reggae) 4750 1986 Lonnie Mack Second Sight 7707 1987 Anthology The New Bluebloods 4760 1988 Siegal-Schwall Reunion Concert 4763 1988 Maurice John Vaughn Generic Blues Album 4764 1988 Kenny Neal Big News from Baton Rouge! 4767 1988 Elvin Bishop Big Fun 4771 1989 Charles Brown One More For the Road 4772 1989 Lil Ed & the Blues Imperials Chicken Gravy & Bisquits 4776 1989 Ltl Charlie & the Nightcats Big Break! 4782 1990 The Paladins Let's Buzz 4784 1990 Koko Taylor Jump For Joy 4789 1990 Lucky Peterson Triple Play 4793 1990 The Mellow Fellows Street Party The remarkable thing is that none of them duplicated any I had previously bought. So far I have only listened to the Lonnie Brooks and it is wonderful. Many of the others I have heard cuts from on the local Blues radio show, so I know I'm going to like them. Toby ========================================================================= Date: Wed, 23 Aug 1995 10:02:24 PST From: Mike McCourt Subject: Re: Blues-L Marketing I was going to send my opinions by private mail, but after this response I felt a need to jump in. I think Alan raises some valid points, raised them in a polite manner and deserves a response in a similar way. I am definitely getting the impression certain individuals feel they have an "inside" knowledge of what is good for Blues-L On 22 Aug 95, Alan C. Rollins had this to say: > I see nothing wrong with this as it is his space and to provide > such a service is most gracious of him. Since it is his space I feel that > he too should call the shots concerning the page. > I feel that Paul means well and is getting tripped up in an attempt > to do good things for the Blues artists he respects and genuinely wants to > help. > > 1. How should we deal specifically with Mr. Fenton's offer > at this time? I'd say with his attitude, whatever we think isn't going to affect what he does. > 2. What should the policy be re: the use of the Blues-L name? > > ACR That's easy, ask before you assume it's OK. On 22 Aug 95 PW had this to say: >You may have noticed that Mr. Rollins doesn't actually know what the >web page is called, or what it's content is, or what the state of my >own pages are, or what my actual stated policy is. What he does know >is that I'm giving away for FREE something that he has plans to SELL. These are some pointed accusations. Might you have some facts to back them up? >That is what we are really talking about here. No, actually that is not what we are talking about here. It's what YOU are talking about. What WE are talking about is the use of the Blues-L name. We WERE talking about it in a reasonably civil manner. >Well, that is not going to happen. I intend to maintain it exactly >as it is, for as long as I can afford to, and under it's present >name. And the rest of us can take a flyin' leap, right? >What the members of Blues-l might actually want to think about >sanctioning instead of my free offering is Mr. Rollins relating to >potential clients that one of the reasons they should consider >buying his services is that he "owns" Blues-L. That's exactly the way >he put it, when he tried to sell me his services a week ago. Again, you have facts? >I know better, >P.W. Fenton Apparently not. PW, given that at least two people (myself not included) have expressed reservations about the web site, maybe you should repost the policy, the name, and the intent of the site again. A little light goes further that a lot of heat. mmccourt@acuson.com ========================================================================= Date: Wed, 23 Aug 1995 11:28:00 CDT From: Bonnie Kalmbach Subject: MadisonWI blues radio For those of you within a 60 mile radius of little WORT-FM (89.9) in Madison, Wisconsin: on Saturday, August 26th, the very knowledgeable collector of rarities, Mr. Art Schuna of Blues-L fame (and who for many years I called "Al" until disabused of that misconception by the gentleman himself, will be a guest on "Two for the Blues" 8:00pm CST hosted by yours truly (more properly: "hostess-ed but that sound too much like a cupcake) Bonnie the K. So we're gonna hear some good music and have us some Fun! - that's Art Schuna, Saturday night on "Two for the Blues" (est. 1976). (Hope you're not mad I posted this, Art.) -Bonnie ========================================================================= Date: Wed, 23 Aug 1995 09:35:00 PDT From: Gary Joneson Subject: Re: new harps >beginner a bit overwhelming). Find your local harp ace >and ask for a lesson if you've got the cash. Otherwise >I'd listen to some Kim Wilson or James Harman - great, But, don't forget John Lee Williamson the original Sonny Boy in the mix of who to listen to. IMHO one of the best to learn from. Gary John Lee Williamson http://www.island.net/~blues/johnlee.html ========================================================================= Date: Wed, 23 Aug 1995 09:27:10 -0700 From: Corinne Subject: Gosh! No Blues! ACTUAL ANNOUNCEMENTS TAKEN FROM CHURCH BULLETINS ------------------------------------------------ 1. Don't let worry kill you -- let the church help. 2. Thursday night - Potluck supper. Prayer and medication to follow. 3. Remember in prayer the many who are sick of our church and community. 4. For those of you who have children and don't know it, we have a nursery downstairs. 5. The rosebud on the alter this morning is to announce the birth of David Alan Belzer, the sin of Rev. and Mrs. Julius Belzer. 6. This afternoon there will be a meeting in the South and North ends of the church. Children will be baptized at both ends. 7. Tuesday at 4:00 PM there will be an ice cream social. All ladies giving milk will please come early. 8. Wednesday, the ladies Liturgy Society will meet. Mrs. Jones will sing, "Put me in My Little Bed" accompanied by the pastor. 9. Thursday at 5:00 P.M. there will be a meeting of the Little Mothers Club. All wishing to become little mothers, please see the minister in his study. 10. This being Easter Sunday, we will ask Mrs. Lewis to come forward and lay an egg on the alter. 11. The service will close with "Little Drops of Water." One of the ladies will start quietly and the rest of the congregation will join in. 12. Next Sunday a special collection will be taken to defray the cost of the new carpet. All those wishing to do something on the new carpet will come forward and do so. 13. The ladies of the church have cast off clothing of every kind and they may be seen in the church basement Friday. 14. A bean supper will be held on Tuesday evening in the church hall. Music will follow. 15. At the evening service tonight, the sermon topic will be "What is Hell?" Come early and listen to our choir practice. ========================================================================= Date: Wed, 23 Aug 1995 13:08:04 -0400 From: "(Dick Waterman)" Subject: Re: Eric Von Schmidt Eric Von Schmidt is alive and well and working on many music related projects. He currently resides in Westport, Conn. I will call him and ask if he wishes me to post his address/phone/fax. He was a major influence in the very early days of the Cambridge folk scene, recorded a bootleg in London with Dylan as 'Blind Boy Grunt' and has a number of excellent albums of Prestige. He is an illustrator whose work graces more music books than you realize. If you have never heard "Wasn't It a Might Storm?" or "Joshua Gone Barbados," you are living in an incomplete world. dick waterman ========================================================================= Date: Wed, 23 Aug 1995 11:25:42 -0700 From: Ron Wack Subject: Re[2]: My INCREDIBLE wife & mo' better Blues. Item Subject: Message text > Forget the guitar. I'm interested in your wife. ;- p > > Actually, my girlfriend did the exact same thang about 3 months ago, but > it was a 40th anniversary strat. For all you players who want to know > where to sign up--all the good ones are (unfortunately) taken. > > Gettin' Busy > ************** Are you talking women or 40 yr Strats? %) RW ========================================================================= Date: Wed, 23 Aug 1995 12:55:00 CDT From: Bonnie Kalmbach Subject: El Paso radio(no blues) If anyone knows anything about any controversey/demonstrations at an El Paso radio station about ten years ago - would you please contact me by e-mail privately? Thanks. -Bonnie kalmbach@macc.wisc.edu ========================================================================= Date: Wed, 23 Aug 1995 14:15:34 -0400 From: Francisco Molla Ruiz Subject: blacktop records I have just seen that there is a good sales promotion in Blacktop. I am trying to get in touch with them by te phone, but for some reason I can't. can anybody out there tell me if they have a fax or e-mail number? Thanx in advance. Paco Molla ========================================================================= Date: Wed, 23 Aug 1995 18:24:59 CST6CDT From: Sara Oxton Subject: James Carr I know there are soul fans out there on the Line, so I want to share a piece of pretty exciting news. September 15 and 16, James Carr will perform at the Blues Saloon in St. Paul. Also on the show are Frankie Lee, and the locally-based Butanes Soul Revue. James Carr performed here over Memorial Day, and it was an experience I'll not soon forget. His sets were limited to six songs each, and he did the same show both nights. But the power in his voice is awesome. He opened with "Gonna Send You Back to Georgia" amid whoops, cheers, and general carrying on, and closed with "Pouring Water On A Drowning Man." In between, some of his great classic ballads. My sense at the time was that the crowd wanted to dance and was having a hard time appreciating the epiphany of James Carr, his voice, and his presence onstage singing slow songs. The true believers, however, were in ecstasy. Contrary to everything we've been told, James Carr did not become zombie-like onstage. He presided both nights like a seasoned, and sane, professional. I thought those Memorial Day performances would be a once-in-a-lifetime occassion. But now he's coming back! If you're within a day's drive of the Twin Cities, I strongly suggest you join us for James Carr, Sept. 15-16. He's nothing short of glorious. Oh yeah, I am in no way connected with the Blues Saloon or James Carr. The profits I receive from these outings are purely soulful in nature. Best, Sara ========================================================================= Date: Wed, 23 Aug 1995 15:05:00 EDT From: "George C. Gerhold" Subject: Copyrights and Fair Use I wasn't going to bring this up, but there has been a number of postings about copyrights and "fair use." I designed and wrote a series of documents on the Neville Brothers that were made available to the public on the web around July 1. It was an extensive biography of over 6,000 words, with photos and a discography. Additionally, I created a series of graphics that were similar to the "Neville Brothers" logo. In the August issue of a New Orleans music magazine, they mentioned my web page, called "The Unofficial Neville Brothers Web Page", and I received a number of nice comments. Two weeks ago, I managed to get hard copies of the material to the Neville Brothers, soliciting their assistance in making corrections to the historical material, and maybe some help in getting touring schedules, etc. As a result, they claimed my material had errors in it, and that I had used their logo, plus seven lines from one of their songs without permission. Not knowing anything about "fair use", I removed my material from the web. Now that I have been able to check the "fair use" standards, I see that my material was not for profit, and of a historical/critical nature. After some minor changes, I plan to re-post my material to the web. But because of the reaction of the Nevilles - they have turned my material over to their attorney - I will probably have to pay a lawyer to review it. George Gerhold yyg@cu.nih.gov Washington, DC ========================================================================= Date: Wed, 23 Aug 1995 13:43:40 -0600 From: Watterworth Jay Subject: Re: Eric Von Schmidt He also did the cover art for the LP "The Blues Project" (Elektra, EKS-7264 - the fact that it is also available in mono might date it--and me.) "The Blues Project" is a wonderful time capsule featuring John Koerner, Geoff Muldaur, Dave Ray, and others along with others including Eric Von Schmidt. Jay Watterworth CU Boulder On Wed, 23 Aug 1995, (Dick Waterman) wrote: > Eric Von Schmidt is alive and well and working on many music related > projects. He currently resides in Westport, Conn. > I will call him and ask if he wishes me to post his address/phone/fax. > He was a major influence in the very early days of the Cambridge folk scene, > recorded a bootleg in London with Dylan as 'Blind Boy Grunt' and has a number > of excellent albums of Prestige. > He is an illustrator whose work graces more music books than you realize. > If you have never heard "Wasn't It a Might Storm?" or "Joshua Gone Barbados," > you are living in an incomplete world. > > dick waterman > ========================================================================= Date: Wed, 23 Aug 1995 13:15:26 -0700 From: Adrian Spidle Subject: James Blood Ulmer Can anyone recommend an album of his? I only know one song, and it's a cover (I mean another band playing his song). The local record store has several cds but they all are $15 or so, and I'm a not up for excessive gambling I guess. I don't even know what his own stuff sounds like, as he does it. Opinions? Adrian ========================================================================= Date: Wed, 23 Aug 1995 16:25:52 -0400 From: Barry Silverberg Subject: One Man's Opinion-Chris Cain. CHRIS CAIN - SOMEWHERE ALONG THE WAY (BLIND PIG #5024) BLIND PIG RECORDS P.O. BOX 2344 SAN FRANCISCO, CA. 94126 Here is an important CD to add to your collection. Chris Cain has a boatload of talent and comes with a cargo of good sounding accomplished musicians. You get for the price of only one admission - Ron Johnson on bass, David Kirk Mathews on keyboards, Ron E. Beck on drums, Modesto Briseno on trumpet, Bill Esparza on saxophone, Myron Dove on bass track 9 and Ms. Rita as a second vocal on track 10. They all work well and leave plenty of room for the moving guitar of Chris Cain and his very fine vocals. A number of styles pervade this set and each one points out the breadth of Mr. Cain's talents. He's a solid musician and a strong addition to the blues community. Now for the goodies. STREET OF BROKEN DREAMS / STEPPIN' ON A HIGHWIRE / DON'T LET THE SAME DOG BITE YOU TWICE / ON THIS FINE MORNING / TROUBLE MAKIN' WOMAN / MOVIN' BACK TO MEMPHIS / KNOW WHO YOU CAN TRUST / MY BABY'S GOT IT / BEFORE THE ROOSTER CROWS / AT THE CLUB / SKELETONS IN HER CLOSET / SOMEWHERE ALONG THE WAY NY CD-Takes STREET OF BROKEN DREAMS: A big guitar accompanied by a hot set of drums and horns opens up this exceptional CD. Chris Cain comes up about 20 seconds in and he is beautiful to listen to. His vocals here are full and melodic. He carries a rich voice and makes this side move. He offers up plenty of vocal intonations to make his songs captivating and he is a blaster on the guitar. A fitting opener to an eye popping CD. Both his guitar work and his voice make one wonder whether Mr. Cain's real last name is not King. He'd certainly fit nice in that company. STEPPIN' ON A HIGHWIRE: A bit slower here but the guitar is once again ripping. Chris Cain never cheats you. His style of guitar is fierce and rich, fiery and musical. His voice too carries these same big musical qualities. DON'T LET THE SAME DOG BITE YOU TWICE: A little less fire in the guitar opener here and very smooth. A nice walk into the talky lyric driven introduction to this side. As Mr. Cain turns from a chat to a song the guitar follows him from its smooth mellow start to a higher tuned and more effervescent sound. Then Chris Cain returns to a mellow run. This nice back and forth play is very inviting. Give a good listen to - Mr. Chris Cain delivers plenty. ON THIS FINE MORNING: Lots of horns open up here. This is a more soul filled cut. The big horns featured here make a nice backdrop to the R&B sounds of Mr. Cain. I personally found this side a real treat, partly due to the new side Mr. Cain has shown and partly due to the big band and R&B mixing. TROUBLE MAKIN' WOMAN: Turn it down, Chris Cain is crying the blues. This side features a longer opening run by Chris Cain and stays instrumental for the first full minute. The deep and brooding voice of Chris Cain here match the lyrics well. A very bluesy dark sided cut. MOVIN' BACK TO MEMPHIS: A wild musical opener - with all the instruments running up front and center. This side rocks. You will find yourself hip shaking and shoulder rolling. A nice tribute tune to the great and the greatness of the blues - but the beat and the pace here steal it all. Plenty of Chris Cain's hot picked guitar and the whole band letting loose. This side easily is a first play tune and may be the stealer on this entire CD. KNOW WHO YOU CAN TRUST: This cut is rich and full of good vocals. It again belies the soul side of Mr. Chris Cain and throughout he continuously lays in some more of his sweet sounding guitar licks. A very nice side and a good follower to the rock of Movin' Back to Memphis. MY BABY'S GOT IT: Here's a different side to Mr. Cain. The opening bars of this side's guitar run are quicker than his other cuts and a lot more complex. He sets this up against another soul filled blues tune and makes this cut shine. A very nice mix and a very good arrangement. BEFORE THE ROOSTER CROWS: Nice winding blues here. Right on and very musical. Possibly the best showing of Mr. Cain's excellent vocal abilities. He continuously offers up his own style of guitar strumming set against a well chosen group of musicians and a beautifully tuned voice. This side certainly shows off everything this CD has to offer. AT THE CLUB: A fun side and a change of pace. Chris Cain picks up a second vocal partner in Ms. Rita and turns his playing on to the piano. A nice little allusion to Artie "Blues Boy" White runs this cut. SKELETONS IN HER CLOSET: Chris Cain from the last cut on has changed his vocal take. He's no longer singing the King sound. A lot more all around instrumental here and plenty of Mr. David Kirk Mathews on piano. Even the guitar picking of Chris Cain is new. This side and At The Club show off more of the versatility we can expect when listening to Mr. Cain. SOMEWHERE ALONG THE WAY: Back to the start of this CD but more relaxed and a nice goodbye to an A+ CD. This session is worth the money and doubly worth the time spent listening. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 23 Aug 1995 16:30:10 -0400 From: Barry Silverberg Subject: LP Giveaway-Possible Repeat Post. If this has been double posted - I apologize. My reader says it never made it the first time but you know how readers are, they lie like dogs. Anyway here's the scoop. I want to give away my old collection of LP's - almost no blues and/or blues related stuff, just my old LP's. If you are interested, send me a note and I'll forward you the list. The LP's are free - the postage is yours unless you want to trade a CD or two and then I'll pay the postage. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Wed, 23 Aug 1995 15:42:18 -0500 From: "Henry Busse Jr." Subject: Happy Birthday (Thursday 8/24/95 ) Happy Birthday (Thursday 8/24/95 ) to: 1.Arthur"Big Boy"Crudup 1905/Forest,MS / Blues / Singer / Guitar 2.Wynonie "Mr Blues"Harris 1915 Omaha, NE / Blues / Singer / Drummer 3.Claude Hopkins 1903 Alexandria, VA / Jazz Big Band / Leader / Arranger 4.Paul (Frances ) Webster 1909 Kansas city, MO / Jazz Big Band / Trumpet ---------------------------------------------------------------------------- ----Now some help, I'm building this datebase, and would like your input someone you feel should be included in a Database of players/people in the Business of Music Please ( Jazz Big Band DIxie or Trad blues only and someone who has recorded in some form available to the general public. this is what I need Name____________________________________ Date of birth M________/D_______Year_____City_______________ Date of Death M_____D_____Year______City______________Age______ Occupation______________________whothey worked or performed with______________________________Notes__________________________________ With your input this could become a source of information for all of use, I'm trying to find a Web page that would put the whole thing up so that anyone could look and sort thru it at any time. Thank you. Henry Busse Jr. shuffle@ic.mankato.mn.us ========================================================================= Date: Wed, 23 Aug 1995 17:05:19 -0400 From: Fred95616 Subject: Re: "The History Of The Blues" Neil Slaven in Blues & Rhythm Sept. 95 doesn't like it. In general, Davis is writing out of his area (according to the review). Excerpt: "What should be said is that this is a very readable book. That's to say it's facile and misleading and opinionated in the current 'Trash it before it trashes you' manner". I don't always agree with Slaven (nearly always); there's any number of good histories of the blues and other blues information out there. ========================================================================= Date: Wed, 23 Aug 1995 17:05:45 -0400 From: Charles d'Orban Subject: Shirley Brown Thanks to Bill "Not Worth A Whippin'" Shute for his appreciation of Shirley Brown. Neither Bill nor Art Schuna mention a mid-1980s album by Shirley Brown called "Intimate storm" (if I remember correctly). In the UK it came out on the 4th & Broadway label (an Island subsidiary). IMHO this album is superior to her Malaco recordings. It includes a sequel to "woman to woman". Unfortunately I think that its not available on CD at the moment except for a very expensive japanese import (if I'm wrong about this, someone please tell me! My vinyl copy is badly worn, especially on the killer ballads at the end of each side). Charles. ========================================================================= Date: Wed, 23 Aug 1995 17:16:59 -0400 From: Fred95616 Subject: Re: Blues Histories For general surveys, the best about prewar is "Looking Up at Down", William Barlow, Temple Univ Press. Best postwar (not exclusively postwar) is "Honkers and Shouters", Arnold Shaw, Collier. ========================================================================= Date: Wed, 23 Aug 1995 14:21:58 -0700 From: Jennifer Meserve Subject: Re: Dirty Dishes Bob, we listen to your show whenever my boyfriend doesn't have a gig, or a blues jam he wants to attend, and we enjoy it very much. It's unfortunate that there aren't more shows like yours on the air, more often. I just read in the paper that Bojangle's is moving further South to reckon with a raise in rent. I was just curious how you think this will affect the blues scene in Portland. Will Cascade Blues Association move their meetings back to the old Pine Street. Will the larger out of town acts play smaller clubs like Trail's End, M & M, etc.? Jennifer M. Meserve On Wed, 23 Aug 1995, Bob Ancheta wrote: > I do a blues show Sundays on KGON in Portland, Or. I'm always looking for > new and exciting product. Portland does the Waterfront Blues festival > July 4th week every year, so you know Blues is big in Portland. Mail your > stuff to: Bob Ancheta, KGON, 4614 SW Kelly, Portland, Or 97201 or call > (503)223-1441 Fax (503)223-5466 E Mail BA@KGON.com > > > > > > > > ========================================================================= Date: Wed, 23 Aug 1995 17:21:44 -0400 From: Ed Mezynski Subject: Re: Blues-L Marketing "Alan C. Rollins" questions..... > 1. How should we deal specifically with Mr. Fenton's offer at this time? Allow Mr Fenton the joy of helping his fellow blues-l'ers unfettered and unquestioned. His generous expenditure of time and money to aid fellow musicians is exemplary. As a matter of fact it ain't nobody's bidness what Mr Fenton does with his web page. > 2. What should the policy be re: the use of the Blues-L name? Assuming that "Blues-L" is not copyrighted, there are a few options: a. Say "Thank You Mr Fenton" b. Say "Thank You Mr Fenton" c. Say "Thank You Mr Fenton" ========================================================================= Date: Thu, 24 Aug 1995 09:26:20 +1300 From: MIKE GARNER Subject: Eddie Lee Jones I'm reviewing a bunch of Testament CDs and I'm fascinated by one, in particular, which features Georgian musician, Eddie Lee Jones. The playing is a bit raw but it gives lots of clues to older and diverse influences on blues; like John Hurt, his repertoire was diverse. The recordings were made on Jone's front porch by Bill Koon in 1963, who writes with some sensitivity about how "I felt I was always taking things from people" - Jones apparently disappeared, Koon writing "Jones was unique and I hope to find him again someday". Well, I wonder if he did. Pete Welding's additional notes for this CD re-issue praise the material but don't throw any light on Jones' fate. Anyone know what happened to Eddie Lee Jones? ========================================================================= Date: Wed, 23 Aug 1995 15:44:48 -0700 From: Jennifer Meserve Subject: Austin question Hi, I was just wondering if anyone around the Austin area is familiar with a guitar player named Landis Armstrong? He was an old friend of mine in college and a very accomplished player. Here in Portland he often would play at the Jim Mesi Jam, and he had a band of his own, as well. Last I heard two bands from Austin wanted him, he chose one and went. It would be great to hear if he's still playing, etc. Any info would be appreciated. Thanks, Jennifer M. Meserve ========================================================================= Date: Wed, 23 Aug 1995 18:36:10 +0000 From: Ian Angus Subject: Re: Blues-L Marketing I've been reading the silliness about Paul Fenton's Web page. I wasn't going to say anything, in the hope that good sense would prevail and everyone would stop discussing this. Oh well ... 1. Paul is a long time, loyal, reliable bluezeller. I can't imagine that he would do anything to bring the name Blues-L into disrepute. In fact, I'm sure he'll bring honor to our name. 2. Paul isn't going to make any money off this. 3. Even if he was going to make money off it, no one owns the name Blues-L, so anyone can use it. If individual bluezellers disapprove of a specific use, they should tell the misuser about it. I now return you to your regular program .... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 23 Aug 1995 17:12:46 -0600 From: Gary Constantine Subject: Re: James Blood Ulmer >Can anyone recommend an album of his? I only know one song, and it's a >cover (I mean another band playing his song). The local record store has >several cds but they all are $15 or so, and I'm a not up for excessive >gambling I guess. I don't even know what his own stuff sounds like, as he >does it. Opinions? > >Adrian "Blood" is not for everyones taste. Most of his music is blues based but is more jazz than blues. Still, it is excellent music. IMHO the best and blusiest CD is: BLUES PREACHER DIW/COLUMBIA CK 57302 This is a 1994 release and should be readily available Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 23 Aug 1995 17:43:09 -0600 From: BMPECH@MSCD.EDU Subject: Re: Eric Von Schmidt On Wed, 23 Aug 1995, Willy Evans wrote: > Has anyone on the list heard of a singer from the 60's/70's named Eric > Von Schmidt? I remember him from an album called something like 3rd right > second row. He was mostly pretty dismal, but had one good tune called > Turtle Beach that was a pretty good blues tune. > > I'm trying to find whatever happened to him. Maria Muldare sang on the album. > > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > *** Some folks rip and run ... **** > Willy -- More Eric Von Schmidt trivia to add to Paul's, Jim's, Dick's and Jay's contributions: If you look closely at the cover photo on Dylan's "Bringing It All Back Home" LP, Von Schmidt's Prestige album "The Folk Blues of Eric Von Schmidt" is sitting on top of the stack of albums. Von Schmidt's artwork includes the cover of one of Dave Van Ronk's early Folkways LPs as well as more recent CDs by Paul Geremia ("Gamblin' Woman Blues") and Mary Flower ("Blues Jubilee"). -- BP Boulder, CO ========================================================================= Date: Wed, 23 Aug 1995 20:46:30 -0400 From: Bkg agent Subject: Re: Icehouse's phone#? Would the CD you are waiting for "It Ain't Easy" by the Radio Kings? I have a promo copy that I have almost worn out. It's greatand I understand that it is selling well. Ice House Records (901) 388-1108 Memphis, TN. Janice L. Bays Nickeltune Music, Inc. ========================================================================= Date: Wed, 23 Aug 1995 21:10:33 -0400 From: "William E. Forrester" Subject: Jimmy T99 Nelson??? Does anyone have any information about Jimmy T99 Nelson? I've heard a couple of things by him that I liked a lot. Don't know anything about him. Bill Forrester ========================================================================= Date: Wed, 23 Aug 1995 20:18:00 CDT From: Bonnie Kalmbach Subject: Photos of Theresa's My boss just gave me the August issue of "The University of Chicago Magazine." Inside is an eight page article "Shooting the Blues". featured are wonderful photographs taken inside Theresa's Tavern in the 70's. The photographer is Marc PoKempner. There are pictures of Jr. Wells, Sammy Lawhorn, John Primer, a great one of the "Dawg" (Hound Dog Taylor), club patrons laughing and going on, Theresa herself falling asleep behind the bar, and one of two fancily-clad feet! One belongs to Hound Dog, the other Big Voice Odam. The former is wearing traditional wing-tips and the latter has on the thick-soled 70's truckin' boots. Hound Dog's hand is seen is pointing at his foot and he's saying "*These* are shoes! I don't know *what* those things on your feet are!" -Bonnie ========================================================================= Date: Wed, 23 Aug 1995 18:43:00 -0700 From: Ned Kraft Subject: Re: George Harmonica Smith Here's a George Diskography from a friend of mine. He's a big George fan. Note the MUST on the Sunnyland Slim disc. If you can add to the list below or can help him find "All that Jive" e-mail Steve Crawford at Crawfy1@aol.com or reply to me. Dirty Ned (ned_kraft@hp0000.desk.hp.com) GEORGE SMITH /CD Little George Smith Harmonica ace/ The Modern masters v2-86298 Oopi'n Doopin' Blues Harp / p-vine pcd-3007 this is the same as above with extra alt cuts Sunnyland Slim- Slims got his thing goin' on/ Sequel NEX CD 212 George on harp. THIS IS A MUST - Get it from Charley Lang at Blue Beat Records (408)338 4784, tell him Steve Crawford sent you. Elko Blues vol. I / Wolf records 120.614CD three GS cuts, I don't know, Miss O'malley's Rally, Hot Rolls Mr. Fullbrights Blues/ Blues interactions Japan, pcd-2008 one cut ,West Helena Blues Blues Masters/ RHINO vol. 4 HARMONICA CLASSICS R2 71124 one cut, LAST NIGHT RECORDS--------------------------------------------- All that Jive ???????? I don't have a record just a bootleg copy, I would like to find a vinyl copy. ARKANSAS TRAP / DERAM LONDON DES 18059/STERIO( I have two copys) ARKANSAS TRAP / BLACK CAT 002-STERIO same songs different label and cover OF THE BLUES ( I have two copes of this record.) BLUESWAY BLS-6029 BOOGIE WITH GEORGE MURRY BROTHERS MB 1001 with Rod Piazza and the Flyers BIG MOMMA THORNTON - JAIL / VANGUARD VSD 79351 I NEED All that Jive TRIBUTE TO LITTLE WALTER and any others that I do not have listed Sharp harp (song) with champion Jack Dupree CD= Champ Jack Dupree sings the Blues King #735 kcd-735 ========================================================================= Date: Wed, 23 Aug 1995 23:30:09 -0600 From: Tom Rossen Subject: Level Cyberplaying Field (Was Re: Blues-L Marketing) Amen to Ian's post (below). One thing about the Internet: if somebody is dedicated to their art and does it as a labor of love rather than for profit, for once the free market works. The lower-priced (i.e., free) and higher quality product wins. The other ongoing example of this is Uncle eRIC's calendar. In hardspace, the for-profit guys have an advantage, and both eRIC and PW would be driven out of "business" by the costs. In softspace, it's a level playing field and the best stuff wins. (Not to say that if Mr. Rollins and Mr. Busse came up with some real value added, they couldn't also sell their services. For instance, a database....) So far, in spite of all the spams and hypes, the field ain't tilted toward megabiz yet.... =81 >I've been reading the silliness about Paul Fenton's Web page. I >wasn't going to say anything, in the hope that good sense would >prevail and everyone would stop discussing this. Oh well ... > >1. Paul is a long time, loyal, reliable bluezeller. I can't imagine >that he would do anything to bring the name Blues-L into disrepute. >In fact, I'm sure he'll bring honor to our name. > >2. Paul isn't going to make any money off this. > >3. Even if he was going to make money off it, no one owns the name Blues-L, >so anyone can use it. If individual bluezellers disapprove of a >specific use, they should tell the misuser about it. > >I now return you to your regular program .... > > > > >Ian Angus >"Built for comfort, not for speed" Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Thu, 24 Aug 1995 00:32:45 -0400 From: PeterB1506 Subject: Re: KLON in LA I live in LA and am a big fan of the Wagman who is on every Saturday and Sunday afternoon which is not nearly often enough. I understand the show is also syndicated on cable radio. Peter D. Barash ========================================================================= Date: Wed, 23 Aug 1995 21:05:30 -0500 From: dwhite Subject: Re: Jimmy T99 Nelson??? >To: "William E. Forrester" >From: dwhite@io.com (dwhite) >Subject: Re: Jimmy T99 Nelson??? >Cc: blues-1@brownvm.brown.edu >Bcc: >X-Attachments: > >Bill, > >I saw Jimmy Nelson perform a lot (still in pretty good voice) in Houston in the mid-late '80's. To the best of my knowledge he still gigs around Houston sometimes with Big Roger Collins and/or Grady Gaines. He's originally from Houston; but I think he lived and recorded on the West Coast for awhile. The T99 is from Texas 99 which he said was the road to his girlfriends house from Dallas. It was released on RPM. I believe it's been reissued on ACE as well some other stuff of his on HomeCooking and/or Collectibles. Hope this helps. > >Dana >dwhite@io.com > > > >> Does anyone have any information about Jimmy T99 Nelson? I've heard >>a couple of things by him that I liked a lot. Don't know anything about him. >> >>Bill Forrester >> >> > ========================================================================= Date: Wed, 23 Aug 1995 23:29:00 PDT From: Philip & Rebecca Brownell Subject: learning the blues Hello, I want to learn how to play blues. I've begun learning scales and chords; is there anything you would suggest I do, tapes to listen to, Net sources, etc? Thanks, Zac (brownell@europa.com) ========================================================================= Date: Thu, 24 Aug 1995 06:23:08 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 24th ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOLIAN, JESSIE (of THE ARTISTICS) d. 1994-0824, CHICAGO, IL 53 BOYD, L. LITTLE (hca) b. 1924-0824, CARTHAGE, MS BYAS, DON (CARLOS WESLEY BYAS) (tsax) d. 1972-0824, AMSTERDAM, HOLLAND 59 CHALK, RICHARD (BLUES-L MEMBER/TOPCAT REC)b. 1952-0824, DALLAS, TX CHAMBERS, JOE (of THE CHAMBERS BROS) b. 1942-0824, SCOTTY COUNTY, MS COLEMAN, BILL (tpt) d. 1981-0824, TOULOUSE, FRANCE 77 CRUDUP, ARTHUR "BIG BOY" (g/BLUEBIRD REC) b. 1905-0824, FOREST, MS FRANKLIN, MABEL (v) b. 1919-0824, NEW ORLEANS, LA GAITHER, BILL (tsax/bsax/KING REC) d. 1985-0824, LOS ANGELES, CA 58 GREENE, L. C. (g) d. 1985-0824, DETROIT, MI 63 HARRIS, WYNONIE "MR. BLUES" (v) b. 1913-0824, OMAHA, NE HENSLEY, "WASHBOARD WILLIE" (wbd/d) d. 1991-0824, DETROIT, MI 82 HOPKINS, CLAUDE D. (p) b. 1903-0824, ALEXANDRIA, VA IRWIN, DIFOSCO "BIG DEE" (v/PEARLS) b. 1939-0824, NY JEPSEN, JORGEN GRUNNET (discographer) d. 1981-0824, COPENHAGEN, DENMARK 54 LONDIN, LARRIE (RALPH GALLANT) (d/MOTOWN) d. 1992-0824, NASHVILLE, TN 48 PIERSON, EUGENE [EUGENE PEARSON] d. 1977-0824, CHICAGO, IL 42 PRIMA, LOUIS (v/tpt) d. 1978-0824, NEW ORLEANS, LA 66 ROSE, FRED (of ACUFF-ROSE pub) b. 1897-0824, EVANSVILLE, IN SMITH, HENRY FRANKLIN "BUSTER" (asax/g) b. 1904-0824, ALFDORF, TX SMITH, TEDDY (b/HORACE SILVER) d. 1979-0824, WASHINGTON, DC 47 SOUL, JIMMY (v/IF YOU WANNA BE HAPPY) b. 1942-0824, WELDON, NC VAN WALLS, HARRY (HARRY EUGENE VANN) (p) b. 1918-0824, MILLERSBORO, KY WEBSTER, PAUL FRANCIS (tpt) b. 1909-0824, KANSAS CITY, MO WINFIELD, WILLIE LEE JR. (lead/HARPTONES) b. 1929-0824,?NORFOLK, VA YATES, HERBERT(founder: AMERICAN REC CORP)b. 1880-0824, BROOKLYN, NY ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 24 Aug 1995 12:04:22 +0100 From: James Berriman Subject: Blues for the Blues [was: Re: Dirty Dishes] >Date: Wed, 23 Aug 1995 14:37:00 GMT >From: B Foster >Subject: Re: Dirty Dishes >Albert was so cool, he used to drive his own bus. I saw him at the Blue >Note in Columbia, Missouri about 10 different times. I have a Gibson 335 >Dot, and his signature was the first one I ever got on it. (Followed by >Buddy Guy, WC Clark, Tab Benoit, etc.) I miss him too. Unfortunately, I >blew the stereo out last week, so I miss all of the music. You might say >"I got the blues for blues." Sounds like a good start to a song... Funny you should mention that. The Hamsters have a song called 'I've got the Blues for the Blues' (or something close - that's the lyric, anyway). Pretty good song :-) ========================================================================= Date: Thu, 24 Aug 1995 13:11:47 +0200 From: Peter Gallagher Subject: RORY GALLAGHER (BBC TV 26th) For all of you who can receive BBC television, good old "Aunty Beeb" are broadcasting yet another "Tribute to Rory Gallagher" on the 26th of August. I'm informed that it's the "Live at the Isle of Wight" concert from 1970. Certainly a broadcast I'm not going to miss! regards, PeterG ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 24 Aug 1995 13:21:00 +0200 From: Peter Gallagher Subject: Bluesrock Fest: In Memory of RORY GALLAGHER This year Bluesrock Festival in Tegelen is advertised as being "in Memory of Rory Gallagher", on sept 2. Line-up features: Paul Rogers & Company Fabulous Thunderbirds, Chris Thomas Jan James Martin Hutchinson Band Red Waggon I wonder if any (or many) of Rory's own numbers will be covered ... I hope that this ( being yet another), tribute to Rory might be an indication to those of you who are not acquainted with his music, of the impact he made on those who were fortunate to have heard him. regards, PeterG "Watch out brother - be alert, whatever you do, don't show that hurt" --Rory -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 24 Aug 1995 07:56:16 +0000 From: "P.W. Fenton" Subject: Re: learning the blues On 23 Aug 95, Philip & Rebecca Brownell had this to say: > Hello, > I want to learn how to play blues. I've begun learning scales and chords; > is there anything you would suggest I do, tapes to listen to, Net sources, > etc? > Thanks, > Zac (brownell@europa.com) Well Zac, you don't say what instrument you are talking about, but it sounds like either keyboard or guitar (you mention chords). My advice to you would apply to either. While you are learning to play, learn to SING. The Blues is a SONG form. While everybody likes great guitar playing, and great keyboard playing, the SONG is the foundation. The best time to learn to sing and play at the same time is when you are a beginner. There are a million fine guitar players who will never "make it". There are only hundreds of good singers who will never make it. I know what group *I* would rather be not making it in. Another bit of advice that applies to either instrument is to "listen". Listen to every bit of Blues you can get your hands on, and listen hard. Don't just enjoy it, pick it apart in your brain. Learn WHY things move you. When your fingers finally catch up to your brain they will form a mighty potent combination, and you will be playing music that you FEEL instead of music that you learned. Take chances, and never give up. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 24 Aug 1995 08:38:09 -0400 From: Willy Evans Subject: Re: learning the blues On Thu, 24 Aug 1995, P.W. Fenton wrote: > On 23 Aug 95, Philip & Rebecca Brownell had this to say: > > > Hello, > > I want to learn how to play blues. I've begun learning scales and chords; > > is there anything you would suggest I do, tapes to listen to, Net sources, > > etc? > > Thanks, > > Zac (brownell@europa.com) > > (I clipped some stuff) .... While you are learning to play, > learn to SING. The Blues is a SONG form. While everybody likes > great guitar playing, and great keyboard playing, the SONG is the > foundation. The best time to learn to sing and play at the same time > is when you are a beginner. There are a million fine guitar players > who will never "make it". There are only hundreds of good singers > who will never make it. I know what group *I* would rather be > not making it in. > > Another bit of advice that applies to either instrument is to > "listen". Listen to every bit of Blues you can get your hands on, and > listen hard. Don't just enjoy it, pick it apart in your brain. > Learn WHY things move you. When your fingers finally catch up to > your brain they will form a mighty potent combination, and you will > be playing music that you FEEL instead of music that you learned. > > Take chances, and never give up. > I have to agree with PW whole heartedly!!!! The model for a band to our generations is based around instrument proficiency. Blues is more about the song and the "story". If someone were to ask me what the difference between a rock band and a blues band was, that is about what I would say. The rock band is focused on the guitar, the blues band is focused on the song. Don't worry about being a good guitar player or KB player, learn to get a song across using voice, guitar, whatever as tools. Don't get too wired up in technical stuff. Also don't learn songs by rote!!! This will limit you. Learn how to follow a pattern and hear chord changes. You will be developing skills that will make you a fun person to play blues with. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Thu, 24 Aug 1995 08:08:00 -0500 From: Richard Shurman Subject: Re: George Harmonica Smith The george Smith CD you want is No Time For Jive, not All That Jive. It's on Blue Horizon and has been out on CD in Europe for a few months; shouldn't be too hard to track down. ========================================================================= Date: Thu, 24 Aug 1995 09:19:55 -0500 From: Bruce Roberts Subject: Bonnie Lee I heard a cut off of Bonnie Lee's new CD "Sweetheart of the Blues" and it sounded pretty good. Can anyone tell me more about her? Bruce Roberts Austin, TX bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 24 Aug 1995 14:34:40 GMT From: Art Schuna Subject: Re: George Harmonica Smith In article <"d0m?CgF000000000*"@MHS>, Ned Kraft says: > >Here's a George Diskography from a friend of mine. He's a big George fan. >Note the MUST on the Sunnyland Slim disc. >If you can add to the list below George Harmonica Smith also plays on the Bacon Fat LP which (I think) was Rod Piazza's first effort. The only problem is, who plays what on this release. I don't have any idea whether all tunes have 2 harmonicas or if they trade off. I don't remember seeing credits in the liner notes. This is a great slice of bar/boogie/blues band. Managed to find a used copy of the LP this summer. Does anyone know if it's available on CD yet? Art Schuna ========================================================================= Date: Thu, 24 Aug 1995 08:53:55 -0700 From: Ron Wack Subject: Re: learning the blues Item Subject: Message text Zac wrote on Wed. > Hello, > I want to learn how to play blues. I've begun learning scales and chords; > is there anything you would suggest I do, tapes to listen to, Net sources, > etc? > Thanks, > Zac (brownell@europa.com) > I've found a site that has 29 guitar lessons, the first three on blues and blues theory. There's also a lot of stuff on scales, modes, chord theory etc. The address: "ftp://ftp.vast.unsw.edu.au/pub/guitar-lessons" will get you there. A good jam along book/CD set will really help too. Have fun. Be warned, you'll never finish learning the blues. Nobody does! %) RW ========================================================================= Date: Thu, 24 Aug 1995 11:01:59 -0400 From: CATBAUER Subject: Free cds I have 5 cds from a Syracuse band called Lil' Georgie and the Shufflin' Hungarians. If you're a dj and would be interested in getting one e-m an address to send it to. Cat Catbauer@vivanet.com ========================================================================= Date: Thu, 24 Aug 1995 10:58:47 +0000 From: "P.W. Fenton" Subject: Blues-l Shopping Center - NEWS Alan Rollins and I have sort kicked... scratched... yelled... kissed and made up (Yechh!) Alan, in fact, has offered a very nice suggestion for an additional area to the website. So this is a solicitation. I would like to do similar listings for every active member of Blues-L that hosts a Blues oriented radio show. I know there's a bunch of you out there. All I ask, is that you have a legitimate radio (or TV) show that broadcasts (or cablecasts) to the general public, that you are an active Blues-L member, and that you will at least SERIOUSLY consider playing the work of your fellow Blues-Lers who send stuff to you. Send me information about yourself and about your show. Be sure to give all the necessary info (Station ID, frequency, time, etc.) so that people in your area will listen. And include a mailing address for people to send you all kinds of great FREE copies of Blues albums. I know that some stations won't play cassettes over the air. If that's the case where you are, let me know. I'll try to turn your submissions into little web entries similar in style to the ones that are already up for artists. I have an idea for a neat little surprise and I'll contact you about that, if you submit anything. I hope all of you DJs will submit. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 24 Aug 1995 12:15:39 -0500 From: Kevin Boyle Subject: Johnny Winter ? Can anyone give me an update regarding Johnny Winter's health, possible touring etc. He is definitely one of my favorites and I'm concerned that I haven't heard anything about him lately. BTW, If you had to choose just one Albert Collin's CD, what would it be??? Luvin' de Blues, Kevin B. ========================================================================= Date: Thu, 24 Aug 1995 11:52:00 CDT From: Bonnie Kalmbach Subject: Re: Bonnie Lee Bonnie Lee is about 61 years old, born in Texas, and has lived in Chicago for many years where she performs regularly with the Willie Kent band. She also has a CD on WOLF (Austria) which I like a little better than the new one on Delmark (I thought she had a new one on WOLF as well - anybody know anything about this?). There is a very fine article on Bonnie Lee in a recent issue of Living Blues by the very excellent writer/music reviewer: Dave Whiteis. She is one of the nicest people you could ever meet and aptly named: "Sweetheart of the Blues" -Bonnie PS She has a BIG BIG Voice!! >I heard a cut off of Bonnie Lee's new CD "Sweetheart of the Blues" and >it sounded pretty good. Can anyone tell me more about her? > > >Bruce Roberts >Austin, TX >bruce@tsbme.state.tx.us ========================================================================= Date: Thu, 24 Aug 1995 11:34:55 -0500 From: Richard Shurman Subject: Re: Johnny Winter ? Johnny Winter continues to improve but is taking it slow. He's been rehearsing regularly and is contemplating some "by invitation" performances where he rehearses. If those go okay, he'll try a short tour. He's also thinking about contributing a studio track to a tribute project. I'm probably biased about Albert because of our long association. To me his career had enough phases so there's no ONE CD. Truckin' (MCA) is the one for his classic early instrumentals and unless you're really after his vocals, is still the best place to start for a taste of his guitar style. The Complete Imperial Recordings (2 CDs, EMI) is good coverage of a period with mixed results ranging from excellent to forgettable from song to song. As far as Alligator, I'm rpoud of all the ones we did together. Lots of people still like the first, Ice Pickin'; he was smoking on Showdown! which is also enjoyable for Copeland and Cray; and we were all real happy with Cold Snap! To me Collins Mix is the better of his two Pointblank CDs, but the live one due out 9/12 is a great distillation of his music and personality. ========================================================================= Date: Thu, 24 Aug 1995 12:06:00 CDT From: Dave Kneifl Subject: Re: Looking to get some info on SRV I'm trying this one more time because I want to make sure it works. I sent it to the list on Friday and again on Monday and never received a receipt from either post. Here goes... ------- Forwarded Message Follows ------- Finally, one I can answer. He is buried at Laurel Land Cemetary in Dallas, TX. I don't recall the exact address, but it is near one of the Interstates, and is listed in the Dallas yellow pages. It is a huge place. I found his grave in April 1994 only with the help of a groundskeeper. Ask around, they'll help you. Unfortuantely I don't remember any other landmarks, except that it is near the edge of the cemetary. The description of the location given in the biography "Caught in the Crossfire" is wrong. They moved his grave after that book was published. Look for a grave labeled "S Ray Vaughan". He's buried next to his father. I don't know if you'll be there on October 3rd, but that would have been his 41st birthday. DK ----------------------------- Original message: > Hi All > I'm planning a visit to Texas in October and would like to visit > Stevie Ray's gravesite to put some flowers there. Would someone know > where he is buried? City, cemetery etc. > Thanks in advance, > > McTell > > ************************************************************************** > * * > * "No one sings the Blues Like Blind Willie Mctell" * > * * > ************************************************************************** > Dave Kneifl Program Assistant UW Extension Independent Learning 432 N Lake St, Rm 104 Madison WI 53706 "Hit any user to continue." ========================================================================= Date: Thu, 24 Aug 1995 12:06:52 -0600 From: "Bruce C. Eastman" Subject: Curtis and the Kicks Has anyone every heard this band or know anything about Curtis Marlatt? Any info appreciated. ========================================================================= Date: Thu, 24 Aug 1995 13:16:24 -0400 From: bob unger Subject: SMokin J. K. Finally sat down and listened to Smokin Joe Kubek's last one "Cryin For The Moon'. I was reluctant at first. I mean, I like SJK. I have his first 2 cd's and they are very similar. I've heard it said, that if you heard one SJK cd, then you've them all. I found that to be true with his first 2 cd's. His 3rd cd...is it "Texas Cadillac?...anyway, I didn't buy it. Now this last cd, my friend kept on saying, "Here, listen to it" and I'm going 'yea, yea, yea...I know what it's gonna sound like. I'll listen to it when I'm in the mood. Well, I just listened to it and it's FAR better than his first 2. It's still that Smokin Joe style, but it seems 'new and improved' The first song is killer! 'In One Hand and Out The Other' Sorry it took so long for my lazy stubborn ass to sit down and listen to it. Now it's on my gottahave list. BU bob@sun.bnkst.edu p.s. - I have a '92 PRS with OHSC for sale. It's in excellent condition. I prefer my strat and Yamaha jazz to it, so it's sitting in the case, aging like fine wine. If anyone is interested, please e-mail me privatley. The price is competitive to what you'll find in mags like Vintage Guitar and 20th Century Guitar. ========================================================================= Date: Thu, 24 Aug 1995 11:14:24 -0600 From: BMPECH@MSCD.EDU Subject: Re: Albert Collins (was Johnny Winter ?) On Thu, 24 Aug 1995, Kevin Boyle wrote: > BTW, If you had to choose just one Albert Collin's CD, what would it be??? > > Luvin' de Blues, Kevin B. It's impossible to choose between "Ice Pickin'" (When the Welfare Turns Its Back On You, Cold, Cold Feeling) and "Frozen Alive" (Frosty, Angel of Mercy, and Johnny B. Gayden's great bass playing on Cold Cuts). -- BP Boulder, CO ========================================================================= Date: Thu, 24 Aug 1995 12:24:45 CDT From: Dave Kneifl Subject: Chris Cain OK, now that I know things are getting through (finally got a receipt from that last message), I can post my own "review" of Chris Cain's CD. I use the term "review" loosely, though, since I don't like critiquing other people's music. Someone (sorry, I forget who) mentioned on the list a while ago that it is hard to label/review music because everyone has different taste anyway. However, in a case like this, when there is little or nothing bad to say about the CD, it is a bit easier. So, here we go... I was one of the lucky ones that received a free copy of Cain's CD in the mail last weekend. I have been rather busy lately, which is why my review is somewhat late, and I have only had a chance to listen to it once through. BUT - it remains in my disc changer, and with a collection the size of mine, that alone is a compliment. >From the opening song I could tell that Chris Cain is a very talented bluesman, both vocally and instrumentally. This feeling only grew as the disc played on. His band (don't remember the names off hand, but someone else listed them earlier) is equally inspiring. I definately recommend this CD to anyone who likes the blues, especially lovers of great horn sections. In addition to the guitar work, vocals, and horns, there is also a good amount of B-3 stuff, for keyboardists like myself to admire. DK ========================================================================= Date: Thu, 24 Aug 1995 13:27:00 -0400 From: Tom Freeland Subject: Quote & cultural education: Creole vs. Cajun & Buckwheat Zydeco >From materials submitted by Ted Fox, booking agent for Buckwheat Zydeco, with the contract for appearances for Buckwheat Zydeco: ..... "First, please do not use the word Cajun in connection with Buck or zydeco music. Cajuns are the *white* descendants of the original French settlers of Nova Scotia, which was originally know [sic] as Acada [sic] (that's where the word Cajun comes from). Buckwheat, and all the French speaking black people of Southwestern Louisiana refer to themselves as *Creole.* Zydeco music is not Cajun music, although there are some similarities. Please refer to zydeco as 'Creole Dance Music' or [']Louisians's hottest music' or whatever you like, but not Cajun music. "This is a serious cultural issue with Buck. That's why our performance contracts contain the following warning hand-stamped in large red type: DO NOT use the word 'CAJUN' to promote/advertise this show. Such use is STRICTLY PROHIBITED and will void this contract. "Calling Buck a Cajun is sort of like calling an Irishman English, and referring to zydeco as cajun music is like calling reggae calypso music. "Second, the band is not from New Orleans, and zydeco is not New Orleans music. The band, as well as most zydeco bands, is based in and around the small city of Lafayette which is over a hundred miles west of New Orleans -- on the other side of the Mississippi River and the great Atchafalya Swamp. Once again, it is as distinct a difference as Jamaica is from Trinidad, or Ireland is from England." .... ========================================================================= Date: Thu, 24 Aug 1995 13:08:05 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Dirty Dishes I concur about missing the Ice Man. When I heard about his demise, I got to drinking, but I wasn't drunk. I never got a chance to meet him, but he is still alive when I put on one of his disks and crank up "If Trouble Was Money" or "Jealous Man" or "I Ain't Drunk", or of course, "Two Many Dirty Dishes". I keep hoping that someone will come up with 4 or 5 disks of new stuff that he never got around to releasing. One Heart Moses ========================================================================= Date: Thu, 24 Aug 1995 13:50:34 -0400 From: Peter Welch Subject: Radio Playlist Here's my playlist from this past week's edition of "Nothin' But the Blues" on WTJU FM 91.1, Charlottesville, Virginia: Hurricane Lover: Frank Motley (Dual Trumpeter; Collectables CD) Let it Go: Big Rhythm Combo (Too Small to Dance; Black Magic CD) My Last Meal: Hurricane Harry (Stewed Moonbeams in Wavy Gravy; Edsel LP) Alligator Meat: Joe Swift w/Johnny Otis Orch. (Be-Bop Baby Blues; Night Train CD) Dumplin' Dumplin': Margie Day (I'll Get a Deal; Jukebox Lil LP) Lollipop Mama: William Clarke (Blowin' Like Hell; Alligator CD) Lemon Squeezer: Jimmy Wilson (Trouble in My House; Diving Duck LP) Leavin' for Memphis: James Harman Band (Black & White; Black Top CD) Sonny's Rhythm: Sonny Boy Williamson #2 (Clowin' with the World; Alligator CD) Leave Me Blue: Garry & The Moodswingers (Go Fever; Blue Light CD) Lock Doctor: James Harman Band (Black & White; Black Top CD) Tell Me What's the Reason: Lynwood Slim w/Kid Ramos (Two Hands, One Heart; Black Magic CD) Rockin' the Blues: RJ & Kid Morgan Blues Band (Ready to Go; Blue Moon CD) City of New Orleans: Sonny Boy Williamson #2 (Clownin' with the World; Alligator CD) Life is so Peculiar: Louis Armstrong & Louis Jordan (Five Guys Named Moe; MCA CD) Baby Daddy: Lil Armstrong (Brown Gal; Collectables CD) Did You See Jackie Robinson Hit that Ball: Buddy Johnson Orch. (Say Ella; Jukebox Lil CD) Scat You Cat: Julia Lee (Ugly Papa; Jukebox Lil CD) I Can't Stay Here: Jesse Thomas (The Swingtime Records Story; Capricorn CD) You're on the Right Track Baby: Martha Davis & Louis Jordan (You're on the Right Track Baby; Jukebox Lil CD) Daddy Pinnochio: Jimmy Witherspoon (Hey Mr. Landlord; Mr R&B LP) Sent for You Yesterday: Floyd McDaniel (Let Your Hair Down; Delmark CD) I'm a Real Gone Lover: Earl Green w/Otis Grand (He Knows the Blues; Volt CD) Lemonade: Louis Jordan (Jivin' with Jordan; Charly LP) Down the Road Apiece: Chuck Berry (On the Blues Side; Ace(UK) CD) Bluesmobile: Phillip Walker (Big Blues from Texas; JSP CD) Roger Pace: Tony Z. (Get Down with the Blues; Tone Cool CD) Shake: Studebaker John & The Hawks (Flippin' Out; Blind Pig CD) Leavin' Town: Francine Reed (I Want You to Love Me; Ichiban CD) Lemon Squeezer: Jimmy Rogers (Blue Bird; Analogue CD) -Peter W. ========================================================================= Date: Thu, 24 Aug 1995 13:02:34 -0500 From: Jeff Seale Subject: Re: Blues-L Marketing On Wed, 23 Aug 1995, Mike McCourt wrote: > I am definitely getting the > impression certain individuals feel they have an "inside" knowledge of > what is good for Blues-L Well, there are still some of us who have been here from near the beginning of the list. It seems reasonable that we have an attachment to the list since we have seen it grow over the last few years. Maybe that's where this apparent "inside knowledge" comes from. -Jeff (guilty) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Thu, 24 Aug 1995 14:15:14 -0400 From: Rick Miller Subject: What the heck are "Indie" bands? *NO BLUES* Okay, can somebody please define an "Indie" band for me? I know this is the term generally applied to today's plaid shirt and Doc Marten wearing grunge bands that seem to always be rude and at best indifferent toward thier audiences. What is "Indie". A record label from Indianapolis? Native American rock? Music from the "Temple of Doom" soundtrack? :) [get it?] Sorry, no blues content. A blues dude is just curious. Thanx, Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Thu, 24 Aug 1995 11:24:29 -0700 From: Ron Daschmans Subject: Favorite Albert Collins Albums 1. Cold Snap! -- Love the sound and groove of this one! 2. Ice Pickin' Just my two-cents worth Ron Daschmans ========================================================================= Date: Thu, 24 Aug 1995 13:35:46 -0500 From: T-Bone Subject: AC CD On Thu, 24 Aug 1995, Kevin Boyle wrote: > BTW, If you had to choose just one Albert Collin's CD, what would it be??? _Showdown_, no contest. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 24 Aug 1995 18:46:54 +0000 From: Pat Hertel Subject: Re: SMokin J. K. On Thu, 24 Aug 1995, bob unger wrote: > 2. It's still that Smokin Joe style, but it seems 'new and improved' The > first song is killer! 'In One Hand and Out The Other' Sorry it took so long > for my lazy stubborn ass to sit down and listen to it. Now it's on my > gottahave list. > I too REALLY like this CD. My favourite cut (if I have to pick) would be "If It's The Last Thing I Do" My one complaint would be (shades of psychedalia) "You Haven't Hurt Me" YECHH! phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [24/8/95 14:41 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 24 Aug 1995 18:49:39 +0000 From: Pat Hertel Subject: Re: Chris Cain How does the new one compare with "Can't Buy A Break" .... I just couldn't get off on that one at all. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [24/8/95 14:41 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 24 Aug 1995 12:58:43 -0700 From: Ron Wack Subject: Definitive Blues Book- ? Item Subject: Message text Hi folks, Sorry for posting this to the list but I lost the original message. Someone mentioned the Definitive Blues Collection music book last week (THANKS). I found it in a store today but it doesn't include guitar tab. Does anyone know if a tab version is out? The Canadian catalogue doesn't list a tab version. I know a some of the decent musicians on the list might frown at tabulature, but for the beginner to intermediate player it's a Godsend. It enables players such as myself to quickly learn different styles, patterns etc. that we can then expand on to create music of our own. If I didn't need tab I wouldn't use it. But till then .... RW ========================================================================= Date: Thu, 24 Aug 1995 15:05:31 +0000 From: "P.W. Fenton" Subject: Re: What the heck are "Indie" bands? *NO BLUES* On 24 Aug 95, Rick Miller had this to say: > Okay, can somebody please define an "Indie" band for me? I know this is the > term generally applied to today's plaid shirt and Doc Marten wearing grunge > bands that seem to always be rude and at best indifferent toward thier audiences. > What is "Indie". A record label from Indianapolis? Native American rock? > Music from the "Temple of Doom" soundtrack? :) [get it?] > > Sorry, no blues content. A blues dude is just curious. You'll be embarassed it's so simple. "Indie" - pendent It is simply used to describe bands who are not signed to the big corporate labels, but have material on "independent" labels. So MY band is an "indie" band (and only the bass player has a pair of Doc Martins);-) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 24 Aug 1995 14:59:19 EST From: "Alan Rollins (904)487-1078" Subject: Last Marketing Alright already, ya'all have spoken and it is evident that the policy should be NO POLICY. Now let us roll up our sleeves and do what ever we might do to help Paul help artists. He may not need us at the moment but, we are here if he does. To those of you who gave me moral support while admonishing me thank you. To those who were less kind, thank you too, maybe less enthusiasticaly but thanks any way. To the ones who out right agreed with me thank you very much. Wiley Evans a special thank you. I would like to publically apologize to Paul for not having given him more say to me off line before I presented the questions. It may have brought a different tone to the discussion. I do not apologize for questioning. If it ever looks like I am going to be on the wrong side of a Fenton Flame, shoot me it will hurt less. Good luck Paul. ========================================================================= Date: Thu, 24 Aug 1995 15:29:37 -0400 From: Rick Miller Subject: That "Indie" query Thanks folks for the responses. That was so simple and painfully obvious I didn't even think of it. I've only ever heard the term in the last few years and it ALWAYS seemed to be in conjunction with "grunge" bands. Geez, I feel stoopid. Oh well. You ask, you find out. Riffin Rick F.J.(Rick)Miller Senior Research Assistant Worcester Foundation for Biomedical Research "Miller@Sci.WFEB.Edu" ========================================================================= Date: Thu, 24 Aug 1995 14:26:42 CDT From: L W Subject: Crossword Help (ASAP) Due to mis-spelling something on the crossword puz that my wife and another couple did, we have to fix it..(I didn't mis-spell it,btw) :-) We need a BLUES clue for the word "NURSE"....We know Sippie Wallace (my wife covered her this month in Women Of The BLues) served as a nurse in her church, but we'd rather not use that clue... Do you know of any kind of well known blues artist that was a Nurse Maybe a kind of well known song that has the word "Nurse" in it....? I need answers ASAP........ LW ========================================================================= Date: Thu, 24 Aug 1995 12:36:31 -0700 From: Ron Daschmans Subject: Re: What the heck are "Indie" bands? *NO BLUES* Indie = Independant Indie bands are typically non-mainstream bands which usually sign with independant record labels (in contrast to big corporate labels) for a variety of reasons; however most cite creative independance. Doc Marten wearing Blues Lover, Ron Daschmans On Thu, 24 Aug 1995, Rick Miller wrote: > Okay, can somebody please define an "Indie" band for me? I know this is the > term generally applied to today's plaid shirt and Doc Marten wearing grunge > bands that seem to always be rude and at best indifferent toward thier audiences. > What is "Indie". A record label from Indianapolis? Native American rock? > Music from the "Temple of Doom" soundtrack? :) [get it?] ========================================================================= Date: Thu, 24 Aug 1995 15:38:48 -0400 From: POXY MAN Subject: Blues at the Beach Smokin' Joe Kubek has been booked by the Natchel' Blues Network as the headliner for our 2nd Annual Blues at the Beach festival on Sat Oct.14th at the 24thSt. Park in Va Beach, Va. On Sunday we have Roomful of Blues as our headliner. Music is from 11 am- 7pm Sat. and 12 noon - 6pm on sunday. We round out the bill with local and regional talent. This Is a free festival right adjacent to the Boardwalk and the Atlantic Ocean. A beautiful time of year here. e-mail me for more info. Thanks, Pat Seay ========================================================================= Date: Thu, 24 Aug 1995 13:03:37 -0800 From: James Carmin Subject: CHRIS CAIN: Somewhere Along the Way Unlike some other Bluzellers who've reviewed this, I've been familiar with Chris Cain's great music for close to a decade, ever since I saw him tear it up one New Year's Eve at a bar in Eugene, OR, a bar that Chris immortalized on a song called "Tippin' at Taylor's" from his first Blind Pig release, CUTTIN' LOOSE. This young, 39 year old, Bay Area musician's latest effort, SOMEWHERE ALONG THE WAY, continues to show off his great guitar and occasional piano playing, his excellent vocals, and his fine ability as a songwriter. His lyrics are outstanding and continue the traditional themes of the blues while at the same time remaining completely contemporary. His guitar style is extremely diverse; it can be both smooth and crisp; jazzy and soulful; down in the deep blues and soaring like Albert King. His connections to Albert were noticed by the master himself before he passed on. Albert once remarked that "Chris Cain is a hard worker. I love him. I saw him when he was here in Memphis. I don't usually listen to a band long, but I listened through two shows 'cause I really enjoy him. I mean, the whole band is working hard, and I like that! The music is clean. His stuff is really together." The new release has a completely different band than his last Blind Pig cd, CAN'T BUY A BREAK, but sounds like they've been working together for years. As much as I liked the last disc, the new one's even better as Chris's voice has matured and his guitar and band sound more like they've settled into the right groove. I particularly like David Kirk Mathews excellent keyboard sound that pops in at all the right places especially in the almost testimonial cut, "On This Fine Morning," and Ron Johnson's wonderful jazzy walking bass on the track he co-wrote with Chris, "Skeletons In Her Closet." As Chris mentions in the liner notes: an "incredibly funky rhythm section." This is a great disc of blues and reveals that the lady who Chris sings about in "Movin' Back to Memphis" was just plain wrong, as he says: "She told me I was no BB King, and I'd never amount to anything." Obviously that's not Ms. Rita talking! Check out this disc to see just how much Chris Cain has amounted to, and be sure to see him when he's touring through your town. Discography: LATE NIGHT CITY BLUES (1987); Blue Rock'it (lp only; BR-105) CUTTIN' LOOSE (1990); Blind Pig (BPCD 4090) CAN'T BUY A BREAK (1992); Blind Pig (BPCD 5000) SOMEWHERE ALONG THE WAY (1995); Blind Pig (BPCD 5024) E.C. Scott's COME GET YOUR LOVE (1995); Chris Cain guitar on 2 tracks; Blind Pig (BPCD 5019) James C. jcarmin@teleport.com ========================================================================= Date: Thu, 24 Aug 1995 13:43:05 MST From: Bill Breen Subject: Re: Chris Cain Sorry, but I have been set to nomail for the last 3 weeks (vacation) and have missed the recent Chris Cain discussion. He's one of my favorites --I really like his guitar/vocals and the horn section. I get a real kick out of his humorous lyrics e.g. " had a furfight with your old lady" I have three of his CD's : Late Night City Blues Can't Buy a Break another - the name escapes me right now. I'm anxious to know --are you talking about a new CD ?? thx --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Chris Cain Date: Thursday, August 24, 1995 12:05PM DATE: Aug 24 11:53:18 1995 -07:00 relative to GMT IPMessageID: ?MAILQUEUE-101.950824122445.448(a)infosys.uwex.edu? FROM: BLUES-L AUTHORIZED: KNEIFL TO: BLUES-L BCC: bbreen SUBJECT: Chris Cain REPLY TO: KNEIFL IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- OK, now that I know things are getting through (finally got a receipt from that last message), I can post my own "review" of Chris Cain's CD. I use the term "review" loosely, though, since I don't like critiquing other people's music. Someone (sorry, I forget who) mentioned on the list a while ago that it is hard to label/review music because everyone has different taste anyway. However, in a case like this, when there is little or nothing bad to say about the CD, it is a bit easier. So, here we go... I was one of the lucky ones that received a free copy of Cain's CD in the mail last weekend. I have been rather busy lately, which is why my review is somewhat late, and I have only had a chance to listen to it once through. BUT - it remains in my disc changer, and with a collection the size of mine, that alone is a compliment. >From the opening song I could tell that Chris Cain is a very talented bluesman, both vocally and instrumentally. This feeling only grew as the disc played on. His band (don't remember the names off hand, but someone else listed them earlier) is equally inspiring. I definately recommend this CD to anyone who likes the blues, especially lovers of great horn sections. In addition to the guitar work, vocals, and horns, there is also a good amount of B-3 stuff, for keyboardists like myself to admire. DK ========================================================================= Date: Thu, 24 Aug 1995 16:16:41 CDT From: L W Subject: CROSSWORD HELP...STOP :-) Thanks to ALL of you who supplied THE answer. I'm ashamed of myself and my wife for not thinking of "her"..... THANKS NOW STOP !!! :-) LW ========================================================================= Date: Thu, 24 Aug 1995 17:44:08 -0400 From: "(Dick Waterman)" Subject: Re: Crossword Help (ASAP) Alberta Hunter worked as an unlicensed nurse for many years before being 'rediscovered' in the 1970s and brought back for an extended second career. She was some sort of 'practical nurse' who is licensed to the extent that they can care for patients in their homes. dick waterman ========================================================================= Date: Thu, 24 Aug 1995 16:21:44 CDT From: Dave Kneifl Subject: Minneapolis Labor Day I will be in Minneapolis on Labor Day weekend and the Tuesday following. Are there any good blues events/spots to check out? DK kneifl@admin.uwex.edu ========================================================================= Date: Thu, 24 Aug 1995 17:06:00 CDT From: Paul Garon Subject: Re: Crossword Help (ASAP) a BLUES clue for the word "NURSE"....We know Sippie Wallace (my wife >covered her this month in Women Of The BLues) served as a nurse in her church, >but we'd rather not use that clue... > Alberta Hunter was a nurse between her early days as a recording artist and her comeback days. Allan Nurse and His Orch did I LOVE TO READ THE FUNNIES, JELLY SHAKIN' BLUES and BYE BYE MARY c. 1945. They're in the blues discogs. Sylvester Weaver sings, "Baby starts crying, then they takes me to be a nurse," (approx.) in RAILROAD PORTER BLUES. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Thu, 24 Aug 1995 17:12:00 CDT From: Bonnie Kalmbach Subject: Re: Crossword Help (ASAP) I think Alberta Hunter worked as a nurse before her "rediscovery"/comeback. -Bonnie >Do you know of any kind of well known blues artist that was a Nurse > >Maybe a kind of well known song that has the word "Nurse" in it....? > >I need answers ASAP........ > >LW ========================================================================= Date: Thu, 24 Aug 1995 18:12:29 -0400 From: Maria Wegscheid Subject: Re: Geetar to Bass > > > Steve recently asked about trying bass. Go for it Steve you will be a > > popular guy as bass players willing to play blues and R&B are in short > > supply. It should be an ez transition if you already know some basic blues on > > guitar. > > Garry > > ...and if you live in St. Louis, give me a call. I really need a blues > bass player. > O.K., well, I'm a novice bassist and am interested in playing more. Does anyone in the Quad-Cities - Iowa City need a bass player who is not phenomenal but is fairly solid and willing to learn a lot? I'm interested in being in a band or just getting together and see what sort of music comes up. Maria mwegsche@libby.rbls.lib.il.us ========================================================================= Date: Thu, 24 Aug 1995 22:15:19 GMT From: Beth Oliver Subject: Re: blacktop records In article , Francisco Molla Ruiz wrote: > I have just seen that there is a good sales promotion in Blacktop. I am > trying to get in touch with them by te phone, but for some reason I can't. > can anybody out there tell me if they have a fax or e-mail number? > > Thanx in advance. > Paco Molla You can reach Black Top at (504) 895-7239, Fax (504) 891-1510. ========================================================================= Date: Thu, 24 Aug 1995 16:44:42 +0500 From: "William A. Morgan" Subject: Re: Crossword Help (ASAP) >We need a BLUES clue for the word "NURSE"....We know Sippie Wallace (my wife >covered her this month in Women Of The BLues) served as a nurse in her >church, >but we'd rather not use that clue... >Do you know of any kind of well known blues artist that was a Nurse >Maybe a kind of well known song that has the word "Nurse" in it....? >LW I believe Alberta Hunter was a nurse. ********** Bill Morgan ========================================================================= Date: Thu, 24 Aug 1995 18:40:42 -0400 From: Louis Erlanger Subject: Re: Copyright Questions PLEASE >> > Would that fall under "Public Performance" and break copyright laws...? >>> THANKS >> >> >>I'm not a lawyer, but work for an advertising agency (people view us the >>same way they view lawyers). Here's the deal. You might possibly >>infringe on the laws, but who cares? You're not making any money for it, >>just promoting a category. EVEN IF someone found out what you were doing, >>the worst that would happen is someone would tell you to stop. We >>recently had the same type of situation with Anheuser Busch, and their >>lawyers called us and said, "stop it." >> >>So, in summary, go for it. > >I had a photographer teacher whose first lesson included his motto: >"It's easier to ask forgiveness than it is to ask permission." >Love that line. > >-Patti > > That's all very funny, but if you were the writer who depended on these payments for survival, you might think differently. Generally, for public performance of music, if you are a small outfit, the publisher will not ask a lot of money. It's always best to get permission because most publishers are not out to milk the small guy. It's not worth their time. ========================================================================= Date: Thu, 24 Aug 1995 16:17:00 -0400 From: "J.E. Downey" Subject: COOL BLUES IN RED RUSSIA! Lordie, lordie, is it ever nice to be back!!! Greetings to all from beautiful, rapidly changing Moscow! Having just arrived three weeks ago ex Washington, D.C., I have just this Sunday I dropped the big dollars on a stereo (220 volt and all that), and am listening to "Evil Gal" Michelle Wilson even as I now correspond. Bought the C.D.on the way out of town. Believe it or not, there are blues bands even here! Notably, the Stainless Blues Band plays theoretically plays at the Moosehead Canadian Bar every Thursday and Saturday -- imagine, a bunch of Russkies playin' the blues for ya! Hey, listen! One takes what one can get! But look, I'm a newbie in this commie capital: If anyone knows anything about the blues scene here, pls. be sure to write!! Not expecting Buddy Guy any time soon, but I'll keep ya posted! Cheers to all! Joe Downey J.E._Downey@bakermck.com P.S. If Jouni in Finland is out there, I apologize I lost your info in the move, could you please drop me a line!! P.P.S. One of my final and most pleasurable acts in D.C. was to see once again the great Jimmy Thackery, a fact which should greatly irritate LW. It was a wonderful show indeed, more straight blues than usual, but straight blues or no, it's always an absolute blast. Come to Moscow, Jimmy! ========================================================================= Date: Thu, 24 Aug 1995 18:46:20 -0500 From: T-Bone Subject: Re: CHRIS CAIN: Somewhere Along the Way [REVIEW SNIPPED] Yes yes yes; that's all well and good, but was Chris ever a nurse? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 24 Aug 1995 16:47:47 +0000 From: "mike (m.f.) leipe" Subject: Re: Johnny Winter ? In article <01HUG8QVYWXU9KM614@TOE.TOWSON.EDU>, Kevin Boyle writes: |> Can anyone give me an update regarding Johnny Winter's health, |> possible touring etc. He is definitely one of my favorites and I'm |> concerned that I haven't heard anything about him lately. Saw him standing on the street outside a club in Manhattan in late May, but I didn't have the guts to go up to him and ask what he's up to... -- ----------------------------------------------------------------------------- | Mike Leipe | "There's only two things in life, but I forget | | Bell-Northern Research | what they are." - John Hiatt | | Ottawa, Canada |----------------------------------------------------| | (613) 765-3206 | * My opinions, not BNR's * | ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 24 Aug 1995 20:03:38 -0400 From: CATBAUER Subject: Anders Osborne/Okeh Was lucky enough to get a tape from the label just as I was on my way out the door earlier this week. Listened to it non-stop the first 2 hours on the road...not only did it have 2 of my favorites from the live shows, "Burnin' " & "Pleasing You" it had 8 other songs I enjoyed just as much. Every song had a different tempo, some rock, some are mellow, acoustic numbers, some are reminiscent of Celtic. The vocals are wonderful, guitar work, fiddle, keyboards, drum...all are fantastic. They blend nicely together, not sure if this is the same band he tours with because there's no liner notes. He did a show 2 weeks ago at an outdoor venue and drew close to 2,000...including one TV reporter who happened to hear Anders and Theresa Anderson play a little on a local radio station that morning. I'm not sure of the release date but this is one I'd get in a minute, it's called :Which Way To Here" and is on Okeh/Sony...the same label as Keb'Mo' and Popa Chubby. Cat Catbauer@vivanet.com ========================================================================= Date: Thu, 24 Aug 1995 20:21:08 -0400 From: Jacquelin Katz Subject: Re: SMokin J. K. What does OHSC stand for? All that comes to mind for me, the electrically challenged, is Overhead Single Cam. I've never played a Paul Reed Smith. Could you describe the neck and sound a bit for me? Muchas gracias. Jackie Katz jkatz@mcls.rochester.lib.ny.us On Thu, 24 Aug 1995, bob unger wrote: > > p.s. - I have a '92 PRS with OHSC for sale. It's in excellent condition. > I prefer my strat and Yamaha jazz to it, so it's sitting in the case, aging > like fine wine. If anyone is interested, please e-mail me privatley. The > price is competitive to what you'll find in mags like Vintage Guitar and > 20th Century Guitar. > ========================================================================= Date: Thu, 24 Aug 1995 20:28:33 -0400 From: Jacquelin Katz Subject: Re: Crossword Help (ASAP) On Thu, 24 Aug 1995, L W wrote: > Due to mis-spelling something on the crossword puz that my wife and > another couple did, we have to fix it..(I didn't mis-spell it,btw) :-) > > We need a BLUES clue for the word "NURSE"....We know Sippie Wallace (my wife > covered her this month in Women Of The BLues) served as a nurse in her church, > but we'd rather not use that clue... > > Do you know of any kind of well known blues artist that was a Nurse > > Maybe a kind of well known song that has the word "Nurse" in it....? > > I need answers ASAP........ > > LW > OK, how about "Dr. John's assistant" (or some other Dr. from the blues realm: I also thought of Dr. Feelgood, but that's a bit far afield, I think). Jackie ========================================================================= Date: Thu, 24 Aug 1995 20:30:41 -0400 From: "(Dick Waterman)" Subject: Jinxblues Hits the Big City My lawyer and I are coming into New York City on Monday to take depositions from author Stephen Calt and publisher DaCapo Press regarding my libel suit against them. We'll be there Monday through Thursday (at least). If anyone knows of any good music in town, give me a note before we leave. dick waterman ========================================================================= Date: Thu, 24 Aug 1995 20:03:59 -0400 From: CATBAUER Subject: Re: Big Jack Johnson/Jelly Roll Kings - New Recordings In article <25082210202896@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: >Well, I'd like to know what new tunes he's written for his (several) >new albums - Michael Frank says he's been writing up a storm - and I'd >like to know what the New Africa String Quartet (?) is doing or >going to do - i.e. perform, tour, etc. since members of the group >also play with other bands and/or alone (Lonnie Pitchford). > > Someone else already posted the New African String Band date so I won't do that again. Jack said the Earwig lp isn't quite ready yet...because it is a live recording it will take a while to record enough material everyone is happy with. He said the Jelly Roll Kings is one he's excited about doing, he speaks very highly of Frank Frost and Sam Carr and their earlier playing. The one on Rooster is about ready also. I guess the thing to do is call Rooster and Earwig to ask them how much longer we have to wait because Jack still didn't give me a date. He did sing a little of one of his new songs and I had to promise not to tell what it was about...he even made me turn the tape off before he'd sing it. Most likely it will be an acoustic number. He did let me tape a few of the other acoustic numbers he played...whining is one of my talents. : ) I have tour dates to post if anyone is interested in them...Jack asked that anyone coming to a show to please come up and say "Hi" to him. He loves meeting the people who enjoy his music...and if you happen to own a boat, couple of poles and have a favorite spot to fish in you will have a friend for life. We didn't catch a thing but the company was great so I couldn't complain...as a matter of fact, aside from the music talk, I saw a side of him I'd never been aware of. I knew he was a family man but until the other day I never realized just how much he adores his wife and family. When he talks about his wife his face lights up...he is so content with his life. It's always a pleasure to spend time with him and I encourage anyone going to a show to spend a few minutes talking to him. Cat Catbauer@vivanet.com ========================================================================= Date: Thu, 24 Aug 1995 21:34:18 -0400 From: Bob German Subject: Re: Crossword Help (ASAP) Oh! You want a SONG with Nurse in it? Willie Dixon's "Back Door Man" They took me to the doctor shot full of holes NURSE she cried, 'save his soul' I was 'cused of murder in the first degree Judge's wife cried, 'let the man go free' ========================================================================= Date: Thu, 24 Aug 1995 22:17:05 -0500 From: "Henry Busse Jr." Subject: August 25 Birthdays 1.Charlie Burse 1901 / Decatur, AL Blues / Guitar / Banjo 2.Michel ( Andre ) Dontato 1942 / Montreal, Canada / Jazz Big Band / Bass 3.King Garcia ( Louis K ) 1905 / Juncos, PR / Jazz Big Band / Trumpet 4.Leonard Gaskin 1920 / New York, NY / Jazz / Bass 5.Freddie Kohlman 1918 / New Orleans, LA / Jazz / Drummer 6.Pat Martino ( Pat Azzara ) 1944 / Philadelphia, PA / Jazz / Guitar 7.Wayne Shorter 1933 / Newark, NJ / Jazz Big Band / Tenor / alto Sax / clarinet We should note that Stanley Newcomb Kenton passed away 8/25/1979 in Los Angeles he was 67, and Theodora Leopold Friedman pass away on this date in 1971 he was 79 He left us His Shadow a TopHat and a Clarinet. Enjoy Life this is no Dree rehearsal. Henry Jr. from his ever growing Database. ========================================================================= Date: Thu, 24 Aug 1995 20:43:00 -0700 From: Roberta Penn Subject: Re: SEATTLE BLUES play list 8/27/95 BOBBY PARKER MAN'S GOTTA DO WHAT... BLK. TOP ETTA JAMES TAKE IT TO THE LIMIT PRIVATE BUTTERFIELD BLUES BAND NUT POPPER # 1 ELEKTRA OTIS RUSH AINT ENUF COMIN' IN MERCURY LINK RAY & RAY MEN JACK THE RIPPER EPIC SHERMAN ROBERTSON HOME OF THE BLUES ATLANTIC JIM BOYD/ALEXIE URBAN INDIAN BLUES THUNDERWOLF RY COODER HIGHWAY 23 WARNER JB LENOIR VIETNAM BLUES EVIDENCE BILLY HOLIDAY I COVER THE WATERFRONT COLUMBIA FAB T-BIRDS MEAN LOVE PRIVATE TERRY ROBB WASHINGTON BLUES BURNSIDE MUDDY WATERS MANNISH BOY BLUESKY SONNY AND BROWNIE SAIL AWAY MOB. FID. JIMMY DAWKINS CAN'T HIDE MY LOVE WILD DOG BIG JOE DUSKIN STORMIN' IN TEXAS ARHOOLIE *STEVIE RAY VAUGHAN TEXAS FLOOD EPIC JOHNNY COPELAND ROLLIN' WITH THE PUNCHES VERVE YARDBIRDS/SONNY BOY WILLIAMSON PONTIAC BLUES EVID. BILLY BRANCH SON OF JUKE EVID. BIG MACEO/TAMPA RED CAN'T YOU READ ARHOOLIE COLIN JAMES BAD HABITS WEA MAGIC SAM LOOK OUT SAM EVIDENCE MIGHTY SAM MCCLAIN SOUL THAT'S BEEN ABUSED ========================================================================= Date: Fri, 25 Aug 1995 07:25:34 GMT From: Joly@IX.NETCOM.COM Subject: Peter Green Dies? Can anyone confirm this? I have stuck up a page with what little info I have http://www.computel.com/~whatsup/pg/ ---------- joly http://www.computel.com/~whatsup/ ========================================================================= Date: Fri, 25 Aug 1995 05:14:48 -0700 From: David Madara Subject: Smokin Joe Kubek and others IMO, if you liked Cryin for the Moon you'll like Texas Cadillac the previous album as well. Anyone have any opinions on Keri Leigh? I've listened to one of her previous albums with the Blue Devils and liked it. I've bought her solo album but haven't listened to it as of yet. I really loved the Willie Dixon release from the Chess series. It's just too bad that he was more content writing songs for others than performing the songs more. He gave the songs he did perform something that others even the great Howling Wolf would just seem to miss. Dave Madara fldrmaus@ix.netcom.com ========================================================================= Date: Fri, 25 Aug 1995 08:33:22 -0400 From: Bob German Subject: Re: Smokin Joe Kubek and others You ain't just whistlin' Dixon. Howlin' Wolf does a great Spoonful, for example, that I still prefer over Willie's version most of the time, but I would have loved to hear Willie doing Wang Dang Doodle. Anyone know if he ever recorded that one himself? >I really loved the Willie Dixon release from the Chess series. It's >just too bad that he was more content writing songs for others than >performing the songs more. He gave the songs he did perform something >that others even the great Howling Wolf would just seem to miss. ========================================================================= Date: Fri, 25 Aug 1995 12:38:13 GMT From: George Myers Subject: Re: WC HANDY AWARDS/Contests Correction to previous note. Dummy me! Obviously it's the winner of this year's CONTEST will be invited on the cruise. ========================================================================= Date: Fri, 25 Aug 1995 12:35:50 GMT From: George Myers Subject: Re: blues cruises (query) The only one that is a full ship charter is the Ultimate Rhythm & Blues Cruise 4. The rest will have non blues passengers on board, restricted activities to accomodate the non blues passengers, and the normal shipboard entertainment and dress code. ========================================================================= Date: Fri, 25 Aug 1995 10:08:11 EST From: "Alan Rollins (904)487-1078" Subject: Subscriber Problems Several subscribers are having problems that I in turn am having problems resolving. I may need to send a message to one or more of these subscribers via the List. This is because their mail keeps coming back to me as undeliverable. While I understand that this probably means that they will not get the List it is my hope that some one may be able to contact them to keep trying. To Mr. Makepeace: You are subscribed under the name and address you gave me as correct, however all messages from Brown and from me direct come back as an incorrect address. More later. Alan ========================================================================= Date: Fri, 25 Aug 1995 11:07:10 -0400 From: POXY MAN Subject: Re: blues cruises (query) keep in mind that George works for(is a prinicipal in) the Ultimate Rhythm&Blues Cruise ========================================================================= Date: Fri, 25 Aug 1995 10:17:56 -0500 From: T-Bone Subject: Re: Smokin Joe Kubek and others On Fri, 25 Aug 1995, Bob German wrote: > You ain't just whistlin' Dixon. Howlin' Wolf does a great Spoonful, for > example, that I still prefer over Willie's version most of the time, but I > would have loved to hear Willie doing Wang Dang Doodle. Anyone know if he > ever recorded that one himself? There is an Alligator cd, made around 1980, from (I think) Chicagofest, which has Dixon doing "Wang Dang Doodle". It's called "Blues Deluxe", I think. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Fri, 25 Aug 1995 08:22:49 -0700 From: Corinne Subject: Accordion Blues - Check it out. --Boundary-203555-0-0 --Boundary-203555-0-0 Content-Type: message/rfc822 Date: 24 Aug 95 23:51:22 From:"accordion-Request@gs80.sp.cs.cmu.edu" To: accordion@cs.cmu.edu Subject: Polkas in a Desert Accordions in the Sand Polkacide will be playing at the "Burning Man" which is a "participatory art happening" held in the middle of the Black Rock Desert (I believe it is the largest dry lake bed in North America.) one can check out more info at http://www.well.com/user/burnman We will be playing our polkas and frailichs for thousands of people dancing in a vast expanse of alkali dust..... Had to share this because the image seems so wonderfully absurd. And I won't be the only one squeezing out in the middle of Nevadan nowhere I see on the flyer that there will another accordionist at the event. His blurb says: Jim Cert- an accordion virtuoso whose..music...inspired the Czechoslovakian revoulution. He will also be playing at the Cotati Accordion Fest on Sat 8/26 as well as that night with us at the Bottom of the Hill Club in SF. It might be fun to hear of other's strange accordion playing gigs.... Like the private party we played where the host offered his guests only ( this was it) fine keg beer, chicharrones marshmallows and two large pigs roasting in open spits. We played outside right near the two pigs going round and around over the coals. There was enough beer and pig to serve 300 people. There was only 40 guests. The inside of his house had been prepared with rolls of plastic wrap covering the floors and the walls halfway up ....sigh....very strange --Boundary-203555-0-0-- ========================================================================= Date: Fri, 25 Aug 1995 11:29:29 -0400 From: BluesRevue Subject: Re: blues cruises (query) Yes, that's a fact, Jack, George is a prinicipal, but he's also RIGHT! Bob ========================================================================= Date: Fri, 25 Aug 1995 15:35:25 GMT From: Mike Stefano Subject: Johnny Winter? Glad to see from Dick Shurman that Johnny's getting better. Is he still under contract to Pointblank? I guess with him taking it slow, there's no chance of a new album soon. Even a taste on a tribute album would be great. (Albert Collins, maybe?) What about a T-Bone tribute? if you listen to Johnny, there's a lot of T-Bone in his playing. Regarding the question about Collins, my favourite is definitely Ice Pickin. Winter favourites are the first Columbia album and Let Me In, although Hey, Where's Your Brother is right up there. Let's see more about Johnny up here. He's alive and well and still putting out superior material. Don't ignore him. ========================================================================= Date: Fri, 25 Aug 1995 10:42:40 CST From: William Shute Subject: sale of part of EMI?(query)/Sonny Ace From: Bill Shute Well, the rumor fed to me about the sale of Stax-Volt turned out to be bogus, but now a well-connected LA friend tells me that EMI is going to break off part of itself and offer it up for sale. Any truth to this? Any details?What part is to be cut off? The ramifications of this to the blues fan are obvious, with EMI owning/controlling the catalogs of so many labels with blues/R&B/ soul material. I feel the ON THE WHOLE EMI has done a good job with their reissue programs. Yeah, we can all find fault with certain aspects of the Capitol Blues Reissues program, but it's better than nothing and I prefer it to a Rhino "best-of" approach. A more aggressive Imperial/Minit reissue program is needed, for one thing, although some gems (such as the Irma Thomas sides) have surfaced in the "Rock n Roll" reissue series, and might not be visible to the blues fan. And it would be nice to see some of the Roulette reissues coming out domestically, instead of as UK imports on Sequel. Any further info (Billboard readers?) would be appreciated. Bill Shute San Antonio, TX ps, Fans of classic Chicano R&B will take note that Sonny Ace is back again performing locally in San Antonio, the man who brought us the all-time classic ass-kicking Spanish-language "Wooleh Bulleh" on the (San Antonio) Cobra label in l965 among others. I'll try to catch him sometime this fall. If any subgenre is in need of a revival, it's San Antonio Tex-Mex R&B. The "masters" are all still around, working day jobs, and coming out of the woodwork for the occasional charity gig or lowrider festival. In another local note, the new film by San Antonian ROBERT RODRIGUEZ called "Desperado" is opening nationally today. It's a kind of sequel to 'El Mariachi.' In another San Antonio R&B postscript, I heard recently that the legendary Johnny Olenn (Doug Sahm's hero as a kid) has been living in Las Vegas for a number of years and runs a security business there. Unfortunately, he isn't pursuing music much anymore. If Doug Sahm had the market clout of a Willie Nelson, imagine the "duo" albums he could record with his old South Texas pals (like the ones Willie did in the early 80s with Floyd Tillman, Webb Pierce, et al): Doug Sahm and Johnny Olenn Doug Sahm and Rocky Hill Doug Sahm and Sunny Ozuna Doug Sahm and Joey Long. Augie Meyers, by the way, is(tentatively)going to be doing an R&B gig at Billy Blues in September.BB's co-mainman, Chris Holzhaus, has worked a lot with Augie over the years (including lead guitar on Augie's latest, the blues-flavored "White Boy,")so I hope Chris will sit in during the show. Also, Flaco Jimenez may have a gig of his own there, and there's a rumor that the on-hiatus "Texas Tornado Duo" of Flaco-Augie will also have a gig (altho I don't know if they can legally use that name) there. To complete the Texas Tornado foursome, "Freddy Fender's King of Tex- Mex Picante Sauce" is now available at local supermarkets, imported from Corpus Christi. I've heard from many who purchased the Arhoolie CD Freddie Fender "Canciones de mi barrio" on my recommendation and loved it--if you haven't checked it out yet and love Tex-Mex R&B/ R&R (Smiley Lewis covers in Spanish!), please do ASAP. ========================================================================= Date: Fri, 25 Aug 1995 11:05:37 -0500 From: Richard Shurman Subject: Re: Johnny Winter? Yes, Johnny Winter is still with Pointblank (which has been great about waiting for him to get back on track, and even greater about letting us do exactly what we feel like in the studio). The tribute project under consideration isn't Albert Collins (Johnny's solo on Sick & Tired on Hey, Where's Your Brother was a nod to Albert) or T-Bone (you're right, a big influence; each of Johnny's Pointblank CDs has a T-Bone song on it); it's for Alligator. ========================================================================= Date: Fri, 25 Aug 1995 09:36:00 -0700 From: Spencer Low Subject: CD review-Chris Cain-Somewhere Along the Way Chris Cain-Somewhere Along the Way I was also a lucky winner in the Chris Cain CD giveaway and have finally gotten my thoughts together on this fine blues artist. I have had my ears tuned in to Chris Cain's deep soulful voice and Albert King inspired guitar playing for several years. Since the CD has already had in-depth reviews and I am in general positive agreement with them I'll focus on his guitar playing which is what initially got my attention anyway. Some of my favorite recordings from BluesStage(NPR) include part of Chris Cain's set a few years ago. I was fortunate to see Chris perform at the Jupiter Jam(outdoor music series) in Berkeley, CA about one week before the post about this new release. When I came home from the Jupiter Jam, I thought hearing his playing and singing on recordings surpassed his live gigs(although the BluesStage set was obviously LIVE). I guess on stage he does too much head bobbing for my taste and his average body build doesn't seem to fit his deep voice(not meant to be a putdown just an observation). On the other hand, his live performance included many guitar solos that were adventurous in terms of delving into the jazz/blues territory similarly to players like Larry Carlton, Robben Ford, and John Wedemeyer. This great soloing raised my expectations that his latest CD would possibly surpass his live show. Chris plays in a variety of blues styles on the CD ranging from heavily inspired Albertism's with big minor 3rd bends and more(his main bag on this CD), fusiony blues with tone reminiscent of Robben Ford's overdriven Dumble, and even clean jazz-blues; and he does it extremely well. Unfortunately, many of his solos on the CD just don't have the harmonic interest that I had expected after seeing him in Berkeley. At the Jupiter Jam his playing seemed much more interesting in terms of taking a few more unexpected twists and turns into jazzy territory and using for example diminished scale ideas instead of the straight ahead major and minor pentatonic ideas and big bends that seem so prevalent in his solos on much of the CD. While he does venture into this territory on a few brief solo ideas it's almost halfway thru the CD before I hear a few ideas that send me running for my guitar. After hearing the whole CD, I don't feel like I've gotten my fill yet of his distinctive guitar lines. I just feel that this CD doesn't capture some of his coolest ideas that I know he has played in live shows. While I agree with the previous reviews that Chris Cain definitely can sing and play the blues with the best. I guess I'll have to check out some more of his earlier recordings to really get my fill of his great playing. Any suggestions on some other Chris Cain CDs to check out that include soloing that blends Albert King with the harmonic sophistation of Robben Ford and the soulfulness of Chris Cain? He clearly has what it takes to be one of my favorite blues guitarists. Just my humble opinion. Eddie -- spencerl@crl.com ========================================================================= Date: Fri, 25 Aug 1995 11:15:59 -0500 From: Richard Shurman Subject: Death of Wild Bill Davis/reissue plea I was saddened to read today of the Aug. 17 death of Wild Bill Davis. He started on guitar and played some piano, but will best remembered as a pioneer organist, starting with his great work with Louis Jordan. (Supposedly the better money Davis was getting on organ inspired pianist Bill Doggett to take up the organ too!) Although some participants in Blues-L may wonder what any of this has to do with blues, others will appreciate Davis' own blues attack present on his many recordings, and the excellent blues guitar contributed to them by the likes of Floyd Smith (especially the Epic On Broadway LP and Black and Blue LPs) and Bill Jennings. Davis was also well known as an arranger, most notably April in Paris for Basie. To say that Davis is underrepresented on CD is a huge understatement; in fact, I'm not sure ANY of his LPs are on CD. If anyone from Okeh and/or Epic monitors this list, I'd like to put in a plea to consider a compilation of the Okeh singles which were excellent and (to use the word again) pioneers of the genre, and of the Epic albums. Maybe there's some hope for the Black & Blues; he also backed Floyd Smith nicely on his. While it's great to see the resurgency of the popularity of the B-3 and organists in general, it's a shame that the person who maybe did more than anyone before Jimmy Smith to popularize it didn't get more recognition during his latter years. Unfortunately, that's hardly a new story! ========================================================================= Date: Fri, 25 Aug 1995 11:47:55 -0500 From: Arthur Schuna Subject: Vas-Tie Jackson I noticed that Vas-Tie backs Percy Strothers on his latest release on Black Magic, and does a great job I might add. In reading about him in the Living Blues 25th Anniversary issue, it mentioned he has a self-produced CD. I have yet to see this available anywhere. Does anyone out there know anything about this? Any reviews? How do I obtain a copy short of tracking him down at a performance? Thanks for any leads. Art Schuna ========================================================================= Date: Fri, 25 Aug 1995 13:19:06 -0400 From: "William E. Forrester" Subject: Re: blacktop records On Thu, 24 Aug 1995, Beth Oliver wrote: > In article , Francisco Molla > Ruiz wrote: > > > I have just seen that there is a good sales promotion in Blacktop. I am > > trying to get in touch with them by te phone, but for some reason I can't. > > can anybody out there tell me if they have a fax or e-mail number? > > > You can reach Black Top at (504) 895-7239, Fax (504) 891-1510. > I called the 800 number that was in Bill Shute's original message about this sale. Unfortunately, I can't find it now. Maybe Bill can re-post the number. Bill Forrester ========================================================================= Date: Fri, 25 Aug 1995 13:32:49 -0400 From: "William E. Forrester" Subject: OBIT, William (Wild Bill) Davis Wild Bill Davis passed away at 77 on the 17th of August from a stroke in his home of Moorestown NJ. An Arranger for Duke Ellington, also a performer on both the piano and organ, he played with Basie, Hines and Louis Jordan. Basie's big 1955 hit version of, "APRIL IN PARIS", is credited to Wild Bill. He was also one of the first to popularize the Hammond organ in jazz and jump blues. Bill Forrester ========================================================================= Date: Fri, 25 Aug 1995 12:59:01 -0500 From: Mike Heidenberg Subject: Re: Peter Green Dies? >Can anyone confirm this? > >I have stuck up a page with what little info I have > >http://www.computel.com/~whatsup/pg/ > > > >---------- >joly > >http://www.computel.com/~whatsup/ If anyone has any more information about this, _please_ post it to the list, or let me know via private e-mail...thanks.... -Mike (really hope it's not true) ========================================================================= Date: Fri, 25 Aug 1995 13:42:14 -0400 From: Jim McGlynn Subject: Black Top blowout sale Sorry if this is already common knowledge (my host was fried for five days) but after Bill Shute's post, I contacted Black Top via their 800 number and was told their warehouse stock blowout sale is only for people on their mailing list. Okay, I said, put me on your mailing list. The woman on the other end says she'll put me on the list but I still can't take advantage of the sale. "I've got 16,000 names on the mailing list already and the sale is just for them." What, they can handle soliciting 16,000 potential customers but can't accomodate one more with cash in hand? I went out that afternoon and bought five Black Top used and promo CD's for $7 each, money of which they won't see a goddamn cent. As the wise men say, go figure. Jim McGlynn -- ========================================================================= Date: Fri, 25 Aug 1995 13:48:24 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 25th ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BLESH, RUDI (author/critic) d. 1985-0825, GILMANTON, NH 86 BURSE, CHARLIE (g/MEMPHIS JUG BAND) b. 1901-0825, DECATUR, AL BURTON, WAYNE "BUZZIN'" (v) d. 1929-0825, CHICAGO, IL 36 COSTELLO, ELVIS (:) [DECLAN P. MCMANUS] b. 1954-0825, LONDON, UK DEVILLE, WILLY (v/MINK DEVILLE) b. 1950-0825, NEW YORK CITY, NY GASKIN, LEONARD (b) b. 1920-0825, BROOKLYN, NY IKEDA, SUZEE WENDY (prod/MOTOWN REC) b. 1947-0825, CHICAGO, IL KENTON, STAN [STANLEY NEWCOMB KENTON] d. 1979-0825, LOS ANGELES, CA 67 KINSEY, ALFRED DR. (song title) d. 1956-0825, BLOOMINGTON, IN 62 KOHLMAN, FREDDIE (d) b. 1915-0825, NEW ORLEANS, LA L W (BLUES-L MEMBER) b. 1959-0825, BIRMINGHAM, AL PINDER, EDITH SPENCE (v/PINDER FAMILY) d. 1980-0825, NASSAU, BAHAMAS 70 ROBERTS, CAUGHEY (asax/BASIE/ROY MILTON) b. 1912-0825, TUSKEGEE, AL SEVAREID, KARL (of ROBERT CRAY BAND) b. 1946-0825, ALEXANDRIA, VA SHORTER, WAYNE (tsax/ssax) b. 1933-0825, NEWARK, NJ SMITH, CARRIE (v) b. 1941-0825, FORT GAINES, GA TURNER, TROY (g/ICHIBAN REC) b. 19 -0825, BATON ROUGE, LA WILLIAMS, WALTER (of THE O'JAYS) b. 1942-0825, ------------------------------------------------------------------------------- P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 25 Aug 1995 13:57:00 EDT From: "(Brent M. Smith)" Subject: The Willy Evans Trio... I had the chance to go see the MAN Willy Evans play last night in a local Greenville SC club. I think it can all be summed up as: THE MAN CAN REALLY PLAY!! Sadly the audience did not seem to realize it. I know for sure that two people enjoyed it very much!! Only thing that i did not like was the fact that he wouldn't let me buy him a beer. (Maybe he had enough beer while in Ireland!) --Brent Note to Willy: I liked the LL song too. Just so happened Gina started talking to me right at the end of the song. Great stuff man!! I am glad I finally got to meet you. ========================================================================= Date: Fri, 25 Aug 1995 13:16:00 CDT From: Bonnie Kalmbach Subject: Re: Vas-Tie Jackson Art Schuna wrote a little bit ago: >I noticed that Vas-Tie backs Percy Strothers on his latest release on Black >Magic, and does a great job I might add. In reading about him in the Living >Blues 25th Anniversary issue, it mentioned he has a self-produced CD. I >have yet to see this available anywhere. Does anyone out there know >anything about this? Any reviews? How do I obtain a copy short of tracking >him down at a performance? Thanks for any leads. Hi Art, I just happen to have bought a copy of Vas-Tie's Jackson's album at the Sunflower Blues and Gospel Fest (not at the Stackhouse, I might add, but from a couple of people who semed to have some concession there. From what I've heard it's a little in the fuzzy-toned blues rock tradition that I don't care much for...but I did see Big Moody and the Mississippi Farmboys - mentors of Vas-tie - at the fest and they played some downhome old-fashioned gut-bucket blues. Seeing groups like Big Moody, the excellent, excellent John Weston, Johnnie Billington, Eddie Cusic, and all the other fine local Delta acts is the reason to go to the Clarksdale fest. When a friend observed "Maybe if they'd get a bigger crowd if they had more national acts" I really had to bite my tongue. -Bonnie the K. ========================================================================= Date: Fri, 25 Aug 1995 14:53:26 -0400 From: BluesRevue Subject: Peter Green Info: With so much discussion about Peter Green, I thought it was appropriate to mention that Viceroy Music has just released a new double CD , Rattlesnake Guitar-The Music of Peter Green. This is a presentation of Peter Green's music by various artists, from Larry McCray to Kim Simmonds, from Rory Gallagher to Harvey Mandel, from Mick Abrahams to Ian Anderson, and the list of KILLER soloists goes on for a total of 29 cuts. This is heart-stopping music at its best! Of important note also is the fact that Viceroy Music will be donating a portion of the profits from sales of this CD to the Blues Heaven Foundation, in memory of Willie Dixon, who was instrumental in putting together the accompanying blues artists on the 1969 Fleetwood Mac in Chicago. By the way, I am told Peter is living outside of London in retirement . . . "the news of my demise has been greatly exaggerated." You may be interested to know, Viceroy Music has donated 100 copies of this Two-CD release to be used in developing NEW SUBSCRIBERS. Anyone interested in starting a NEW subscription with a credit card and receiving Rattlesnake Guitar, can call 304/ 782-1971 between 9 and 5 eastern, fax: 304/ 782-1993 anytime. Additional info by email: BluesRevue@aol.com Bob Vorel-Publisher ========================================================================= Date: Fri, 25 Aug 1995 15:00:00 -0400 From: Steve Levine Subject: Where did the term "woodshedding" originate? Can anyone tell me where the musical term "woodshedding" originated? I assume it has something to do with musicians going to practice in the wood shed so nobody has to hear them. Just curious (and in need of some woodshedding myself!) -Steve ========================================================================= Date: Fri, 25 Aug 1995 14:22:01 -0400 From: Gerald Leddy Subject: Chris Cain/Somewhere.. Having received one of the Chris Cain CD's `Somewhere Along the Way", I offer the following `two cents': I went into this CD with no formal introduction for Cain's music. I saw his name on THE LIST a few times that I can remember, and have heard single cuts on the local radio blues programs, but went in relatively virginal. I was quite impressed with his guitar playing. There is a definite jazzy-feel to his riffs and solos, but the blues content is unmistakeable. Enough bends, pops, and finger sliding to make any blues-guitar fan take notice, but sophisticated well beyond the pentatonic scale. Most of the playing is very clean and precise, leaving the listener (at least this listener) with the knowledge that he knows his way around a fret board. The funky-ness of the whole CD, and the power of the musicians behind him, certainly complimented his abilities and musical interpretations. The horns are solid and the keyboards are right-on, including Chris' go at the piano. I even found myself listening to the drummer, odd for a staunch guitar-guy. I do find his voice however, took some getting used to. I am consistently humbled by the blues/music knowledge of most everyone on this list, and even after `hearing' his vocal abilities being lauded time and time again lately, his grated on me the first listen. I have to admit, the second and third listen made me more appreciative of his vocal talents, read `got used to it', but I still found myself saying he sounds like a combination some- where between Pops Staples and Kim wilson. I am not even close to saying something stupid like he should hire a singer and concentrate on the guitar, but I am saying it really ain't there for me. I can't name a `dud' song on the entire CD, I found them ALL great in their own right. I did find the amount of repetition in the lyrics distracting, but on subsequent listens I tended to not hear them as much while waiting for that great guitar work to jump in and get me moving. It's going to get alot of play in my house, and would highly recommend this one to anyone that really likes solid guitar performance. It will also get me looking for more Chris Cain, so any input would be appreciated. In my very humble, but honest, opinion, Jerry. ========================================================================= Date: Fri, 25 Aug 1995 15:22:01 -0400 From: James Leftwich Subject: Re: Smokin Joe Kubek and others I On Fri, 25 Aug 1995, Bob German wrote: > You ain't just whistlin' Dixon. Howlin' Wolf does a great Spoonful, for > example, that I still prefer over Willie's version most of the time, but I > would have loved to hear Willie doing Wang Dang Doodle. Anyone know if he > ever recorded that one himself? I saw him play it live not long before his death at the now-defunct Benson & Hedges Blues Festival in New York. He was the "guest of honor" at the big bash in Madison Square Garden. I specifically remember the tune. Was anyone else there? Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" ========================================================================= Date: Fri, 25 Aug 1995 13:52:55 PDT From: rjbauman@IQUEST.NET Subject: BLUES CHAT for the rest of us! -- .iquest.net:809384636:326042180:301924393:-999897614 Content-Type: TEXT/PLAIN; charset=US-ASCII I've been like a kid in a candy store ever since I got Netscape, and now there's a FREE IRC (Internet Relay Chat) Netscape add-on. Windows users can now conduct one-on-one, many-on -many, and one -to-many live discussions!!! It's a bitch to get because the server is always busy. I want everybody who CAN use this to have it so we can have live chats. So, I'm sending it to all of you as an attached binary file. Delete it if you don't want to use Netscape, etc..... I know this is an unusually large file at 453 K, but it's sooooo friggin' cool!!! ========================================================================= Date: Fri, 25 Aug 1995 16:16:26 -0900 From: Mike Annis Subject: Rory Block Shows Just Booked These Rory Block shows were just scheduled. Sorry about the short notice. 8/25 Canal St.--Dayton, OH 8/26 Second Story--Bloomington, IN 8/29 E-Town radio show taping--Boulder, CO 9/2 Bumpershoot--Seattle, WA (opening for Robert Cray) 9/3 Britt Pavilion--Jacksonville, OR (w/ Robert Cray) 9/6 Freight & Salvage--Berkeley, CA Incidentally, Rory will be doing a live interview/acoustic performance on WFHB 91.3 in Bloomington, IN at 2 pm before her show at the Second Story on the 26th. Please spread the word. Thanks. ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Fri, 25 Aug 1995 16:04:58 -0400 From: Steve Levine Subject: FW: (fwd) Peter Green Info I just saw this on rec.music.bluenote.blues: From: bluesrevue@aol.com (BluesRevue) Newsgroups: rec.music.bluenote.blues Subject: Peter Green Info Date: 25 Aug 1995 14:53:27 -0400 Organization: America Online, Inc. (1-800-827-6364) Lines: 21 Sender: root@newsbf02.news.aol.com Message-ID: <41l677$eem@newsbf02.news.aol.com> Reply-To: bluesrevue@aol.com (BluesRevue) NNTP-Posting-Host: newsbf02.mail.aol.com With so much discussion about Peter Green, I thought it was appropriate to mention that Viceroy Music has just released a new double CD , Rattlesnake Guitar-The Music of Peter Green. This is a presentation of Peter Green's music by various artists, from Larry McCray to Kim Simmonds, from Rory Gallagher to Harvey Mandel, from Mick Abrahams to Ian Anderson, and the list of KILLER soloists goes on for a total of 29 cuts. This is heart-stopping music at its best! Of important note also is the fact that Viceroy Music will be donating a portion of the profits from sales of this CD to the Blues Heaven Foundation, in memory of Willie Dixon, who was instrumental in putting together the accompanying blues artists on the 1969 Fleetwood Mac in Chicago. By the way, I am told Peter is living outside of London in retirement . . . "the news of my demise has been greatly exaggerated." You may be interested to know, Viceroy Music has donated 100 copies of this Two-CD release to be used in developing NEW SUBSCRIBERS. Anyone interested in starting a NEW subscription with a credit card and receiving Rattlesnake Guitar, can call 304/ 782-1971 between 9 and 5 eastern, fax: 304/ 782-1993 anytime. Additional info by email: BluesRevue@aol.com Bob Vorel-Publisher ========================================================================= Date: Fri, 25 Aug 1995 15:18:26 GMT-6 From: Eliot Williams Subject: Re: Death of Wild Bill Davis/reissue plea > From: Richard Shurman > To say that Davis is underrepresented on CD is a huge > understatement; in fact, I'm not sure ANY of his LPs are on CD. If > anyone from Okeh and/or Epic monitors this list, I'd like to put in a > plea to consider a compilation of the Okeh singles which were excellent > and (to use the word again) pioneers of the genre, and of the Epic > albums. Maybe there's some hope for the Black & Blues; he also backed > Floyd Smith nicely on his. Three Okeh singles, "Azure Te", "Rough Ridin'" and "April in Paris" by the Wild Bill Davis Trio (Davis o, Bill Jennings g and Chris Columbus d) are on the "Okeh Jazz" CD (Sony A37315). I picked this up as a cutout for $4.99 recently; it's excellent. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 25 Aug 1995 16:25:44 -29900 From: Michael Kaloyanides Subject: BMG Music Service A while back someone provided a 1-800 number for contacting BMG Music Service about changing ordering options. I tried the number and ended up with Compuserve service. Do any of you helpful bluezellers have a correct toll-free number for BMG? It would be greatly appreciated. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Fri, 25 Aug 1995 16:44:28 -0400 From: "William E. Forrester" Subject: Re: Black Top blowout sale On Fri, 25 Aug 1995, Jim McGlynn wrote: > Sorry if this is already common knowledge (my host was fried for five > days) but after Bill Shute's post, I contacted Black Top via their > 800 number and was told their warehouse stock blowout sale is only > for people on their mailing list. Okay, I said, put me on your > mailing list. The woman on the other end says she'll put me on the > list but I still can't take advantage of the sale. "I've got 16,000 > names on the mailing list already and the sale is just for them." I also called the 800 number, spoke to a man, and had no problems at all ordering. There was no mention of having to be on their mailing list (which I am not). Bill Forrester ========================================================================= Date: Fri, 25 Aug 1995 17:30:04 -0400 From: Beverly Howell Subject: "REMEMBERING STEVIE RAY" this weekend Hi, I just wanted to drop a reminder that BLUES CHAT, "REMEMBERING STEVIE RAY," is this Sunday night, at 10:00 PM ET, in "CenterStage," on America Online. I'm cutting and pasting some info below. If you don't have America Online, their trial disks come with ten free hours, so this would be a great time to try out AOL if you have access to a trial disk. Regards, Beverly Howell Host, "Blues Chat" via America Online, Inc. "REMEMBERING STEVIE RAY" Five years ago, on August 27, 1990, Stevie Ray Vaughan physically left us, but his spirit and music will live forever. "BLUES CHAT" is honored to present the members of his band, "Double Trouble," and two special friends, as they gather together on America Online's "Main Stage," to share their remembrances of this legendary guitarist and cherished friend. Joining us in Stevie Ray's memory are: Tommy Shannon (Double Trouble) Chris Layton (Double Trouble) Reese Wynans (Double Trouble) Margaret Moser (Austin Chronicle) Dan Forte (Musician Magazine) "BLUES CHAT" will be making contributions to both of the following organizations in loving memory of Stevie Ray. Fans and friends also wishing to contribute may contact: The Stevie Ray Vaughan Memorial Fund c/o First State Bank P. O. Box 3550 Austin, TX 78764 (Fund established to maintain the SRV Statue in Austin) Communities Foundation of Texas 4605 Live Oak Dallas, TX 75204 (Designated by the Vaughan family; specify donation in Stevie Ray's memory) A folder has been created on "America Online," in the "Music Message Center," "Blues Area," entitled, "REMEMBERING STEVIE RAY," to provide Stevie Ray's many fans and friends a forum in which to post remembrances. Posts from that folder will be faxed to the guests prior to their appearance. To access the folder, go to Keyword: MMC, click on "Jazz/Blues," select "Blues." Scroll down to the "REMEMBERING STEVIE RAY" folder, and click on "List Messages." Information about our Guests: Bassist TOMMY SHANNON and drummer CHRIS LAYTON comprised the rhythm section for "STEVIE RAY VAUGHAN and DOUBLE TROUBLE." The trio added keyboardist Reese Wynans, and their legendary sound became complete. In 1992, Tommy and Chris teamed up for a brief period with Doyle Bramhall II, and Charlie Sexton to record as "Arc Angels." They are currently a "force to be reckoned with" as they take the stage with "Storyville," an all star band featuring vocalist Malford Milligan, David Grissom (John Mellencamp) and David Holt (Carlene Carter, Mavericks). Chris and Tommy were also recently featured along with David Grissom, Reese Wynans, and Johnnie Johnson on Buddy Guy's recent Silvertone release, "Slippin' In." REESE WYNANS moved to Nashville, Tennessee, where he first teamed up with country sensation Hal Ketchum, then later toured with Leroy Parnell.. Reese is currently an active session player, involved in soundtracks for television, and occasionally delights fans by sitting in on gigs in the Nashville area. MARGARET MOSER has been writing about Rock & Roll for alternative newspapers since 1976. She is currently a Senior Editor for "The Austin Chronicle," (Austin, Texas) and directs the annual "Austin Music Awards." She has also appeared in the films "Roadie" and "Outlaw Blues." Margaret is the daughter of psychologist Phyllis Jackson Stegall - author of "Boomerang Kids." She has interviewed B.B.King, Bobby Blue Bland, Jimmie Vaughan, Lynyrd Skynyrd, George Benson, Angela Strehli, Buddy Guy, Cowboy Mouth, John Cale, Talking Heads, Lou Ann Barton, Stevie Ray Vaughan, The Fabulous Thunderbirds, Albert Collins, Sue Foley among others. DAN FORTE is Contributing Editor of "Musician" Magazine, former Senior Associate Editor of "Guitar Player," and winner of the "ASCAP-Deems Taylor Award" for excellence in Music Journalism. In his 20 years as a music writer, he has interviewed such artists as Eric Clapton, Frank Zappa, Jimmy Reed, George Harrison, and Freddie, Albert, and B.B. King. Dan compiled and annotated Rhino Records' "Legends of Guitar" series and "Hide Away: The Best of Freddie King." He interviewed both Jimmie and Stevie Ray on several occasions and wrote the liner notes for "The Sky is Crying," the "Live At El Mocambo" video, and Stevie Ray and Double Trouble's upcoming "Greatest Hits" CD. For more information regarding "Stevie Ray Vaughan and Double Trouble," please refer to the following web sites: http://www.quadralay.com/www/Austin/AustinMusic/srv/StevieRayVaughan.html http://www.quadralay.com/Antones/home.html http://w4.lns.cornell.edu/~jjo/srv.html http://www.dmu.ac.uk/~iah/srv.html (Note: BLUES CHAT is also proud to present "TECH TO THE STARS" RENE MARTINEZ in a separate visit on Wednesday, September 6th, 1995, at 10:00 PM ET, back for his second appearance by audience request. Rene was Stevie Ray's Guitar Tech, and currently works with Jimmie Vaughan.) Keyword: "CENTER STAGE" Date: August 27 Time: 10pm ET ========================================================================= Date: Fri, 25 Aug 1995 17:59:17 +0600 From: Rage 'n Records Subject: BB King & more in Camden/Philly It's finally here! The mega blues show in the Philly are. This Sunday at the Sony Blockbuster outdoor entertainment center in Camden the following artists will appear. Their number at the venue is 609.365.1300 BB King 9 PM Jimmie Vaughan 7:30 Magic Dick 6PM Jay Geils 6PM Elvin Bishop 6PM Stevie LaRocca starts 4:45-5:45 on Second Stage This is a new outdoor venue on the Delaware river directly across from Philly. Has anybody been to this show and how is it? ========================================================================= Date: Fri, 25 Aug 1995 18:04:06 +0600 From: Rage 'n Records Subject: sale of EMI William asked EMI is going to break off part of itself and offer it up for sale. Any truth to this? Any details?What part is to be cut off? Rumor has it that the "I" is going to be cutoff ========================================================================= Date: Fri, 25 Aug 1995 17:58:55 -0400 From: Ted Dames Subject: blues buffet? Hey,...how does a 5 chef blues buffet with regional wines and micro beers teamed with appropriate foods (HOT) complete with a national blues act and a hotel room sound for a good gig? Thinking about doing something in January. Just a thought! bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and resident bon vivant at: Bandana's Serious Pepper Products located in sub-tropical Southeast PA. "Say WHAT?"- Smokie Wilson ========================================================================= Date: Fri, 25 Aug 1995 17:24:51 CST From: JBards Subject: Re: Anders Osborne/Okeh I'm glad to hear Anders is getting some major label support. I reported on him (and Theresa, a talent and a major babe- can I say that ? - in her own right) earlier this year after catching them at the New Orleans Jazz Fest and buying Anders' previous CD. I thought they favored the early Little Feat quite a bit. Hurray for Anders! Jim _______________________________________________________________________________ Subject: Anders Osborne/Okeh From: CATBAUER at INTERNET-SH Date: 8/24/95 7:36 PM Was lucky enough to get a tape from the label just as I was on my way out the door earlier this week. Listened to it non-stop the first 2 hours on the road...not only did it have 2 of my favorites from the live shows, "Burnin' " & "Pleasing You" it had 8 other songs I enjoyed just as much. Every song had a different tempo, some rock, some are mellow, acoustic numbers, some are reminiscent of Celtic. The vocals are wonderful, guitar work, fiddle, keyboards, drum...all are fantastic. They blend nicely together, not sure if this is the same band he tours with because there's no liner notes. He did a show 2 weeks ago at an outdoor venue and drew close to 2,000...including one TV reporter who happened to hear Anders and Theresa Anderson play a little on a local radio station that morning. I'm not sure of the release date but this is one I'd get in a minute, it's called :Which Way To Here" and is on Okeh/Sony...the same label as Keb'Mo' and Popa Chubby. Cat Catbauer@vivanet.com ========================================================================= Date: Fri, 25 Aug 1995 20:02:59 -0500 From: Brad Stevenson Subject: indie blues band >On 24 Aug 95, Rick Miller had this to say: > >> Okay, can somebody please define an "Indie" band for me? I know this is the >> term generally applied to today's plaid shirt and Doc Marten wearing grunge >> bands that seem to always be rude and at best indifferent toward thier audienc >es. >> What is "Indie". A record label from Indianapolis? Native American rock? >> Music from the "Temple of Doom" soundtrack? :) [get it?] >> >> Sorry, no blues content. A blues dude is just curious. > >You'll be embarassed it's so simple. "Indie" - pendent It is simply >used to describe bands who are not signed to the big corporate >labels, but have material on "independent" labels. > >So MY band is an "indie" band (and only the bass player has a pair of >Doc Martins);-) > >P.W. Fenton >Tampa, Florida >email - pwfenton@gate.net >WWW - http://www.gate.net/~pwfenton/ On that topic, if you'd like to check out an "indie" blues band. You can check out Big City Blues from Halifax, Nova Scotia on the web. You can find them on Nightingale Multimedia's web site for independent musicians. It's located under the entertainment section of the East Coast Web Mall: http://www.mi.net/e.c.web/ BCB is a great power blues trio that recently was featured on Much Music. While proud to be both an indie band and a blues band, they're hoping to loose the "indie" status soon. --------------------------------------------------------- Brad Stevenson - bstevens@nbnet.nb.ca NIGHTINGALE MULTIMEDIA The Best Bands You've Never Heard Web Site: http://www.mi.net/night1.html -------------------------------------------------------- ========================================================================= Date: Fri, 25 Aug 1995 17:49:10 PDT From: rjbauman@IQUEST.NET Subject: Re: BB King & more in Camden/Philly Is anybody going to ST. Louis for the labor day weekend? Any word on the lineup? Any hotels with space left? ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Fri, 25 Aug 1995 17:44:26 +0500 From: Bill Morgan Subject: Re: Anders Osborne/Okeh, and lost posts >I'm glad to hear Anders is getting some major label support. I reported on >him >(and Theresa, a talent and a major babe- can I say that ? - in her own right >earlier this year after catching them at the New Orleans Jazz Fest and buyin >Anders' previous CD. I thought they favored the early Little Feat quite a >bit. >Hurray for Anders! >Jim You are absolutely right Jim. Anders has been an exciting performer for several years here in N.O. And as a longtime fan of Lowell George and Little Feat, the similarities didn't go unnoticed. Hope you caught them at Tipitina's where they opened for the subdudes. Keb Mo joined them for a couple of numbers. Also, your assessment of Theresa is on the money. Not only is she easy on the eyes, but she is an exceptional talent in her own right. Theresa backs Anders on vocals and violin, and she fronts her own jazz band. She also has a CD out on a local label (it's called "Vibes" and is on Rabadash Records). But nothing compares with seeing her live. Playing with Anders his her priority (double entendre intended -- Anders is her fiance), but she plays at Snug Harbor every couple of months. She has some fine players in her band -- Brian Seeger on guitar, and John Vidacovich on drums, and Matt Perrine on bass. >Subject: Anders Osborne/Okeh >From: CATBAUER at INTERNET-SH >Date: 8/24/95 7:36 PM >Was lucky enough to get a tape from the label just as I was on my way out >the door earlier this week. Listened to it non-stop the first 2 hours on >the road...not only did it have 2 of my favorites from the live shows, >"Burnin' " & "Pleasing You" it had 8 other songs I enjoyed just as much. >Every song had a different tempo, some rock, some are mellow, acoustic >numbers, some are reminiscent of Celtic. The vocals are wonderful, guitar >work, fiddle, keyboards, drum...all are fantastic. They blend nicely >together, not sure if this is the same band he tours with because there's >no liner notes. He did a show 2 weeks ago at an outdoor venue and drew >close to 2,000...including one TV reporter who happened to hear Anders and >Theresa Anderson play a little on a local radio station that morning. I'm >not sure of the release date but this is one I'd get in a minute, it's >called :Which Way To Here" and is on Okeh/Sony...the same label as Keb'Mo' >and Popa Chubby. Cat >Catbauer@vivanet.com Glad to see Anders doing well around the country, but sad that we don't get to see as much of him here in N.O. as we used to. Unfortunately, I missed your post Cat, which validated my suspicion that I wasn't receiving all the mail from the list on AOL. I have on two services. I no longer receive mail on this one. Big Easy Com ========================================================================= Date: Fri, 25 Aug 1995 18:15:58 +0500 From: Bill Morgan Subject: Re: Crossword Help (ASAP) >>We need a BLUES clue for the word "NURSE"....We know Sippie Wallace (my wif >>covered her this month in Women Of The BLues) served as a nurse in her >church, >>but we'd rather not use that clue... >>Do you know of any kind of well known blues artist that was a Nurse >>Maybe a kind of well known song that has the word "Nurse" in it....? >>LW >I believe Alberta Hunter was a nurse. >********** >Bill Morgan I just wanted to repost this message. I seem to be having some mail trouble here and at America Online. I'm not sure it was sent. I know I didn't receive it. ************ Bill Morgan ========================================================================= Date: Fri, 25 Aug 1995 17:05:00 -0700 From: Ned Kraft Subject: Malaysia, George Smith Malaysian contacts, Copy of GS on Oakland Blues LP? My band has been approached about playing a show in Melaka, Malaysia in the December time frame and I was wondering whether anyone has contacts for sound reinforcement, additional gig opportunities, or anything else we may need. Thanks. We may also be working in Singapore. Also, I lost the name of the person who had the Oakland Blues LP with 3 George Smith tunes on it. Please e-mail me if you are willing to make a tape of the tunes for me. Thanks, Dirty Ned Hoosier Daddys a.k.a. ned_kraft@hp0000.desk.hp.com ========================================================================= Date: Fri, 25 Aug 1995 20:36:07 -0500 From: Patti Bowman Subject: Re: blues buffet? >Hey,...how does a 5 chef blues buffet with regional wines and micro beers >teamed with appropriate foods (HOT) complete with a national blues act and a >hotel room sound for a good gig? Thinking about doing something in January. > >Just a thought! > bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and > resident bon vivant at: > Bandana's Serious Pepper Products located in sub-tropical Southeast PA. I'm listening.............. -PBB ========================================================================= Date: Fri, 25 Aug 1995 20:39:55 -0400 From: Bkg agent Subject: Re: Vas-Tie Jackson Be Bop records in Jackson, MS carry Vas's recordings. I am sure they would be happy to mail. It's really great, hope you enjoy. If this doesn't work, let me know and I will see if I can help. Janice L. Bays Nickeltune Music, Inc. ========================================================================= Date: Fri, 25 Aug 1995 21:47:03 -0400 From: Sandy Quandt Subject: Luther Allison Just picked up Luther Allison's new cd "Blue Streak." If you thought "Soul Fixin' Man" was hot, wait till you hear this!!! The man is definitely a class act, and he's just outdone himself. Move over Buddy.... Sandy ========================================================================= Date: Fri, 25 Aug 1995 20:46:47 -0600 From: Don O Subject: lucky peterson Lucky played at the Blue Cat in Dallas last night to a small crowd, about 100 in a club that will hold 175. Gregg Smith opened each of the two sets with a couple of warm-up numbers. As usual, Lucky's band was very tight, flawless, and fun to listen to, even when Lucky wasn't onstage. He has added keyboard player Linny Nance, a well known local player who recently contributed to Tutu Jones' debut on JSP. Lucky played a lot of guitar and even took a stroll through the club while playing. His material ran the gamut of his Verve releases with a few classics from folks like Elmore James. The most exciting tune of the evening was a new one, "Bad Condition", with sort of a reggae beat. Very cool tune! I hope that's on his new CD. To answer my own question that I asked a couple of days ago, Lucky's new CD is out in Europe already. Lucky is playing at the Blue Cat again tonight and I suspect it will be packed to the rafters. For some reason it is almost impossible to get folks out in Big D on a week night. Fort Worth is different. Lucky is supposed to stop by my radio show this evening for a short interview and if he does I'll get some more info on his new CD. Don O. ========================================================================= Date: Fri, 25 Aug 1995 21:51:32 -0400 From: James Leftwich Subject: radio reception This message has very little blues content...you are forewarned... I've been trying to pick up a daily blues show on a Newark (NJ) radio station (WBGO 88.3) in Westchester and have had little success. Aside from buying a more powerful receiver, is there anything I can do/buy to improve reception? The most frustrating thing is that reception improves markedly when I hold an antenna wire. I've spent hours holding the damn thing. Argh... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" :) ========================================================================= Date: Fri, 25 Aug 1995 20:46:45 -0600 From: Don O Subject: dfw blues I don't know what it is, but we seem to have an incredible embarassment of riches over the next week in the DFW area. Any of you blues-L'ers in driving distance might want to check out a few of these events. 8/25 Lucky Peterson at the Blue Cat 8/25 Long John Hunter at J&J 8/26 Omar and the Howlers at J&J 8/26 Lavelle White at Fatsos 8/27 Gatemouth Brown at the Hard Rock Cafe preceeded by the record release party for Topcat's new freddie King CD, complete with MAJOR jam session (rumor is Eric Clapton's band has reserved the Cheese Club in the HRC for that evening) 8/28 Eric Clapton at Reunion 9/2 Buddy Guy, Jim Suhler, Miss Molly and the Whips at Sundance Square in Fort Worth ****A FREE SHOW!*** 9/2 Smokin Joe Kubek and Bnois at the Blue Cat 9/2 Bobby Bland, Latimore, and more at Tarrant County Convention center 9/2 Prowlers at J&J Life is good here in Texas. Now if only we could have McEwens on tap.... Don O. ========================================================================= Date: Fri, 25 Aug 1995 21:02:58 +0500 From: Bill Morgan Subject: RuPaul at HoB RuPaul will be at the New Orleans House of Blues this Thursday. Honest to God. *********** Bill Morgan ========================================================================= Date: Fri, 25 Aug 1995 20:17:33 EST From: Mark Stevens Subject: Re: blues buffet? >Hey,...how does a 5 chef blues buffet with regional wines and micro beers >teamed with appropriate foods (HOT) complete with a national blues act and a >hotel room sound for a good gig? Thinking about doing something in January. >Just a thought! >bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and >resident bon vivant at: >Bandana's Serious Pepper Products located in sub-tropical Southeast PA. >"Say WHAT?"- Smokie Wilson Sign me up! If the Blues BBQ at Sleepy Hollow is an indication, you know how to arrange a blowout! MMMmmmmm! Hot, spicy foods and cool blues in January... _____________________________________________________________________ =Mark P. Stevens "Remember - Wherever You E-mail: may go in life... There stevensm@doim6.monmouth.army.mil You are." /Buckaroo Bansai http://www.readadp.com/html/dmm/1dmm01.html ========================================================================= Date: Fri, 25 Aug 1995 21:46:07 -0600 From: Gary Constantine Subject: Re: BLUES CHAT for the rest of us! >It's a bitch to get because the server is always busy. I want everybody who >CAN use this to have it so we can have live chats. >So, I'm sending it to all of you as an attached binary file. >Delete it if you don't want to use Netscape, etc..... >I know this is an unusually large file at 453 K, but it's sooooo I for one did not appreciate this. I got 28 seperate files of ASCII text. Just tell me where I can get the IRC. Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 25 Aug 1995 23:14:53 -0500 From: Craig Edmundson Subject: Howlin' Wolf Lyrics? I'm hoping someone will please help me with the lyrics to the third stanza of "I'll Be Around" from MORE REAL FOLK BLUES (Chess LP 1512): "You know I called you in the morning, You know I called you darling to ___????___. But I'll be around, yes I'll be around, To see what you're puttin' down." Thank you. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Fri, 25 Aug 1995 23:59:34 -0600 From: Tom Rossen Subject: Re: BLUES CHAT for the rest of us! Any Mac owners out there who amused by the irony of RJ's title? =81 > >I've been like a kid in a candy store ever since I got Netscape, and now >there's a FREE IRC (Internet Relay Chat) Netscape add-on. Windows users can >now conduct one-on-one, many-on -many, and one -to-many live discussions!!! > Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Sat, 26 Aug 1995 00:25:36 -0500 From: Craig Edmundson Subject: Re: Death of Wild Bill Davis/reissue plea Another pianist who switched preferences to the organ was Sunnyland Slim (Albert Luandrew, AKA Doctor Clayton's Buddy.) Check out his contribution to J.B. Huttos' l.p. HAWK SQUAT (Delmark DS-617). ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Fri, 25 Aug 1995, Richard Shurman wrote: > I was saddened to read today of the Aug. 17 death of Wild Bill > Davis. He started on guitar and played some piano, but will best > remembered as a pioneer organist, starting with his great work with Louis > Jordan. (Supposedly the better money Davis was getting on organ inspired > pianist Bill Doggett to take up the organ too!) ========================================================================= Date: Sat, 26 Aug 1995 01:19:28 -0500 From: Ken Nestle Subject: Re: BLUES CHAT for the rest of us! >I know this is an unusually large file at 453 K, but it's sooooo >friggin' cool!!! > Bauman, you're sooooo friggin' stupid! Stupid doesn't even begin to cover it! You're too dumb to live! >So, I'm sending it to all of you as an attached binary file. > Even the rankest newbie knows that you don't attach files to e-mail unless the recipient has aked for it, or at least expects it. Spaming a whole group with uninvited attachments is . . . . / Words fail me! >Delete it if you don't want to use Netscape, etc..... > Is there any way we can delete this fool from the planet? -- knestle@interaccess.com If you love something - set it free. If it doesn't come back - hunt it down and kill it! ========================================================================= Date: Fri, 25 Aug 1995 23:27:06 -0800 From: Michael Hewitt Subject: Re: BLUES CHAT for the rest of us! At 11:59 PM 8/25/95, Tom Rossen wrote: >Any Mac owners out there who amused by the irony of RJ's title? > >=81 > >> >>I've been like a kid in a candy store ever since I got Netscape, and now >>there's a FREE IRC (Internet Relay Chat) Netscape add-on. Windows users ca= n >>now conduct one-on-one, many-on -many, and one -to-many live discussions!!= ! >> > >Tom Rossen >TomR36@aol.com (flashsession at noon weekdays, random >logins other times) >rossen@lmis.loral.com (weekdays ~10:00-6:30) >rossentj@interaccess.com (eves and weekends) > >Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they >sure as hell don't speak for me! I, for one, wasn't amused in the least. The unsolicted file was a total waste of my time. I will refrain from saying more because I am too p***** off at the moment to be civil. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 26 Aug 1995 01:23:00 -0700 From: Bradley Gekler Subject: binary butthead Thanks be not to Rbauman or whoever the clown was that ran me way over quota with his "chat" binary prog. Next, I guess you'll be starting your own page that will have some other rude attributes. Some of us are on accounts that can't take your push of what you deem to be good for the blues world. If this was an innocent screw-up; disregard this message, your user privledge will self-destruct in 20 seconds for the embarrasing attention that I received from my Sys.Admin. Think before you..ah the hell with it. ========================================================================= Date: Sat, 26 Aug 1995 08:18:31 GMT From: Tony Burke Subject: Re: Peter Green Dies? There has been NO news coverage of this as yet in the UK. So reagrd it is a rumour for the time being. I phoned round last night after seeing this message posted and nobody here has any news. The papers would have certainly carried the news as would have TV/Radio, so watch this space. If I hear anything on this will post it asap. TB ========================================================================= Date: Sat, 26 Aug 1995 10:07:55 GMT From: Tony Burke Subject: DETROIT AFTER HOURS Anyone got any info on a new CD called Detroit After Hours Volume One on Trix. The original vinyl album was advertised in BU 119, but I can't find a review or mention of it anywhere. Was it ever issued on vinyl back in 1975? Any info would help, does anyone have a vinyl copy from 20 years ago??? btw its a great set cut by Pete Lowry back in 1973 at an illegal drinking club in Detroit check it out. TB ========================================================================= Date: Sat, 26 Aug 1995 10:37:16 GMT From: Steve Leigh Subject: Re: Johnny Winter? A lot of us would sure like to hear a lot more steel acoustic blues from Johhny. Anyone agree? ========================================================================= Date: Sat, 26 Aug 1995 06:57:17 -0500 From: B Foster Subject: Re: blacktop records In article , Francisco Molla Ruiz wrote: > I have just seen that there is a good sales promotion in Blacktop. I am > trying to get in touch with them by te phone, but for some reason I can't. > can anybody out there tell me if they have a fax or e-mail number? > > Thanx in advance. > Paco Molla "Paving the way to your soul..." Black Top Records P.O. Box 56691 Nawlins, LA 70156 (that's New Orleans, LA--sorry) 800-833-9872 (this number worked a couple of days ago) FAX: 504-891-1510 ========================================================================= Date: Sat, 26 Aug 1995 15:21:32 GMT From: Joseph A Collins Subject: Re: BB King & more in Camden/Philly In <199508252154.RAA25754@access.netaxs.com> "Rage 'n Records" writes: > >It's finally here! The mega blues show in the Philly are. This Sunday at >the Sony Blockbuster outdoor entertainment center in Camden the following >artists will appear. Their number at the venue is 609.365.1300 > >This is a new outdoor venue on the Delaware river directly across from >Philly. Has anybody been to this show and how is it? Saw this show last week. BB was in top form. Our lineup also included Etta James. Both her and Jimmie Vaughan put on solid sets. Was not that impressed with Magic Dick and Jay Geils. But the rst of the show was fantatsic. A defnite must see. Joe ========================================================================= Date: Sat, 26 Aug 1995 15:22:54 GMT From: Joseph A Collins Subject: Re: blues buffet? In <199508252158.RAA00839@ns.fast.net> Ted Dames writes: > >Hey,...how does a 5 chef blues buffet with regional wines and micro beers >teamed with appropriate foods (HOT) complete with a national blues act and a >hotel room sound for a good gig? Thinking about doing something in January. > >Just a thought! > bandana@fast.net is Ted Dames AKA A. Pepperhead owner/sauce maker and > resident bon vivant at: > Bandana's Serious Pepper Products located in sub-tropical Southeast PA. > >"Say WHAT?"- Smokie Wilson I'm making travels plans. Tell me more. ...Joe ========================================================================= Date: Sat, 26 Aug 1995 10:37:02 -0600 From: Don O Subject: Long John Hunter Long John Hunter played at J&J Blues Bar in Fort Worth last night and I was there, as usual. A packed house and the dance floor was full until 2 am. LJH can really work the dancers up into a frenzy. Those of you that have his "Ride With Me" album have an idea of just how good this guy is. He has a second album in the can and has been shopping it around to various labels for the last 6 or 8 months. They are close to a deal with an unnamed label. After the show I got the chance to go out to the "promotion-mobile" and hear a rough tape of his new album. I can tell you that it is as good, if not better, than "Ride With Me", which is saying something. Some great new songs including one called "Arkansas" (which I don't think Bill Clinton will like), a tune about the Marfa Lights (a mysterious natural phenomenon in far West Texas), and a guitar battle called "Texas Shoot-Out" which features Long John dueling with Derek O'Brien, Jake Andrews, and more, with guest Johnny Nicholas playing some piano. He also covers "Grits Ain't Groceries" and an old O.V. Wright tune. His killer sax man, Art Lewis, is honking throughout and is joined by Kaz Kazanoff on at least one track. Ladies and gentlemen, start saving your pennies for this one. Every track I heard was 100% fine. They are hoping for release around Christmas. If they do the deal they are talking about it will be easily available everywhere. I suspect this will be the album that gets Long John the attention he deserves, and he deserves a LOT of attention. Don O. not associated, etc., just a fan ========================================================================= Date: Sat, 26 Aug 1995 12:42:17 -0400 From: Bob German Subject: Re: BB King & more in Camden/Philly I saw this show at Wolf Trap this past Tuesday. I enjoyed it, but apparently, the part I enjoyed the most won't be part of your show. Etta James played at ours. B.B. was great, as you'd expect. Magic Dick/Jay Geils/Elvin Bishop make up a pretty alright combo, but I'd have been happier with one of our local Vegas Lounge weekend line-ups, personally. I ended up staying out on the lawn drinking wine during that set, and coming down for Etta James. Jimmie Vaughan was pretty good too, but nowhere near the entertainment caliber of Etta and B.B. Have a good show. > It's finally here! The mega blues show in the Philly are. This Sunday at >the Sony Blockbuster outdoor entertainment center in Camden the following > artists will appear. Their number at the venue is 609.365.1300 > >BB King 9 PM >Jimmie Vaughan 7:30 >Magic Dick 6PM >Jay Geils 6PM >Elvin Bishop 6PM >Stevie LaRocca starts 4:45-5:45 on Second Stage ========================================================================= Date: Sat, 26 Aug 1995 13:41:43 -0500 From: Kevin Boyle Subject: Re: J. Winter/A. Collins The Results are in! Thanx for all of the post's regarding Johnny's health and AC's recordings. I thought you might like to hear what the Albert Collin's choices were. "Ice Pickin'" got 5 top picks followed by "Frostbite", "Cold Snap", and "Showdown" with 2 picks each and one pick each for "Collin's Mix" on Pointblank and for "Truckin'" on MCA.... It seem's like everyone had a tough time picking just one CD however, so I'll just have to get them all, just one at a time. My favorite Johnny Winter Album - His NEXT One!!! I'd love to hear more of him with a National.... Keep Dem Blues Alive! Kevin B. ========================================================================= Date: Sat, 26 Aug 1995 13:50:20 -0500 From: Kevin Boyle Subject: Re: Crossword Help I Don't know, the previous answers seem good enuff, But I still think that Lily Tomlin and the SNL All Nurse Band should singing St. James Infirmary should be remembered Somewhere! Love that Steve Cropper guy. Kevin B. ========================================================================= Date: Sat, 26 Aug 1995 13:21:12 -0500 From: Jeff Seale Subject: Bobby Bland Farewell? Bobby Bland is playing here in SA on Sept. 3. The gig is being advertised as his "farewell." Does this mean that Bobby Bland is retiring from the road? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Sat, 26 Aug 1995 20:39:18 +0200 From: Rudi Vandermeiren Subject: Sue Records? This afternoon I saw a 4 CD Box Set called "Sue (sp?) Records history".The sub- titel was something like "New York Soul".I had no time to check it out so my question is : What was (is) Sue Records? Artists? Rudi Vdm e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping0935 ========================================================================= Date: Sat, 26 Aug 1995 20:39:30 +0200 From: Rudi Vandermeiren Subject: European Blues Samplers I found some very good Blues Samplers by Munich Records BV this afternoon. Altough they were released in 1993 and 94, it was the first time I noticed them. Volume 1 is a sampler of Bullseye Records (Champion Jack Dupree, Lowell Fulson, Otis Clay , ...), Volume 2 is Black Top Records (Snooks Eaglin, Rod Piazza, solomon Burke, ...), and Volume 3 is a selection of Bullseye, Antone's, Lizard, Alligator, Big Mo and Suffering Egos. So, for people in Europe looking for an introduction to the Blues, this is a good start. BTW , I am in no way connected to Munich Records BV. Rudi Vdm e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping 0935 ========================================================================= Date: Sat, 26 Aug 1995 14:18:00 CDT From: Bonnie Kalmbach Subject: St. Louis Blues Heritage Fest Does anyone have the schedule for this? Neither the home pages of the city of St.Louis or the St. Louis Blues Society have this info. Thanks, Bonnie ========================================================================= Date: Sat, 26 Aug 1995 14:28:59 -0600 From: Don O Subject: Keri Leigh > From: David Madara > Anyone have any opinions on Keri Leigh? I've listened to one of her > previous albums with the Blue Devils and liked it. I've bought her > solo album but haven't listened to it as of yet. It's pretty much the same band, they just dropped the band name. Her husband, Mark Lyon is the guitar player. He's an awesome slide player. Keri is a little dynamo onstage and makes me tired every time I see her. She has a powerful voice, great stage presence, and she and the band always put on a fine show. I never miss them when they come through DFW. I first heard of them through their original demo tape, which was recorded in their garage and self released on the Delta Dirt record label. They were later picked up by Amazing Records in Austin. Amazing released most of their tape on the "Blue Devil Blues" album and later did a second one "No Beginner". Amazing went out of business and they were picked up by Waldoxy which has re-issued their first two and put out a new one, "Arrival". Over the years they have moved a little more towards the rock side of things, I think because that's where the money is. Keri and Mark both love the real stuff, though, especially Charlie Patton and things along those lines. They used to do occasional acoustic duo gigs that were great, but, sadly, they don't seem to have time to do that anymore. Everyone out there in Blues-L land should call your local blues DJ and request "Here's Your Mop Mr. Johnson" from their "Arrival" CD on Waldoxy. One of the most low down tunes I have heard in a long time. Seriously. Everyone that subscribes to Blues-L should hear that song. It is powerful stuff. The first track on that CD is an introduction from "Sunshine" Sonny Payne from KFFA. Pretty cool way to start a CD, if you ask me. Keri is also an accomplished journalist. She first met SRV while working for a newspaper in Oklahoma City and they became friends. She went on to write one of his biographies, Soul to Soul. She contributes a regular column to Blues Revue and has also contributed to Blues Access. And that Mark Lyon, what a slide player! Don O. ========================================================================= Date: Sat, 26 Aug 1995 12:58:37 -0700 From: Mary Katherine Aldin Subject: back on blues-l Well, i got off AOL with all it's myriad problems--Tom Freeland is *still* not getting any mail from the list-- and am now using Netcom. However *all* the commands, controls, and procedures are *entirely* different. Should I do something silly, like answer a private email to the list instead of the indivisual, am asking for understanding in advance while I learn the new toy. Meanwhile it's good to be back. Btw while I was off I learned that AOL has had a system-wide problem with *all* list mail from *all* lists; evidently they can presently only provide the lists in digest form, or something; they are working on it. I'll be keeping my aol address for awhile, till all my various correspondents get caught up to the new one. Blues content: just got the new Albert Collins CD, "Live 92-93" on Pointblank. An eleven minute version of "The Lights Re On But Nobody's Home". Is this out yet? I haven't seen it in stores. Dick? Mary Katherine ========================================================================= Date: Sat, 26 Aug 1995 14:11:01 -0600 From: BMPECH@MSCD.EDU Subject: Re: Where did the term "woodshedding" originate? (No blues content.) On Fri, 25 Aug 1995, Steve Levine wrote: > Can anyone tell me where the musical term "woodshedding" originated? I > assume it has something to do with musicians going to practice in the > wood shed so nobody has to hear them. > > Just curious (and in need of some woodshedding myself!) Steve -- The expression isn't limited to music circles; lawyers use it to refer to the unpleasant task of preparing a lousy witness to testify. Etymologically, I suspect that it comes from the practice of taking a kid out to the "woodshed" for some serious corporal punishment. -- BP Boulder, CO ========================================================================= Date: Sat, 26 Aug 1995 14:32:34 -0600 From: BMPECH@MSCD.EDU Subject: Re: Keri Leigh On Sat, 26 Aug 1995, Don O wrote: > It's pretty much the same band, they just dropped the band name. Her husband, > Mark Lyon is the guitar player. He's an awesome slide player. Keri is a > little dynamo onstage and makes me tired every time I see her. She has a > powerful voice, great stage presence, and she and the band always put on a fine > show. I never miss them when they come through DFW. > > Everyone out there in Blues-L land should call your local blues DJ and request > "Here's Your Mop Mr. Johnson" from their "Arrival" CD on Waldoxy. One of the > most low down tunes I have heard in a long time. Seriously. Everyone that > subscribes to Blues-L should hear that song. It is powerful stuff. The first > track on that CD is an introduction from "Sunshine" Sonny Payne from KFFA. > Pretty cool way to start a CD, if you ask me. > > And that Mark Lyon, what a slide player! > Amen. Kerri's gotten some bad press on Blues-L because of her arguably exaggerated account of racism (lynchings, etc.) in her home state of Alabama ca. 1970-75. But her three CDs are definitely worth the $. The acoustic cuts on "Blue Devil Blues" and "No Beginner" showcase Leigh's and Lyons' "roots" singing/playing and really deserve a wider audience. -- BP Boulder, CO "It's a mean old world when a man can't smoke a cigarette in a postage stamp." Kerri Leigh, "Get Your Mop, Mr. Johnson." ========================================================================= Date: Sat, 26 Aug 1995 20:42:55 GMT From: Art Schuna Subject: Re: Black Top blowout sale In article <199508251742.AA29700@osfn.rhilinet.gov> Jim McGlynn writes: >Sorry if this is already common knowledge (my host was fried for five >days) but after Bill Shute's post, I contacted Black Top via their >800 number and was told their warehouse stock blowout sale is only >for people on their mailing list. Okay, I said, put me on your >mailing list. The woman on the other end says she'll put me on the >list but I still can't take advantage of the sale. Jim - You must have talked to the wrong person or maybe the rules changed. I had no problems placing an order with some guy from Black Top. Sorry I didn't get his name or you could ask for him. I also asked to be added to the mailing list. Maybe the response exceeded their supply. I'd try again. Art Schuna ========================================================================= Date: Sat, 26 Aug 1995 11:59:00 -0600 From: Don Ottensman Subject: bedford blues fest For those of you in driving distance of Dallas/Fort Worth, Texas, USA, planet Earth. I just got the word that the first ever Bedford Blues Festival is a go. Bedford is a suburb of Dallas/Fort Worth located between the two cities and just west of DFW airport. The festival is being put on by the City of Bedford with help from some corporate sponsors and will take place September 22-24. This is a FREE blues festival but there will be a limited seating area with $5 admission. They have booked 23 bands over 3 days on 2 stages and every one of the bands are either local talent or have strong ties to the Fort Worth area. The fact that they can book 23 local blues bands (I can think of about a dozen more) shows that this is an idea that is long overdue. The festival will take place in a large field at the intersection of Highway 183 (Airport Freeway) and Central Drive in Bedford. That's about 4 miles from my house! Plenty of free parking at Pennington Field which is adjacent to the site. Bring your own lawn chairs or blankets, no coolers, please (they hope to re-coup some expenses from concessions). The information line is 817-952-2222 extension 500, but had not been updated as of yesterday. Here's the line-up: Friday September 22 4 pm until about 11 pm Texas Gumbo Joe and the Bluefield Johnnie Red and the Roosters James Hinkle/Johnny Mack Band Ed Lively and the Movers Anson and the Rockets with Sam Myers Doyle Bramhall Saturday September 23 4 pm until about 11 pm Swingmasters Review Mike Stockton and the Rhythmators Ray Sharpe Pops Carter and the Funkmonsters Andy Timmons and the Pawn Kings Stephen Bruton Delbert McClinton Sunday September 24 1 pm until about 7 pm Arvel Stricklin and the All Night Workers Janna Tallant Band Kenny Traylor Blues Band Terraplane Blues Band Joe McBride Crawfish Robert Ealey Fingerprints Buddy Whittington There are a number of hotels in the area and I can provide contacts if anyone is interested. If any of you Blues-L'ers are coming in from out of town, we do have a spare bedroom with queen sized bed (sorry, no "Magic Fingers") and/or room for sleeping bags in the living room. First come, first served. This is a great opportunity to see a whole passel of Fort Worth blues bands in one swoop. Now if we could just get Dallas to throw a similar festival! Don O. not associated, but I'll definitely be there! don.o@chrysalis.org don.ottensman@lunatic.com ---- The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet ========================================================================= Date: Sat, 26 Aug 1995 16:42:10 CST From: JBards Subject: slide/chord directories I'm experimenting more and more with alternative tunings- especially on the National tricone I got earlier this year- and wonder if anyone out there has come across any chord directories for alternative tunings? It sure would save a GREAT deal of time figuring out those chords! Thanks- Jim ========================================================================= Date: Sat, 26 Aug 1995 18:31:32 -0400 From: "Terry L. Odor" Subject: Re: back on blues-l In a message dated 95-08-26 16:04:43 EDT, you write: >Btw while I was off I learned that AOL has had a system-wide problem >with *all* list mail from *all* lists; evidently they can presently >only provide the lists in digest form, or something; they are working >on it. I was having the same problems, but I am now getting the usual flow of Blues-L mail so maybe they have it fixed. Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Sat, 26 Aug 1995 18:48:21 -0400 From: James Leftwich Subject: Re: Johnny Winter? oh yeah! BTW does JW have an slide tunes on his most recent records. The two cuts on _Third Degree_ are simply mind-boggling. Jim On Sat, 26 Aug 1995, Steve Leigh wrote: > A lot of us would sure like to hear a lot more steel acoustic blues > from Johhny. Anyone agree? > ========================================================================= Date: Sat, 26 Aug 1995 19:26:32 -0500 From: "Henry Busse Jr." Subject: Happy Birthday COLTRANE ALICE Born:08/27/1937/DETROIT, MI PIANO / ORGAN / HARP Worked With: KENNY BURRELL / JOHNNY GRIFFIN / LUCKY THOMPSON / TERRY GIBBS DELANEY,JACK MICHEAL BORN 08/27/1930/NEW ORLEANS, LA DIED:09/22/1975/NEW ORLEANS, LA Age: 45 TROMBONE Worked with:SHARKEY / TONY ALMERICO ENGLISH, BILL Born:08/27/1925 NEW YORK, NY DRUMMER Worked With:ERSKINE HAWKINS / BENNY GREEN / EARL HINES / JOE NEWMAN / QUINCYJONES / STANLEY TURRENTINE / KENNY BURRELL FLORY, MED ( MEREDITH IRWIN ) Born:08/27/1926/LOGANSPORT, I ALTO SAX / TENOR SAX / SINGER / LEADER>Worked with:CLAUDE THORNHILL / ART MOONEY / WOODY HERMAN / TOMMY TUCKER McLEOD, ALICE Born: 08/27/1937/DETROIT, MI PIANO PAYNE,JR.,ODIE Born:08/27/1926/CHICAGO, IL Died:03/01/1989/CHICAGO, IL Age:62 DRUMMER Worked with:MEPHIS MINNIE / MEMPHIS SLIM / ELMORE JAMES / LITTLE WALTER / CHUCK BERRY / WILLIE DIXON / BUDDY GUY / OTIS RUSH SHARROCK,SONNY( WARREN HARDING ) Born:08/27/1940/OSSINING,NY Died:05/26/1994/??? Age:43 GUITAR YOUNG LESTER WILLIS (PRES OR PREZ)Born:08/27/1909/WOODVILLE,MS Died:03/15/1959/ NEW YORK, NY/ Age: 58 TENOR SAX Worked With: KING OLIVER / WALTER PAGE / FLETCHER HENDERSON / COUNT BASIE BROTHER OF LEE **Enjoy Life This Is No Dress Rehersal** ========================================================================= Date: Sat, 26 Aug 1995 19:05:26 +0800 From: "Roy W. Forgy" Subject: Albert Collins Live '92-'93 According to CD Now the release date for this new CD is September 12,1995. Blueslvr@megaweb.com (Roy W. Forgy) "No Black, No White, Just Blues!" ========================================================================= Date: Sat, 26 Aug 1995 22:46:44 -0400 From: Drdoubt Subject: Re: blues cruises (query) One thing I think everyone should remember is that The Ultimate Rhythm & Blues Cruise was the original and since it has been so successful everyone else is jumping on the bandwagon. My concern is, if everyone starts jumping around taking a lot of different cruises they'll all be hurt and we'll be left with none. Same thing is happening with Blues Fests, after all there are just so many of us blues fans. Jeff ========================================================================= Date: Sat, 26 Aug 1995 20:38:31 +0800 From: "Roy W. Forgy" Subject: Re: blues cruises (query) Drdoubt One thing I think everyone should remember is that The Ultimate Rhythm & > Blues Cruise was the original and since it has been so successful everyone > else is jumping on the bandwagon. My concern is, if everyone starts > jumping around taking a lot of different cruises they'll all be hurt and > we'll be left with none. Same thing is happening with Blues Fests., after > all there are just so many of us blues fans. > > Jeff > This may be true Jeff but I am glad we finally got one on the west coast as the air fair and the cost of the cruise in the Caribbean made it too expensive for me and I'm sure a lot of others out here. I couldn't make this years but I fully intend to go next year. Blueslvr@megaweb.com (Roy W. Forgy) "No Black, No White, Just Blues!" ========================================================================= Date: Sun, 27 Aug 1995 05:08:22 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Quote & cultural education: Creole vs. Cajun etc I must agree with you on correctly identifing and understanding the differences between Creole & Cajun, Blues and Mellow Rock (Muddy Waters said "The Blues got pregnant, and called that baby Rock 'n Roll". I am glad to see the ever increasing interest in cultural musical forms, but if you profess to like it, at least know (or learn) what it is. Before I get flamed to a crisp, I am not ashamed to say that even through now, people call me the Bluesman, I was close to 30 before I knew anything about blues in depth. One Heart, Moses ========================================================================= Date: Sun, 27 Aug 1995 12:42:17 -0400 From: Doordog Subject: What, no mail. I haven't recieved anything for two days. What is going on? ========================================================================= Date: Sun, 27 Aug 1995 13:17:54 +0000 From: "P.W. Fenton" Subject: DJ Section online The Blues-L Shopping Center's DJ section is now on line. Visit the Shopping Center at: http://www.gate.net/~pwfenton/blues-l.html Or go directly to the DJs by using: http://www.gate.net/~pwfenton/blues-l.html#onair P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sun, 27 Aug 1995 14:09:05 -0400 From: MILLER@SCI.WFBR.EDU Subject: BMG Music Service phone # Michael, try this number: (317) 542-0414 It ain't free, but it is a customer service number that I have on file. Haven't used it in a while..... Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Sun, 27 Aug 1995 16:20:43 -0400 From: Jacquelin Katz Subject: Re: blues cruises (query) > One thing I think everyone should remember is that The Ultimate Rhythm & > Blues Cruise was the original and since it has been so successful everyone > else is jumping on the bandwagon. My concern is, if everyone starts > jumping around taking a lot of different cruises they'll all be hurt and > we'll be left with none. Same thing is happening with Blues Fests, after > all there are just so many of us blues fans. > > Jeff > Could someone post a number to call for the Ultimate R&B Cruise? Thanks. Jackie ========================================================================= Date: Sun, 27 Aug 1995 14:36:44 +0800 From: "Roy W. Forgy" Subject: Re: blues cruises (query) > Could someone post a number to call for the Ultimate R&B Cruise? >Thanks. > > Jackie 800-886-6132 Blueslvr@megaweb.com (Roy W. Forgy) "No Black, No White, Just Blues!" ========================================================================= Date: Sun, 27 Aug 1995 17:01:26 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Where did the term "woodshedding" originate? Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Where did the term "woodshedding" originate? Message-ID: <1995Aug27.170124.57428@msuvx2.memphis.edu> From: Denise Tapp Date: 27 Aug 95 17:01:23 -0500 References: <20E0EDDB@MHS> Nntp-Posting-Host: wok-40.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 To: Steve.Levine@CORP.WRGRACE.COM Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 15 This is likely not the definitive answer, but it's true for my native region (Memphis and the Delta.) The woodshed or behind the woodpile were places where lovers might meet. Hence, when a child looks more like the mailman than his Daddy, people might whisper that Mama had been "woodpiling". With this in mind, Steve, you are the only one who can tell the list if you need a little woodshedding! Regards, Denise (e-mail denisetapp@aol.com) ========================================================================= Date: Sun, 27 Aug 1995 16:15:31 -0700 From: Mary Katherine Aldin Subject: Billboard's new Blues Chart For those who haven't seen it, Billboard Magazine has initiated it's new Blues Albums Chart. They list fifteen albums (not forty, or one hundred) on this chart; the first one appears in the issue dated September 2, 1995 and is as follows: 1. From the Cradle/Eric Clapton 2. Some Rainy Morning/Robert Cray 3. Chill Out/John Lee Hooker 4. Keb' Mo'/Keb' Mo' 5. Blues/Jimi Hendrix 6. Essential Blues/Various Artists (House of Blues Records) 7. Texas Sugar-Strat Magic/Chris Duarte Group 8. Roll of the Dice/The Fabulous Thunderbirds 9. Booty and the Beast/Popa Chubby 10. Slippin' In/Buddy Guy 11. One Foot In The Blues/Z.Z. Top 12. Strange Pleasure/Jimmie Vaughan 13. Steel on Steel/Dave Hole 14. Ballads and Blues 1982-1994/Gary Moore 15. Blue Drops of Rain/Corey Stevens & Texas Flood Don't shoot me, I'm only the messenger. Mary Katherine ========================================================================= Date: Sun, 27 Aug 1995 19:02:38 +0500 From: Bill Morgan Subject: Re: Where did the term "woodshedding" originate? >This is likely not the definitive answer, but it's true for my native >region (Memphis and the Delta.) The woodshed or behind the woodpile were >places where lovers might meet. Hence, when a child looks more like the >mailman than his Daddy, people might whisper that Mama had been >"woodpiling". >With this in mind, Steve, you are the only one who can tell the list if >you need a little woodshedding! >Regards, >Denise The woodshed also was a place were whoopins were administered. ****** Bill ========================================================================= Date: Sun, 27 Aug 1995 20:54:00 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Last Poets and Gill Scott-Heron Does anyone have the lyrics to the immortal liberation music from The Last Poets and Gill Scott-Heron? Also does anyone have an e-mail address for them and/or their management? Thanks Moses ========================================================================= Date: Sun, 27 Aug 1995 21:06:14 -0400 From: Peter Welch Subject: CDs for Sale I have the following CDs for sale...Most have been played at most 3-4 times: Prices include postage 1. Billy Boy Arnold: Goin' to Chicago; Testament TCD 5018 (14 Tracks...1966, 1977) $ 9.50 2. Big Bill Broonzy: Baby Please Don't Go; Drive Archive (10 tracks...1951, 1952) $ 8.50 3. Big Bill Broonzy: Good Time Tonight; Columbia Roots 'N Blues (20 Tracks 1930-1940) $ 8.50 4. Jazz Gillum: 1935-1946; Wolf (18 Tracks 1935-46) $ 11.00 5. Wynonie Harris/Roy Brown: Battle of the Blues; King (14 tracks 1950-53) $ 6.50 6. Curtis Jones: Complete Rec. Works, Vol. 1; Document (23 tracks..1937-38) $ 11.00 7. Jimmy Reed: The Best of Jimmy Reed; GNP-Crescendo (20 Tracks...1950s) $ 9.00 8. T-Bone Walker: Low Down Blues; Charly (22 tracks...1947-49) $ 11.00 All 8 CDs for $ 64.00 -Peter W. ========================================================================= Date: Mon, 28 Aug 1995 02:07:29 GMT From: David Goldstein Subject: blues buffet? I would be real interested. I seem to remember a reference to a cookbook of favoirite recipes of blues artists that is available through a food manufacturer? ========================================================================= Date: Mon, 28 Aug 1995 03:37:11 GMT From: "velvet@eden.com" Subject: The Sky's Not Crying Today marks the five year anniversary of Stevie Ray Vaughan leaving us. Only because I feel that there are others out there who can relate, I want to share something. Because I can remember where I was the moment I learned of that helicopter crash, and because I'd been given the honor just months before of giving him a blue stone he'd been looking for, his sudden departure moved me to write that day. The last time I'd seen him was when he put that blue stone, Azurite wrapped in copper, on his chain with his legendary medallion, hugged us tight, and went back onstage in Houston to play the encores with Jeff Beck. For those of you who were touched by him, I want to share this. With my limited acoustic guitar playing as my only accompaniment, I have performed this song only once, at Steamboat (in Austin) the other night, because I wanted to play it on a stage Stevie had been on. It will remain unfinished, like his life was. THE SKY'S NOT CRYING _________________________ copyright 1990 Lynda Millard In the early morning dark August hours a mist came down like heaven's net and waited In a field of Bittersweet and Queen Anne's Lace Mother Nature's blue guitar played Amazing Grace and faded I awoke to the telephone ringing headlines screaming and my heart was not prepared for the beating In a sky so full of stars can't help but wonder where you are In heaven's band of diamonds does heaven have guitars the sky's not crying, Stevie the sky's not crying; we are. --------------------------------------------------------------- Velvet Hammer velvet@eden.com Home page: http://www.eden.com/~velvet "Something wonderful is about to happen!" ========================================================================= Date: Mon, 28 Aug 1995 00:42:38 -0400 From: Lynn Moncrief Subject: Re: blues buffet? In a message dated 95-08-27 22:02:23 EDT, David Goldstein wrote: >I would be real interested. I seem to remember a reference to a cookbook of >favoirite recipes of blues artists that is available through a food >manufacturer? > You may be thinking of "Cookin' Up the Blues" subtitled "with Tabasco brand pepper sauce" published by the McIlhenny Co., Avery Island LA 70513. (ISBN# 0-9639571-0-4) Some of the blues artists and their recipes include: Buddy Guy's Seafood Okra Gumbo; Kenny Neal's 'Dose & 'Dem Nuts; Buckwheat Zydeco's Shrimp Creole, Koko Taylor's Jivin' Jambalaya, etc. Got it a few months ago, but haven't had time to try any of the recipes yet. The dishes really look mouth-watering, photos of the artists accompany the recipes, so it's also a visual feast. (Page 15 has a picture of the biggest bottle of Tabasco sauce I ever saw--a one-gallon jug complete with handle. :-D) I don't know how much it costs as I got it as a premium with my membership in KLON jazz and blues radio station (88.1 FM, Long Beach CA). So, you may be able to get it from them if you're in the listening area or satellite feed when they have their next membership drive. Or you may be able to find a bottle of Tabasco sauce in the store with a special tag on it for ordering it from McIlhenny, perhaps cheaper than from a bookstore. Lynn ************************** Disclaimer: The only connection I have with McIlhenny is keeping their sauce as a staple in my pantry. ************************* ========================================================================= Date: Mon, 28 Aug 1995 04:56:56 GMT From: "velvet@eden.com" Subject: The Sky's Not Crying Today marks the five year anniversary of Stevie Ray Vaughan leaving us. Only because I feel that there are others out there who can relate, I want to share something. Because I can remember where I was the moment I learned of that helicopter crash, and because I'd been given the honor just months before of giving him a blue stone he'd been looking for, his sudden departure moved me to write that day. The last time I'd seen him was when he put that blue stone, Azurite wrapped in copper, on his chain with his legendary medallion, hugged us tight, and went back onstage in Houston to play the encores with Jeff Beck. For those of you who were touched by him, I want to share this song. With my limited acoustic guitar playing as my only accompaniment, I have performed this song only once, at Steamboat (Austin) the other night, because I wanted to play it on a stage Stevie had been on. It will remain unfinished, like his life was. -- Lynda THE SKY'S NOT CRYING _________________________ copyright 1990 Lynda Millard In the early morning dark August hours a mist came down like heaven's net and waited In a field of Bittersweet and Queen Anne's Lace Mother Nature's blue guitar played Amazing Grace and faded I awoke to the telephone ringing headlines screaming and my heart was not prepared for the beating In a sky so full of stars can't help but wonder where you are In heaven's band of diamonds does heaven have guitars the sky's not crying, Stevie the sky's not crying; we are. --------------------------------------------------------------- Velvet Hammer velvet@eden.com Home page: http://www.eden.com/~velvet "Something wonderful is about to happen!" ========================================================================= Date: Mon, 28 Aug 1995 07:14:29 GMT From: Zaphkiel Subject: Sarasota Labor Day Music Festival Sarasota check-in with Blues-L, Less than a week out from the fest and I'm excited. Should be a good time for all. I happy for the coverage of the tents, we'll need protection from the sun and or the rain! Either way plan on a hot bluesy time. Remember to check in with me at my jewelry booth. Would be cool to meet Blues-L folks live. Come on and hear the blues, RL Adams ____________________________________________________________________________________________________ ____________________________________________________________________________________________________ Sarasota Labor Day Music Festival Jerry Ross of the Florida Blues Network is pleased to announce the inaugural Labor Day Music Festival scheduled for Sunday, September 3, 1995 at Ed Smith Stadium, located at 12th and Tuttle Avenue in Sarasota, Florida. This festival will feature national and regional blues music and will feature 9 hours of continuous music. Set on Florida's West Coast, the event will attract many music lovers and blues fans to the Sarasota community for this last big party of the summer. A portion of the proceeds from this exciting event will go to the Suncoast Center for Independent Living, one of Sarasota's most important non-profit organizations providing comfort for handicapped citizens of the community. >From Jerry Ross of the Florida Blues Network: "We wanted to provide the opportunity for people to come together, dance, make new friends and re-acquaint themselves with old friends. Labor Day Weekend has provided a great musical tradition in Sarasota." An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, Grammy-winning harmonica wizard Sugar Blue, who won the coveted award with The Rolling Stones for "Miss You" with his trademark riff identifying the song. Sugar Blue previously appeared in Sarasota earlier this summer at a jam packed Gator Club performance as part of the Florida Blues Network's Summer Roots 'N Blues Series and blues fans are elated over his return to headline this festival. Rightly so, Sugar Blue has been called the "Charlie Parker and Jimi Hendrix of the harmonica". In addition, the immensely popular Chicago funk/blues guitarist Joanna Connor returns to Sarasota to perform for loyal Florida fans who have developed an intense love for Joanna's impressive guitar style and her strong vocal presence. Connor also appeared earlier in the year at the Florida Blues Network's Summer Series and was immediately booked for the festival during her red hot performance. Making his first ever appearance in Sarasota, Texas harmonica master Gary Primich will make this festival a guaranteed "don't miss" event. Primich, who lectures and gives master class instruction on his chosen instrument, will perform tunes ranging from Duke Ellington's "Caravan" to T-Bone Walker-styled jump and swing blues. Gary Primich is considered the "musician's musician" when it comes to harmonica. His band is constantly rated among the nation's best. Also included on this show will be a 13-year old female guitar sensation, Clearwater's D. D. Dunn, making her first appearance in Sarasota. Dunn, a four-foot dynamo will knock out audiences out with her display of jazz and blues theory as well as her impressive "chops". She will appear with Dunedin's BirdDog Bobby and his Honey Hounds, who will also be making a rare Sarasota appearance. Sarasota itself boasts a very strong musical history, and this festival would not be complete without showcasing a portion of the rich talent found inside the city limits. Guitarist Bobby G, voted the area's No. 1 musician by Sarasota Magazine, will be appearing with slide guitarist Paul Galestro and The Blynders. Galestro has written many blues classics and has gained a national reputation on slide guitar while Bobby G, who founded the early 70's rock group, Frigid Pink, is an impressive guitarist of enormous talent. Rounding out this festival will be Gwen "Queenie" Fogt and the King B's Blues 'N Soul Revue, featuring the Eddie Kinder Horns. Gwen is a singer or rare ability and her stage show, coupled with the big band sound of the King B's, is a Sarasota favorite! Gates open at 11:00 AM. The music will begin at Noon and will continue through 9:00 PM followed by a giant Sarasota Red Sox Fireworks Finale. Many of the regions top restaurants will be on hand to serve food and beverages throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. Also included will be a Big Screen Satellite Football Tent, Arts & Crafts, and Children's Activities. The stage and viewing areas are under tents to provide a festival atmosphere come rain or shine. Please bring blankets and lawn chairs to this fun family event. No pets, glass, coolers or audio- visual cameras are permitted. Tickets for general lawn seating are available NOW at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $13.00 at the gate. A limited number of Gold Reserved Tent Seats (200) will be available for $25.00 through the Florida Blues Network only. ($20 for members of the Florida Blues Club). For further information regarding this event and the Florida Blues Club: Contact Jerry Ross/Florida Blues Network, Inc. 941-377-8220 ========================================================================= Date: Mon, 28 Aug 1995 03:27:00 CDT From: Joe Mayes Subject: Re: Billboard's new Blues Chart My, my, my! Look at all these NON-Blues artists on the Blues Album Chart. Jimi Hendrix, Eric Clapton, CHRIS DUARTE !!! Best Regards, Joe Mayes <---- Begin Included Message ----> Date: Sun, 27 Aug 1995 16:15:31 -0700 From: Mary Katherine Aldin Sender: Blues Music List Subject: Billboard's new Blues Chart For those who haven't seen it, Billboard Magazine has initiated it's new Blues Albums Chart. They list fifteen albums (not forty, or one hundred) on this chart; the first one appears in the issue dated September 2, 1995 and is as follows: 1. From the Cradle/Eric Clapton 2. Some Rainy Morning/Robert Cray 3. Chill Out/John Lee Hooker 4. Keb' Mo'/Keb' Mo' 5. Blues/Jimi Hendrix 6. Essential Blues/Various Artists (House of Blues Records) 7. Texas Sugar-Strat Magic/Chris Duarte Group 8. Roll of the Dice/The Fabulous Thunderbirds 9. Booty and the Beast/Popa Chubby 10. Slippin' In/Buddy Guy 11. One Foot In The Blues/Z.Z. Top 12. Strange Pleasure/Jimmie Vaughan 13. Steel on Steel/Dave Hole 14. Ballads and Blues 1982-1994/Gary Moore 15. Blue Drops of Rain/Corey Stevens & Texas Flood Don't shoot me, I'm only the messenger. Mary Katherine <---- End Included Message ----> ========================================================================= Date: Mon, 28 Aug 1995 03:44:00 CDT From: Joe Mayes Subject: Re: Where did the term "woodshedding" originate? >> This is likely not the definitive answer, but it's true for my native >> region (Memphis and the Delta.) The woodshed or behind the woodpile were >> places where lovers might meet. Hence, when a child looks more like the >> mailman than his Daddy, people might whisper that Mama had been >> "woodpiling". >> With this in mind, Steve, you are the only one who can tell the list if >> you need a little woodshedding! >> Regards, Denise > The woodshed also was a place were whoopins were administered. > Bill It could get really interesting if Denise and Bill ever decide to go to the woodshed together! Best Regards, Joe Mayes ========================================================================= Date: Mon, 28 Aug 1995 10:24:06 +0000 From: Pat Hertel Subject: Re: blues buffet? On Mon, 28 Aug 1995, Lynn Moncrief wrote: > In a message dated 95-08-27 22:02:23 EDT, David Goldstein wrote: > > >I would be real interested. I seem to remember a reference to a cookbook of > >favoirite recipes of blues artists that is available through a food > >manufacturer? > > > > You may be thinking of "Cookin' Up the Blues" subtitled "with Tabasco brand > pepper sauce" published by the McIlhenny Co., Avery Island LA 70513. (ISBN# > 0-9639571-0-4) Some of the blues artists and their recipes include: Buddy > Guy's Seafood Okra Gumbo; Kenny Neal's 'Dose & 'Dem Nuts; Buckwheat Zydeco's > Shrimp Creole, Koko Taylor's Jivin' Jambalaya, etc. > It's also available from Alligator Records. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 6:07 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 06:31:26 -0500 From: tidwell elizabeth Subject: Re: Lee McBee and the Passions CD I wanted to let you know that I printed this message out and gave it to Lee McBee's wife Carla, along with a request for the CD. She brought me an autographed CD the next day, along with the knowledge that Lee was recovering from an illness and was, well, feeling blue, and your message really picked his spirits up. I guess occasionally he feels like he's spinning his wheels and getting nowhere. But then, don't we all when we're not feeling well. :-) Thank God he still keeps playing the blues! Thanks, Libby ========================================================================= Date: Mon, 28 Aug 1995 13:40:23 +0100 From: Bo Carlsson Subject: Re: Chris Cain/Somewhere.. Jerry said >I do find his voice however, took some getting used to. I am consistently >humbled by the blues/music knowledge of most everyone on this list, and >even after `hearing' his vocal abilities being lauded time and time again >lately, his grated on me the first listen. I have to admit, the second and >third listen made me more appreciative of his vocal talents, read `got used >to it', but I still found myself saying he sounds like a combination some- >where between Pops Staples and Kim wilson. I am not even close to saying >something stupid like he should hire a singer and concentrate on the >guitar, but I am saying it really ain't there for me. > >Jerry. Something between Pops Staples and Kim Wilson sounds like GREAT singing to me. I must check on this Cain guy. Well, honestly I have heard him and he sings well but more in a shouter style. For some reason I got to think of Wynonie Harris om his late sides for chess. Mr Bo Carlsson ========================================================================= Date: Mon, 28 Aug 1995 12:48:38 CST6CDT From: Sara Oxton Subject: Re: Bobby Bland Farewell? I was in Chicago over the weekend. True to my blues scavenging ways, I found a showbill on a phone pole to add to the growing collection in my bedroom closet. The showbill read: Blues Bowl III Saturday, Sept. 9 UIC Pavillion Acts listed on the bill include Bobby Bland, Johnnie Taylor, Tyrone Davis, Latimore, Otis Clay, Shirley Brown, Artie White, J. Blackfoot, Ruby Andrews, Bobby Rush, the Mighty Clouds of Joy, and the Victory Travelers. (Whew!) No ticket price was given, but the number to call for information is 247-6200 in Chicago. I'm hoping one of our Chicago correspondents can verify that this is really going to happen. And, hopefully someone will attend and post a report. I too, am especially interested in a Bobby Bland update. If this one's legitimate, it looks like he bumped his "farewell" back a week. Thanks! Sara ========================================================================= Date: Sat, 26 Aug 1995 20:54:07 -0500 From: Roger Struve Subject: Bummer.... After i go and got real excited about the Cedar Cultural Center having Rory Block on Sept. 8, and John Hammond on Sept. 29 (the July calendar of events stated the above were coming on those dates)...and now, theSeptember calendar came...and instead of Rory Block...there is the Jumbo Ya Ya band, and something else instead of John Hammond... So, next time i wait until i got a ticket in my hand...i wonder what the deal is with Rory Block...they advertised her for April, and then postphoned it until May...but then never billed her again...and this was the next i saw..that she was coming in Sept...and now apparently not to happen once again...intriguing. Regards, delta doc roger ========================================================================= Date: Mon, 28 Aug 1995 07:51:23 CST From: William Shute Subject: Wild Bill Davis From: Bill Shute True, Wild Bill is much under-represented on CD. I believe I saw a CD on BMG/RCA of Johnny Hodges/Wild Bill Davis l960s sides with a black and white cover;it appears to be another domestic reissue of the french "black and white" jazz series. Wild Bill became a fixture with Ellington throughout the l960s. Many of the previously-unissued Ellington recordings from the late 60s feature Bill on organ and as arranger (particularly the post- Strayhorn things). Wild Bill Davis will always be treasured by those of us who appreciate artists such as Mr. Davis, Lonnie Johnson, Clifford Scott, et al, who attempted to dissolve the arbitrary boundary between jazz and R&B. Thankfully, he did record extensively, so it's just a matter of time before there are a number of CDs available. Bill Shute San Antonio, TX "this is a blues city, Austin; and we live in a blues state, Texas; and the USA is the country where the blues was created; and this is a blues planet, it's sure got the blues; and the planet, it's located in a blues universe." --the (Austin) Dynamic Duo this last weekend (Blues Boy Hubbard was in FINE form!) ========================================================================= Date: Mon, 28 Aug 1995 08:01:02 CDT From: L W Subject: Anders Osborne/Okeh ----------------------------Original message---------------------------- We saw Anders about a year ago and it was 100% useless. We went based on the "write-up" for his show, we were very disappointed. It probally had alot to do with the fact there were only about six people there to see him. I would maybe consider seeing him again, after hearing others rave about him. I would have to go alone, my wife thought he was terrible and I'm sure she wouldn't even consider seeing him again. I'm glad he's getting good reviews... LW ========================================================================= Date: Mon, 28 Aug 1995 08:12:44 CDT From: L W Subject: Re: BLUES CHAT for the rest of us! ----------------------------Original message---------------------------- >I know this is an unusually large file at 453 K, but it's sooooo >friggin' cool!!! > it! You're too dumb to live! And you Mr Nestle are way too obnoxious to hang out with us good blues-ellers alhtough your chocolate is pretty good, you 'tact' is severely lacking >Is there any way we can delete this fool from the planet? You have a problem (IMHO) and I don't appreciate you trashing like that on RJ I hope you become human or leave blues-l LW 'I ain't real sure about this guy, too much TV , I suspect' ========================================================================= Date: Mon, 28 Aug 1995 13:25:55 GMT From: Tony Burke Subject: Re: back on blues-l Hi Mary Katherine, Good to see you back! The Collins CD is on promo in the UK - Briggsie has our copy, listed to be available in mid September. Tony. ========================================================================= Date: Mon, 28 Aug 1995 13:29:33 GMT From: Tony Burke Subject: Re: Billboard's new Blues Chart Does this prove what some of us have been saying!! I cannot believe it! Where does blues end and rock begin??? I reckon the Red Lick charts are nearer to what blues fans are really buying! ========================================================================= Date: Mon, 28 Aug 1995 13:22:48 GMT From: Tony Burke Subject: DETROIT AFTER HOURS UPDATE DETROIT AFTER HOURS UPDATE. Further to my posting on the new Trix CD Detroit After Hours - I aint seen it on blues-l yet, but some of you have as I have had mail on it, it turns out that the vinyl album was released. I have tracked down a copy. It is the same as the CD. Apparantly it wasnt a big seller hence its rarity. Also there is a suggestion that an album called Detroit House Party of recordings made in February 1975 by two of the pianists on the Trix album, Emmett Lee Brooks and James Barnes and issued on JSP in the Uk could be from the same source. Any further info anyone? Thanks to those who emailed me on this one. Tony B. ========================================================================= Date: Mon, 28 Aug 1995 09:32:35 -0400 From: Curtis Hewston Subject: The Blue Highway Is Moving! Big news, y'all. More to come later, but I guess we're ready to open the doors on The NEW Blue Highway. You can visit the new site at http://www.vivanet.com/~blues/ where you'll find most of the current offerings as well as separate areas called "The Bluesmakers" (current artists, labels, etc. pages), "The Blues Mall" (where folks can sell stuff), "The Blues News" (for Billboard's listings when they come out, etc.), and "Muddy's Cabin." The walls are relatively bare right now, but that'll change much over the next few weeks. We're working feverishly on putting up "Muddy's Cabin" this week -- a webchat room where those with the capability can do live chats. We'll also host guest chats fairly often with some of today's artists. If we get it all worked out in time, we'll be hosting a group chat with several Okeh artists next Wednesday the 6th, and we've already got Tab Benoit scheduled for the 13th. Stay tuned for more details on all this, and thanks, LW, for inspiring the name, and Denise Tapp for the great picture. The current site will remain at http://www.magicnet.net/~curtis/ for a month or so and will include a pointer to the new site after that. (Linkers, please update your links.) *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.magicnet.net/~curtis/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 28 Aug 1995 09:43:06 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Sue Records? Sue Records did a lot of r'n'b, blues and soul recordings, some of them fairly obscure, into the 1970s. Scott _____ Reply Separator _____ Author: INTERNET:Rudi.Vandermeiren @ PING.BE@CISHUB Received: 08/26/95 02:03:00 PM Subject: Sue Records? This afternoon I saw a 4 CD Box Set called "Sue (sp?) Records history".The sub- titel was something like "New York Soul".I had no time to check it out so my question is : What was (is) Sue Records? Artists? ========================================================================= Date: Mon, 28 Aug 1995 08:42:25 CDT From: L W Subject: Singing at my party We had the annual double b'day party for myself and a friend. I SANG and played a whole lot. NO ONE got sick, some said my singing wasn't bad. It's the first time I've ever sang in front of more than two people. I had drank alot though, but hey it was my party and I'll drink if I want to. The highlight was my wife's EX-HUSBAND and I doing a little duet !!!!. He loves my playing and is into delta blues really deep. It's really wierd doing Kind Hearted Woman in front of him. I did kid of hurt him (not on purpose) by doing a deep, heartfelt version of "Tears Came Rolling Down"...When I got to the line "I went back to my room for a little while, got to thinking bout my baby and cried just like a child"...he got up and walked off. I enjoyed his singing better than the others who sang. It was quite interesting, I think he is one of my biggest fans/supporters......Kind of neat, that we can get along and play music together....It hadn't always been this way, but I don't blame him.... LW 'Who is realizing that, just maybe I can SING" ========================================================================= Date: Mon, 28 Aug 1995 09:46:39 -0700 From: Steve Roberts Subject: Spend my money...Please! Spent the last two weeks (weekends, too) working OT, & now I've got a few bucks to invest in some music to match the way I'm feelin'. But I don't want just any ol' CD. I want a call-off-work to listen all day, overheat the amp, rattle the junk off the shelf sort of a cd; a catch me singin' in traffic disc; a put away the Gordons and get out the Tanqueray cd; a like it so much that I run out and buy another copy for a friend sort of a cd. And, since discussions on the List have been responsible for most of the blues I've bought in the last year or so, I'm looking to you for guidance. Here's what I'm dreaming of: Big, big Chicago sound Lotsa horns...sax, too. Harp Hammond B3 Great guitar leads wouldn't hurt I've already got Livin' the Blues (James Cotton) and Albert Collins (best of), and am crazy about both. Your mission, Blues-Lers (should you decide to accept it...), is to spend my money. What should I buy? BTW...I'm hearing folks around here (Florida west coast, south of Tampa) talking about someone named Carrie (sp?) Lee, as an up-and-coming Blues Artist. Anyone heard of her? Post private, please, unless you think this is someone the rest of the List should know about. Thanx! S <> ========================================================================= Date: Mon, 28 Aug 1995 08:35:54 -0500 From: Richard Shurman Subject: Re: Bobby Bland Farewell? Bland is being advertised for a Pervis Spann show in Chicago Sept. 9, so if it's his farewell, it must be farewell TOUR. ========================================================================= Date: Mon, 28 Aug 1995 09:31:47 CST From: William Shute Subject: Nona Hendryx/Billy Vera duo album From: Bill Shute NONA HENDRYX AND BILLY VERA "You Have To Cry Sometime" Shanachie 9001 CD Released l992 Hendryx--vocals on NH tracks, arranger of backing vcls Vera-vocals on BV tracks, lead guitar throughout It's Your Thing--NH You CAn Make It If You Try--BV All The Way To Heaven--NH Storybook Children--NH/BV Got to Get You Off My Mind--NH Ain't That Peculiar--NH Didn't You KNow You'd Have To Cry Sometime--NH Three Minute Thing--BV Room With A View--BV I Can't Stand It--NH/BV After hearing the fine duo sides Vera did with Judy Clay on Atlantic from 67-69 (on a recent Ichiban reish), I had had my eyes out for this l992 "reunion" album, part of Shanachie's "Soul of Rhythm and Blues Series." I say "reunion," because as many of you know, Nona Hendryx had done the original version of the Billy Vera composition "Storybook Children" with Billy, but the manager of the Bluebells (of which Nona was a member at the time,and with whom Billy had played gtr live on a number of occasions)nixed the release of that recording, so it was re-recorded with Judy Clay and that recording became a smash hit and, to me, an all-time classic. So it was a good idea to get Hendryx back with Vera again...and it was good to get Ms. Hendryx, one of the most eclectic performers in music, back to an old-style, live-in-the-studio soul/ R&B session...and it was good to get Billy Vera back to doing the type of music he loves best. They only sing together on two tracks--a wonderful remake of Storybook Children (minus the strings, the organ implying the string parts well), and the hot album closer, I Can't STand It. The liner notes talk about Vera's "understated" approach to soul singing, and he's a little bit TOO understated on You Can Make It If You Try (like a less fragile Chet BAker!), but at least you can listen repeatedly to an understated performer, while an overblown one gets old quick. On his other solo outings, he turns in WONDERFUL renditions of his own compositions, Three Minute Thing, and the modern classic composed with Lowell Fulson, Room With A View (of the blues). Actually, a whole album of Vera Sings Vera, done in a small group R&B style, would be welcome...by me at least. Nona Hendryx has worked in so many styles and like her one-time groupmate Patti LaBelle, she is a "personality" on the order of a Grace Jones. She has redefined the role of black women in the music world, shattered many stereotypes, and produced many albums that will no doubt attract an even larger cult to them over the years and will also come back in print and stay in print as a new generation discovers her iconoclastic performances,genre mixing, sense of style, and always-interesting compositions. Here, however, she goes back to the roots with a series of warm, soulful, enthusiastic small-group R&B soul "revival" tunes that are a joy to hear. I bet seeing her live doing this kind of material (I don't know if she did any live gigs with Vera back in '92 when this came out, or if she did any gigs at the time in her 60s-retro persona) would be a real treat. I scored a beat-up used copy of this, and while it's probably still in print, you might want to also score a used copy for yourself. Not an essential release, but I'm certainly glad it exists! How are Shanachie's other R&B albums in this series? Bill Shute San Antonio, TX ========================================================================= Date: Mon, 28 Aug 1995 10:42:51 -0400 From: BluesRevue Subject: Re: Peter Green Dies? Just got off the phone with Viceroy Music Co, the ones that have put out the 2CD Peter Green tribute, and I am assured that Peter is alive and well and living outside of London, pretty much retired (for now) from music. Bob Vorel ========================================================================= Date: Mon, 28 Aug 1995 14:49:18 +0000 From: Pat Hertel Subject: Re: Sue Records? On Mon, 28 Aug 1995 Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM wrote: > Sue Records did a lot of r'n'b, blues and soul recordings, some of them > fairly obscure, into the 1970s. > > Scott > > > _____ Reply Separator _____ > Author: INTERNET:Rudi.Vandermeiren @ PING.BE@CISHUB > Received: 08/26/95 02:03:00 PM > Subject: Sue Records? > > This afternoon I saw a 4 CD Box Set called "Sue (sp?) Records > history".The > sub- > titel was something like "New York Soul".I had no time to check it out so > my question is : What was (is) Sue Records? Artists? > JEWEL/PAULA/RONN/SUE RECORDS, P. O. BOX 1125, 1700 CENTENARY, SHREVEPORT, 71163-1125 tel: 1-800-446-2865 phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 10:47 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 10:06:47 -0400 From: Willy Evans Subject: Re: Singing at my party > > LW 'Who is realizing that, just maybe I can SING" > Didn't I always tell you ...... ?!!??!!? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu *** Some folks rip and run ... **** ========================================================================= Date: Mon, 28 Aug 1995 10:51:05 -0400 From: Steve Levine Subject: Latest sign of the apocalypse The latest sign of the apocalypse is: Koko Taylor is opening for Huey Lewis and the News! (and I thought it was bad enough when he was headlining the New Orleans Jazz Heritage Festival). :) -Steve ========================================================================= Date: Mon, 28 Aug 1995 11:00:55 -0400 From: Steve Levine Subject: Re: Singing at my party *We had the annual double b'day party for myself and a friend. I SANG and played *a whole lot. NO ONE got sick, some said my singing wasn't bad. It's the first *time I've ever sang in front of more than two people. I had drank alot though, *but hey it was my party and I'll drink if I want to. * *The highlight was my wife's EX-HUSBAND and I doing a little duet !!!!. He loves *my playing and is into delta blues really deep. It's really wierd doing *Kind Hearted Woman in front of him. I did kid of hurt him (not on purpose) by *doing a deep, heartfelt version of "Tears Came Rolling Down"...When I got to *the line "I went back to my room for a little while, got to thinking bout my *baby and cried just like a child"...he got up and walked off... You should've done Little Charlie and the Nightcats "My Next Ex-Wife!" :-) ========================================================================= Date: Mon, 28 Aug 1995 10:01:54 CDT From: L W Subject: Latest sign of the apocalypse ----------------------------Original message---------------------------- >The latest sign of the apocalypse is: > Koko Taylor is opening for Huey Lewis and the News! (and I thought it >was bad enough when he was headlining the New Orleans Jazz Heritage >Festival). :) I saw Koko open for NRBQ and it's like real music and then a bunch of stupid songs to the tune of Johnny Be Goode...Koko and company wasn't happy with the situation, thats for sure. LW ========================================================================= Date: Mon, 28 Aug 1995 10:11:12 -0500 From: Jeff Seale Subject: Re: Spend my money (and Sonny Thompson) On Mon, 28 Aug 1995, Steve Roberts wrote: > Big, big Chicago sound > Lotsa horns...sax, too. > Harp > Hammond B3 > Great guitar leads wouldn't hurt How about Jimmy Dawkins, All for Business (Delmark). It's got Jimmy Dawkins and Otis Rush on guitar, plenty of tasty sax (I generally don't like horns), and some awesome B3 by Sonny Thompson. What else has Sonny Thompson played B3 on? This cd has hardly left the cd player since I got it. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Mon, 28 Aug 1995 11:14:25 -0400 From: Steve Levine Subject: Woodshed thanks I want to thank everyone who responded to me about my "woodshedding" question. I didn't realize it had so many meanings! I'll have to think twice next time I mention having to hit the woodshed! -Steve ========================================================================= Date: Mon, 28 Aug 1995 11:24:50 -0400 From: Garry Segal Subject: Re: Billboard's new Blues Chart Tony wrote >where does blues end and rock begin ?< Everyone seems to have a different cutoff point, there is no real answer to that one. The Blues Chart is packed with mainsteam rock/blues artists. All that does is give an indication of who is selling best and getting the airplay. Which is a reflection on the artists label and management hustling, and putting some big promo $$'s behind their artist. It is not an indication of who is better or more real blues or whatever. Its too bad it took until 1995 for Billboard to even have a Blues Chart ! I read some of Tonys other posts about being tired of seeing BuddyGuys name on the WC Handy awards etc. I remember a time when Buddy Guy was not getting the recognition he deserves , now that he is big some blues fans are sick of him . Whats that about? The chart is just another tool for media manipulation anyway not a whos bluesier than who scale. At least its getting people to realize there is a thriving( somewhat) Blues community out there and hopefully the more they hear about it the further they will investigate some of the smaller labels with great artists that we are so hip to. Then when those artists break big we can turn our backs on them. Why do blues success stories seem to piss off blues fans? The Bill Board Blues Chart is not the worst thing to happen to the blues, not the best, but better than being totally ignored dontcha think ? IMHO. Thanks for posting it MK, you dont have to assume everyone is going to be mad at you for being the messenger , Im not ! Garry(getting off AOL soon) ========================================================================= Date: Mon, 28 Aug 1995 10:28:00 CDT From: L W Subject: Re: Billboard's new Blues Chart ----------------------------Original message---------------------------- Tony wrote >where does blues end and rock begin ?< >even have a Blues Chart ! I read some of Tonys other posts about being tired >of seeing BuddyGuys name on the WC Handy awards etc. I remember a time when >Buddy Guy was not getting the recognition he deserves , now that he is big >some blues fans are sick of him . Whats that about? The chart is just IMHO I liked the older less rock Buddy Guy and thought he was much better then so I was "ill" when he was playing blues and not getting attention. Now he does SRV, Jimi and god knows who else during his shows. I go to see Buddy guy, not Buddy Guy doing CREAM songs......That's whay I'm sick of him and whil we're here. Eveyone trashed EC for not having appropiate liner notes on the blues tunes he covered on FTC, therefore not helping promote the blues guys who influenced him. Well the same can be said for Buddy Guy using Travis Tritt, instead of..say Erbie Bowser or Henry Qualls...it would have helped spread the word about these BLUES guys, instead of Travis Tritt...IMHO IF EC is guilty so is Buddy Guy.....I have nothing against Buddy Guy or EC...I don't own any recent Buddy Guy and don't plan on it...... LW "nothing against Buddy, whatever puts coins in his cup' ========================================================================= Date: Mon, 28 Aug 1995 10:56:40 -0500 From: "K. Kelly" Subject: BMG Help (Low Blues Content) I know that I have seen this thread on this list before, but could anyone send me or post the blues records available through either BMG and/or Columbia record clubs. BTW, which one is the *better* deal? TIA! Kyle ========================================================================= Date: Mon, 28 Aug 1995 11:03:18 -0500 From: Arthur Schuna Subject: Johnny Copeland on Good Morning America I happened to catch an ad for this mornings "Good Morning America" saying that Johnny Copeland, even though he's in the hospital on a heart pump is still playing "JAZZ" guitar and is going to be on this AM's GMA. Did anyone catch ^^^^ this? So, is he playing jazz now or was this announcer confused? Any update on his health? Art Schuna ========================================================================= Date: Mon, 28 Aug 1995 12:05:12 -0400 From: Garry Segal Subject: Re: Latest sign of the apocalypse Two questions ...LW how did you know KOKO was unhappy at the NRBQ gig ? Did someone force KOKO at gunpoint to open for Huey ? Garry ========================================================================= Date: Mon, 28 Aug 1995 16:20:03 +0000 From: Pat Hertel Subject: Re: Sue Records? On 28 Aug 1995, William Shute wrote: > From: Bill Shute > > That's a different Sue Records from the one begun by Juggy Murray, > which is surveyed in the four-volume box Rudi enquired about. > > While Stan Lewis does own the rights to many older, now-defunct labels, > Sue is not one of them. EMI owns it. He just chose the name "Sue" after > one of his daughters since it wasn't presently being used. > > Bill Shute > Got this from Bill Shute who (ahem) should have posted to the list ;) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 12:16 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 11:20:58 CST From: William Shute Subject: yet another sign of the Apocalypse From: Bill Shute Speaking of "unbalanced" opening/headlining combinations... Have all the Clapton fans deserted blues-l for Clapton-l, if there is such a thing? What about Clarence Gatemouth Brown's gig opening for "God "? Clapton is in Texas this week--in fact, one of my friends (who is affluent!) is flying to Dallas-Fort Worth this afternoon with her husbandto see the Clapton concert up there tonight! And the night of Clapton's Austin show, both Antone's and the Victory Grill have scheduled post-Clapton-concert shows/parties, with "Gate" supposedly coming over to the Victory to jam after the show.Another friend of mine is seeing Clapton's Austin show and plans to hit Antone's afterward, so I'll be finding out what if anything goes down there. While not blues, one of the worst opening/headlining combinations I've seen was Merle Haggard "opening" for Clint Black (well, it could be worse--Hag could have been opening for Garth! (Garth attended Oklahoma State University the same years I did, so at least he had good taste in schools!)). TAlk about not being fit to loosen the other's sandal straps... Bill Shute San Antonio, TX (where Clapton ISN'T playing) if my post generates a new Clapton thread, I apologize in advance!!! ========================================================================= Date: Mon, 28 Aug 1995 11:21:14 CDT From: ajaye bloomstone Subject: misc i was wondering if anyone would be able to help with two requests: 1. what is the e-mail address of the new orleans jazz and heritage foundation (the folks who put on the jazz fest each year) 2. would anyone be willing to mail me a copy of the blues festival calendar appearing in issue 17 of blues revue (the journal). i have picked up the subsequent issue, but 17 isn't still available around here. (i've been told that #17 is where the list appeared) thanx for any help--i can be e-mailed at LLAJAYE@LSUVM.SNCC.LSU.EDU and my street address is 1820 oleander st., baton rouge, la., 70802. ========================================================================= Date: Mon, 28 Aug 1995 17:15:07 +0000 From: Pat Hertel Subject: Re: Buddy Guy then and now On Mon, 28 Aug 1995, L W wrote: > ----------------------------Original message---------------------------- > Tony wrote >where does blues end and rock begin ?< > > > >even have a Blues Chart ! I read some of Tonys other posts about being tired > >of seeing BuddyGuys name on the WC Handy awards etc. I remember a time when > >Buddy Guy was not getting the recognition he deserves , now that he is big > >some blues fans are sick of him . Whats that about? The chart is just > LW answered: > IMHO I liked the older less rock Buddy Guy and thought he was much better then > so I was "ill" when he was playing blues and not getting attention. Now he does > SRV, Jimi and god knows who else during his shows. I go to see Buddy guy, not > Buddy Guy doing CREAM songs......That's whay I'm sick of him and whil we're > here. Eveyone trashed EC for not having appropiate liner notes on the blues > tunes he covered on FTC, therefore not helping promote the blues guys who > influenced him. Well the same can be said for Buddy Guy using Travis Tritt, > instead of..say Erbie Bowser or Henry Qualls...it would have helped spread > the word about these BLUES guys, instead of Travis Tritt...IMHO IF EC is > guilty so is Buddy Guy.....I have nothing against Buddy Guy or EC...I don't own > any recent Buddy Guy and don't plan on it...... > I have to agree with the general thrust of this. He has wandered far from the kind of great stuff you get on things like "Stone Crazy". And here is the conundrum. We all want the blues to survive but do we want it to be "popular"? There seems to be an inverse function at work here. Popular more often than not does not rhyme with "good" Okay I am being elitist and I when I say good I mean good to ME. I have the gall to think that blues lovers in general have that same feeling. Yea, you want everyone to love the music you love. Problem is, if you have to alter it in order to "popularize" it may no longer resemble the music you love. I am not alone in preferring the old Buddy over the new, I'm just (obviously) not in the majority. I am pretentious enough to believe this is the majority's loss and a loss to the music I love. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 12:57 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 12:07:24 CDT From: L W Subject: Re: Latest sign of the apocalypse ----------------------------Original message---------------------------- >Two questions ...LW how did you know KOKO was unhappy at the NRBQ gig ? >Did someone force KOKO at gunpoint to open for Huey ? I know she was unhappy cause HER and HER band told ME... I think the gunpoint had more to do with money, NRBQ was "snuck" in at the last minute. I forget the original act who was supposed to play with her, but they canceled. Rumor has it that KOKO insisted on opening because after NRBQ (aka Sesame Street Band) they were afraid no one would be left....I know we and many,many others left after The Sesame Street band played a couple of tunes... I don't really know about the Huey Lewis thing, could have been gunpoint. I think it's because Huey Lewis would run off the crowd before Koko got a chance to play some BLUES...... sorry I don't dig Huey Lewis or The Sesame Street Band, although I've heard Huey play some decent harp... LW 'don't mess with mother nature' ========================================================================= Date: Mon, 28 Aug 1995 12:21:00 CDT From: Bonnie Kalmbach Subject: need bit.listserv help I tried calling up the list of bit/listserv groups on usenet so I could read blues-l, but it wasn't listed. Does anyone know where or how I could find it? Thanks, Bonnie ========================================================================= Date: Mon, 28 Aug 1995 12:23:47 -0500 From: Bruce Roberts Subject: Re: Latest sign of the apocalypse > Did someone force KOKO at gunpoint to open for Huey ? I think the Michigan Milita is involved. ========================================================================= Date: Mon, 28 Aug 1995 12:17:38 -0500 From: David Silberberg Subject: Re: Latest sign of the apocalypse At 10:51 AM 8/28/95 -0400, Steve Levine wrote: >The latest sign of the apocalypse is: > > Koko Taylor is opening for Huey Lewis and the News! (and I thought it >was bad enough when he was headlining the New Orleans Jazz Heritage >Festival). :) > > Actually, Steve, sounds like a GOOD apocolyptic sign to me: a main-stream rock act, recognizing that the blues has some drawing power, giving an important blues performer some much-needed exposure in front of a main-stream rock audience... Sounds pretty good to me. But, then again, I'm Jewish - what do I know about apocolypses.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 28 Aug 1995 12:18:14 CDT From: L W Subject: ----------------------------Original message---------------------------- > Yea, you want everyone to love the music you love. Problem is, if you >have to alter it in order to "popularize" it may no longer resemble >the music you love. I believe (pretty strongly) that most people would dig the "real" blues if they actually heard them. I didn't lose respect for EC, Buddy Guy or Bonnie Raitt when they changed the music they lovED and played the kind that sells. Like I've said before they are trying to make a living and if leaving their roots is what it takes and they are happy...Good for them... They won't get my cash, but only cause I don't like their music, I think the world of them as people and KNOW without a shadow of a doubt. THEY ARE VERY TALENTED, BUT SO IS MICHEAL JACKSON........ LW ========================================================================= Date: Mon, 28 Aug 1995 12:23:57 CDT From: L W Subject: Re: Latest sign of the apocalypse ----------------------------Original message---------------------------- > Did someone force KOKO at gunpoint to open for Huey ? > I think the Michigan Milita is involved. I think she's just trying to play for the blues audience before Huey Lewis throws syrup all over them :-) Really, think about it. If you were a blues artist, wouldn't you prefer to play before the BLUES crowd leaves...She'd be left playing for a bunch of kids yelling "I Wanna New Drug".... LW ========================================================================= Date: Mon, 28 Aug 1995 12:31:00 CDT From: Bonnie Kalmbach Subject: Re: Latest sign of the apocalypse Muddy Waters once opened locally for Sha-Na-Na. I supposed Mud was glad of the guaranteed big audience - but we and he and probably some members of Sha-Na-Na knew who the real star was. A few years ago I saw NRBQ close out the Toledo Rock n'Rhythm festival. They were preceded by Carla Thomas, Sir Mack Rice, Buddy Guy, Jr. Wells, Louis Myers, Willie Kent, Sunnyland Slim. Shortly into their first number, the substantial portion of the audience that was black walked out almost en masse. -BtheK >Two questions ...LW how did you know KOKO was unhappy at the NRBQ gig ? >Did someone force KOKO at gunpoint to open for Huey ? >Garry ========================================================================= Date: Mon, 28 Aug 1995 12:27:23 -0500 From: Richard Shurman Subject: Wild Bill Davis on CD As someone pointed out, there is a CD compiling some of Davis' RCA Victor sides with Johnny Hodges. Verve also issued a best-of CD a few years ago from their five Davis-Hodges LPs. And oops, I meant to laud "At Birdland" (which has fabulous Floyd Smith guitar on some HOT blues and jump songs amid the ballads and standards), not "On Broadway." I'd still like to see the Epic and more of the Okeh stuff on CD, plus a bunch of his others. Evidence, are you out there? ========================================================================= Date: Mon, 28 Aug 1995 13:37:09 -0400 From: James Leftwich Subject: Re: Bummer.... I had the pleasure recently of catching Rory Block live. The emcee stressed what a special occasion it was since she has cut way back on touring. See her if you can find her. Jim On Sat, 26 Aug 1995, Roger Struve wrote: > After i go and got real excited about the Cedar Cultural Center having > Rory Block on Sept. 8, and John Hammond on Sept. 29 (the July calendar > of events stated the above were coming on those dates)...and now, > theSeptember calendar came...and instead of Rory Block...there is the > Jumbo Ya Ya band, and something else instead of John Hammond... > > So, next time i wait until i got a ticket in my hand...i wonder what > the deal is with Rory Block...they advertised her for April, and then > postphoned it until May...but then never billed her again...and this > was the next i saw..that she was coming in Sept...and now apparently > not to happen once again...intriguing. > > Regards, > delta doc roger > ========================================================================= Date: Mon, 28 Aug 1995 12:24:08 -0500 From: T-Bone Subject: Re: Billboard's new Blues Chart On Mon, 28 Aug 1995, L W wrote: > IMHO I liked the older less rock Buddy Guy and thought he was much better then > so I was "ill" when he was playing blues and not getting attention. Now he does > SRV, Jimi and god knows who else during his shows. I go to see Buddy guy, not > Buddy Guy doing CREAM songs. Oh, I dunno. I guess it depends on your mood. I went to the Bull Durham Blues Festival in Durham, NC, last year and Buddy headlined the first night. He did a tribute to SRV and Jimi which were better than most tributes. The crowd was pretty strange: there were some hippydips from Duke and UNC who were there because it was THE thing to do. But when Buddy started doing "Strange Brew", he seemed to be almost mocking Cream. The hippydips were dancing, or trying not to trip over their birkenstocks, while the rest of the crowd (who seemed pretty blues-savvy) was laughing: partly at Buddy's great mimicing, but partly at the hippydips who thought it was all serious. Personally, I thought it was pretty funny. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Mon, 28 Aug 1995 12:45:07 -0500 From: Richard Shurman Subject: Re: Buddy Guy then and now I too have long noted the "root for the underdog" aspect of the blues mentality. When some plucky upstart perseveres and succeeds, they become The Establishment and graduate from Part of The Solution to Part Of The Problem. I think part of this may stem from/indicate a feeling that embracing the blues is a reaction AGAINST the "mainstream," not an acceptance of it. Another thing makes the Buddy Guy situation interesting. I think the "old vs. new Buddy" concept is a myth and has been for at least almost thirty years now. If you read the book about Buddy, he complains (and has also done so in numerous interviews) that the Chess sides found him being held back from "doing his own thing." Putting aside some possible puffery about "being Hendrix first," it's easy to see the Chess brothers not fully grasping what to do with a Guitar Slim disciple, which wasn't that common in Chicago. But as Buddy's 1968 live recording shows, he was incorporating a lot of rock etc. virtually as soon as he started playing the "Fillmore Circuit," where he thought the audiences were ready for it. He's been playing Cream since the sixties! One of the reasons he did so little recording through the '80s was that he felt the labels were trying to restrict him again and put him back into the narrow mold he didn't feel musically and which he felt would limit his audience. All this is a rambling way of saying it's not that he changed when he got popular; it's that he held out till he had a chance to get popular the way he wanted to get his shot. If anything, his last CD is the straightest blues he's cut for at least 15 years. I'm not saying I love (or even like) all the stuff on his first two '90s CDs, and I appreciate the irony that his breakthrough single "Mustang Sally" didn't even have him playing guitar. But give him some credit; he stood his ground more than he sold out, and if we don't all appreciate his taste, he paid the price over many years to stand behind it, and obviously enough folks out there DO like it enough to make him rich; more power to him! ========================================================================= Date: Mon, 28 Aug 1995 13:27:02 CDT From: L W Subject: Re: Buddy Guy then and now ----------------------------Original message---------------------------- >price over many years to stand behind it, and obviously enough folks out >there DO like it enough to make him rich; more power to him! Just curious do you feel the same about Janet Jackson, EC and Micheal Bolton They must be rich and a lot of people like them.. ............marketing works LW 'IMHO not qualified to dispute Dick Shurman, and not intended as disputing' ========================================================================= Date: Mon, 28 Aug 1995 14:32:40 -0700 From: Steve Roberts Subject: A week or so ago (OK, it's been at least three weeks...) I promised to e-mail John Mitford's Chris Anderson review to jbards. Finally got it together and figured that some of the rest of the list may be interested, as well. If you're not into the grey area where blues and rock intersect, you may wanna hit "DEL" now... Chris Anderson was, as far as I'm concerned, born in Sarasota, Florida during last summer's Blues fest. Oh, sure, you say, Chris (a former member of the Outlaws) has been playing around for years. But that was some other guy, someone I had more or less learned to ignore after a dozen or so fairly uninteresting appearances. So when Chris took the stage at the fest with a pick-up band (the Sarasota All Stars, I think), I figured I'd take a stroll around the stadium. Grab another beer (gotta keep your electrolyte balance up in the Florida summer, you know) and check out the tattoos (a hobby of mine, and maybe yours, too). Seconds later, I'm back on my hard-fought scrap of blanket, my jaw hanging down 'bout as low as my belt buckle. Where the hell did Chris learn <>! And when? As it turned out, Chris' may or may not have been the best Blues performance of the day, but it sure as hell was one of his personal best, and I was genuinely impressed. So I was more than a little curious when I heard he'd signed with Relativity (a division of Sony, I believe) for a debut solo cd due sometime this summer. Well, it's here. It's called Old Friend. And it sounds a whole lot like Chris approached the project like a guy who felt he had something to prove. Can he play the slow blues, you ask? Check out the opening track, a cover of Albert King's "You're Gonna Need Me." Five years ago, Chris would have tried to put 175 notes in the first four measures, just to show you that he could. This time out, he plays ten or twelve in the same space, but with feeling. He's in total control, following in the classical footsteps of his mentors (Clapton and Stevie Ray come easily to mind), but without ripping anybody off. OK, you say, but can he pick up the pace? The next track, "Slowburn," an Anderson original, removes all doubt. It's an uptempo piece that makes one of the most convincing cases for the marriage between rock and blues I've heard in a while. The title track, co-written and performed with the Allman's Warren Haynes, is up next. Very tasty slide guitar, Mike Kach's excellent keyboards, a decent lyric convincingly delivered, and I'm looking at this one like a keeper, for sure. Skip up to "When Will You Be Satisfied," a natural selection for airplay. It combines a pulsing, pumping backbeat, absolutely flawless leads, more B3, and some slick production (not too much, not too little). Damn near a perfect tune. It's been a long road for Chris, but I'm predicting that he's about to receive some bigtime respect. He's sure earned mine. All that's left is for me to hope that he isn't too famous (or too booked) to do this year's Sarasota Blues Fest. I'll just have to do the beer-'n-tattoo run while that young kid's playing. S <> ========================================================================= Date: Mon, 28 Aug 1995 13:22:36 CST From: Edward Komara Subject: The Apocalypse may be closer than we think I agree that Koko Taylor and Huey Lewis on the same bill is a little tough to digest, but an earlier post about RuPaul playing disco at the House of Blues is really thought-provoking. Now if RuPaul gets on the HoB TV show for a whole hour (maybe not, but these days ya never know), then we will realize the Apocalypse has indeed arrived. 8-| Edward Komara, Devil's advocate/guitar-tuner ========================================================================= Date: Mon, 28 Aug 1995 11:19:10 MST From: Bill Breen Subject: Buddy Guy concert in AZ Still towelling off from attending a very HOT concert headlined by Buddy Guy. Can you imagine an outdoor concert in Arizona in August?? It was still well over 100 degrees when a very good local band, The Carvin Jones Band, took the stage at 7:00. Carvin can play some mean blues rock. He played some Muddy, Freddie King, and Jimi tunes, ending up his 45 minute set with a tribute to SRV, Voodoo Chile -- smoking. Then the main event - as the DJ announced him, The Real Deal, Buddy Guy! He kicked right in with Sweet Home Chicago - he seemed really pleased that the crowd knew the words. He did alot of that - sing first and let the crowd answer back. From there he played several the crowd knew-- 5 long years?? (have you ever been mistreated...) Slippin in Damn right I got the blues Feels like rain After a couple more songs (names escape me), he started the, "You know I can play any style -- it would take me all night to play all the styles..." He played John Lee Hooker, Eric Clapton --a very bluesy Strange Brew. I kept yelling "play Buddy!", but I guess he thought the crowd wanted more of the same. so Johnny B Goode "I can play Marvin Gaye" He did an extended jam (with a long stroll through the crowd) on Knock on Wood (it's like thunder, lightning...) He did some tricks --used a drumstick, to strum the strings, also the amp cord, a towel... The crowd really ate it up. He finished up the 90 minute set, throwing guitar picks to the adoring fans. Buddy was very generous in sharing the spotlight with his backing guitarist -- Scott Holt, I believe. He let him take several solos. At about an hour into the 90 minute set, Buddy went offstage and let Scott play (and sing) a hot song - Let the Good times roll. Now I don't want to sound negative -- this was a lifetime thrill for me to see Buddy. A birthday gift from my loving wife, Jeane. Buddy is a phenomenal talent-tremendous guitar licks and emotion-drenched vocals. A real living legend. However, I personally would have liked to hear him play more blues than rock. I don't fault Buddy though, as an entertainer, he must have felt he was delivering what the audience wanted. From the audience's reaction, they got what they came for. For me, I still will long to catch him in a smaller setting with a more blues-oriented crowd. All the best, --bill--(still picturing Buddy's big smile as he soared on guitar) ========================================================================= Date: Mon, 28 Aug 1995 19:01:32 +0000 From: Pat Hertel Subject: Re: Latest sign of the apocalypse On Mon, 28 Aug 1995, Bonnie Kalmbach wrote: > A few years ago I saw NRBQ close out the Toledo Rock n'Rhythm festival. > They were preceded by Carla Thomas, Sir Mack Rice, Buddy Guy, Jr. Wells, > Louis Myers, Willie Kent, Sunnyland Slim. Shortly into their first > number, the substantial portion of the audience that was black walked > out almost en masse. > > -BtheK > > > > >Two questions ...LW how did you know KOKO was unhappy at the NRBQ gig ? > >Did someone force KOKO at gunpoint to open for Huey ? > >Garry > I made be counted as one of the fortunate (in not knowing) but what is this here NRBQ? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 14:59 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 15:03:58 -0400 From: Doordog Subject: Re: back on blues-l We will see. ========================================================================= Date: Mon, 28 Aug 1995 14:10:44 CDT From: L W Subject: Re: Latest sign of the apocalypse ----------------------------Original message---------------------------- > I made be counted as one of the fortunate (in not knowing) > but what is this here NRBQ? I think they are considered by some (???) and carry the title "The Best bar Band In the World" or something like that. I even think 60 Minutes did a special on them....I have heard from sources I trust that they are very talented so they must be, but man are they a silly bunch of folks... LW btw: I'm signing off Blues-l for awhile.....The Thrill Is Gone, however I'm still around via Private mail..... ========================================================================= Date: Mon, 28 Aug 1995 14:22:02 -0500 From: Bruce Roberts Subject: Re: Openings/Main Acts > A few years ago I saw NRBQ close out the Toledo Rock n'Rhythm festival. > They were preceded by Carla Thomas, Sir Mack Rice, Buddy Guy, Jr. Wells, > Louis Myers, Willie Kent, Sunnyland Slim. Shortly into their first > number, the substantial portion of the audience that was black walked > out almost en masse. I saw a similar thing happen, but in the opposite direction, when I went to see James Cotton at Antone's. Toni Price opened and most of the people came to see her, because as soon as James Cotton started playing most of the audience left. Toni Price is a country artist, not a Blues artist. They should have had someone else warm up. If he was aware that the audience was leaving, he didn't let it show. Everyone that stayed enjoyed a great show. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 28 Aug 1995 13:33:50 -0700 From: Ron Wack Subject: Jimmy and Stevie Ray - ? Item Subject: Message text Hi Folks, I've found a live import recorded at the T-Birds festival in Dallas, March 31, 1986, featuring both Stevie Ray and Jimmy titled "Two (Vaughan) Hearts are Better Than One". It's 1 of 1000 copies. Big price tag ($30 Can). Is anyone familiar with it? Thanks, RW ========================================================================= Date: Mon, 28 Aug 1995 15:48:09 -0400 From: Steve Evans Subject: buddy guy Buddy Guy will be headlining the King Bisquit Blues Festival at Helena on Oct. 7. ========================================================================= Date: Mon, 28 Aug 1995 14:48:28 CST From: John Wells Subject: Woodpile; Wood-shed. I read the messages in the digest about woodpiles & wood-sheds. I also grew up with "the woodpile" being a place where something socially unaccepted occurred. To take someone "out behind the woodshed" meant they were going to be punished. "Out behind the barn" was used to indicate an out-of-sight place for encounters of a sexual nature, much like the invitation to "take (someone) to the bushes". These terms seemed to be more in vogue before the days of easy access to automobiles, drive-ins, and apartments. However, on a whim, I thought I'd see if Clarence Major defines the "wood" terms in his Dictionary of African-American Slang. He does. Woodpile; wood-pile n. (1930's-1940's) in "real" jazz talk, either a vibraphone, vibrasharp or zylophone with wooden keys or a marimba. The term went out of fashion once metal keys in the mid-forties replaced the wooden ones on these intruments. Wood-shed; woodshedding v., n. (1930s-1970s) in jazz, when a musician practices his intrument in private. In rural America the woodshed was often thought of as a perfect place for a moment of solitude away from the rest of the family; a place where one could think without interruption. FYI ... John ========================================================================= Date: Mon, 28 Aug 1995 14:53:48 -0500 From: C L Buchanan Subject: Re: Latest sign of the apocalypse I saw Huey Lewis in concert about 10 years ago. The opening act was Robert Cray..................................... ========================================================================= Date: Mon, 28 Aug 1995 14:32:49 -0500 From: Richard Shurman Subject: Re: Buddy Guy then and now Janet Jackson and Michael Bolton (notice how I duck the EC issue) are outside the scope of this list. Just saying I don't begrudge Buddy his popularity certainly doesn't mean that I (or anyone) thinks that all popularity equates with quality!!! ========================================================================= Date: Mon, 28 Aug 1995 20:01:19 +0000 From: Pat Hertel Subject: Re: Buddy Guy then and now On Mon, 28 Aug 1995, Richard Shurman wrote: > I too have long noted the "root for the underdog" aspect of the blues > mentality. When some plucky upstart perseveres and succeeds, they become > The Establishment and graduate from Part of The Solution to Part Of The > Problem. I think part of this may stem from/indicate a feeling that > embracing the blues is a reaction AGAINST the "mainstream," not an > acceptance of it. snip > than he sold out, and if we don't all appreciate his taste, he paid the > price over many years to stand behind it, and obviously enough folks out > there DO like it enough to make him rich; more power to him! > In other words "let the market decide". It IS a philosophy espoused by many today. He will be richer for it and yes more power to him. I will be the poorer for it. Too bad for me. Is it "rooting for the underdog" or rooting for the roots? Why by analogy watch underdog PBS programming when the market has decided in favour of OJ and "He had sex with his father in law's mother" type programming. "obviously enough folks out there DO like it". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/8/95 15:50 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 28 Aug 1995 16:12:29 -0400 From: Steve Evans Subject: Re: Buddy Guy concert in AZ Buddy will be playing the King Bisquit Blues festival in Helena AR on Oct. 7. Charlie Mussellwhite, Pinetop, Joe Cotton, and many others, many old-timers, will be there. On the banks of the Miss. River, right down in the middle of blues delta country. This festival is one of the last free outdoor festivals in the nation. It is a definite blues event for the purist of blues fans. I'm sure Buddy will do the crowd right. I've seen Pinetop Perkins/Snooky Pryor jammin together at this festival, with it rain'in hard, as they dodged rain pouring through the tarp covering the stage. This festival in Oct. is a must see. ========================================================================= Date: Mon, 28 Aug 1995 15:15:12 -0500 From: T-Bone Subject: Re: The Apocalypse may be closer than we think On Mon, 28 Aug 1995, Edward Komara wrote: > but an earlier post about RuPaul playing disco > at the House of Blues is really thought-provoking. > > Now if RuPaul gets on the HoB TV show for a whole hour (maybe not, but > these days ya never know), then we will realize the Apocalypse has > indeed arrived. 8-| [This is strictly for those who are fans of British Comedy.] I don't know why RuPaul is wasting his time on HoB when he should be trying to get the role of Patsy on the AMerican version of "Absolutely Fabulous". T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Mon, 28 Aug 1995 15:23:03 -0500 From: Jeff Seale Subject: Huey & C. Mayfield OK, before everyone goes to frying old Huey, he and the News do a killer a capella version of "It's Allright." If they hadn't done that, I still wouldn't know who Curtis Mayfield & the Impressions were. -Jeff (still have all the News' records) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / You know the levee ain't dry, \ / and the music didn't die, \( 'cause Buddy Holly lives everytime we play rock-n-roll. -Sonny Curtis ========================================================================= Date: Mon, 28 Aug 1995 16:21:55 -0400 From: Steve Levine Subject: Re: The Apocalypse may be closer than we think *I agree that Koko Taylor and Huey Lewis on the same bill is a little *tough to digest, but an earlier post about RuPaul playing disco *at the House of Blues is really thought-provoking. * *Now if RuPaul gets on the HoB TV show for a whole hour (maybe not, but *these days ya never know), then we will realize the Apocalypse has *indeed arrived. 8-| Definitely, in fact RuPaul is probably one of the four horsemen! :-) -Steve ========================================================================= Date: Mon, 28 Aug 1995 12:30:20 -0700 From: Eric LeBlanc-CISTI Subject: BILL WOODRUFF, OF THE SENSATIONAL NIGHTINGALES, DIES AT 66 Willie George "Bill" Woodruff Sr., baritone singer & 48 year member of the Sensational Nighingales, has died. Born in 1929, Spartanburg, SC. he joined Barney Parks & Paul Owens' The Nightingales in 1946/47 along with Julius Cheeks & Joseph Wallace. After recording for King & Decca labels, they changed their name to THE SENSATIONAL NIGHTINGALES, just in time to join Don Robey's Peacock label. By this time, Paul Owens had quite to join The Dixie Hummingbirds, and Julius Cheeks was in and out, even recording with Sam Cooke's Soul Stirrers, rejoining as a full time member in 1955, recording such hard gospel classics as "Burying Ground", "Standing At The Judgement" and "Morning Train". Their influence on soulmasters like Wilson Pickett, Hank Ballard, Otis Clay and Otis Redding is unmeasurable. Bill Woodruff & Jo Wallace would remain lifelong members of this group, one of the true pioneers of hard gospel. According to Hamil Harris' obituary in The Washington Post (July 20), Woodruff was suffering from heart ailments & diabetes when his body was found at their motel. The group travelled the world, and their work will always be known for the lead singing of the late Rev. Julius Cheeks, one of the hardest working men in gospel. If you want more information on this important group, I suggest you read Ray Funk's chapter in Galen Gart & R.C. Ames' "Duke/Peacock Records" (Big Nickel Publications). Bill Woodruff died Saturday, July 15, 1995, Newcastle, Del., where the group was staying after a Philadephia concert. He lived in Bladensburg, Maryland, and was survived by his 2nd wife, Helen M. Woodruff & his son, Woodruff Jr., and the other members of the group (Horace Thompson, Joseph Wallace and Calvert McNair). This posting is dedicated to Dave Clark (1909-1995), long time promotion man for Duke/Peacock Records. CD DISCOGRAPHY ============== MALACO CD 4414 : SENSATIONAL NIGHTINGALES - GREATEST HITS MALACO CD 4453 : SENSATIONAL NIGHTINGALES - STAY ON THE BOAT MALACO CD 4458 : SENSATIONAL NIGHTINGALES - SEEK YE FIRST THE ... MALACO CD 4465 : SENSATIONAL NIGHTINGALES - LIVE SO GOD CAN USE YOU MALACO CD 4474 : SENSATIONAL NIGHTINGALES - LIVE - IN THE SPIRIT MCA SP CD 22044 : SENSATIONAL NIGHTINGALES - BEST OF MOBILE FIDELITY CD 767 : SENSATIONAL NIGHTINGALES - HEART & SOUL/YOU KNOW ... SPIRIT FEEL CD 1001 : VARIOUS - FATHERS & SONS (4 cuts) SPIRIT FEEL CD 1012 : VARIOUS - GOSPEL SOUND 0F SPIRIT FEEL (2 cuts) ========================================================================= Date: Mon, 28 Aug 1995 15:46:27 -0500 From: "Henry Busse Jr." Subject: Happy Birthday Birthdays August 29th BROWN,JEWEL HAZEL Born:1937, HOUSTON, TX SINGER Worked With: EARL GRANT / LOUIS ARMSTRONG DODGION, JERRY Born:1932 RICHMOND, CA ALTO SAX / FLUTE Worked With: GERALD WILSON / BENNY CARTER / BENNY GOODMAN MARRIED TO DOTTIE ERICSON, ROLF Born:1922 STOCKHOLM, SWEDEN TRUMPET Worked with: ALICE BABS / CHARLIE BARNET / WOODY HERMAN / BENNY CARTER ARNIE DAMNERUS KELLY, RED ( THOMAS RAYMOND ) Born:1927 SHELBY, MT BASS Worked With: CHARLIE BARNET / HERBIE FIELDS / RED NORVO / CLAUDE THORNHILL / WOODY HERMAN / STAN KENTON MAUPIN, BENNIE Born: 1940 DETROIT, MI TENOR SAX / BASS CLARINET Worked with: ROY HAYNES / HORACE SILVER / MCCOY TYNER / LEE MORGAN PARKER, CHARLIE Born:1920 KANSAS CITY, MO Died: 03/12/1955 NEW YORK,NY Age 35 ALTO SAX Worked with: JAY McSHANN / BILLY ECKSTINE and On and On ROVERE, GILBERT Born:1939 TOULON, VAR, FRANCE BASS / CELLO Worked with: KENNY DREW / DEXTER GORDON / KENNY CLARKE / BUD POWELL / AL HAIG STRONG, JIMMYBorn:1906 / ??? CLARINET/ TENOR SAX Worked with: LOUIS ARMSTRONG ON THE SAVOY FIVE RECORDINGS WASHINGTON, DINAH ( RUTH JONES ) Born:1924 /TUSCALOOSA, AL Died:12/14/1963 DETROIT, MI / Age:39 SINGER Worked with LIONEL .HAMPTON / BROOK BENTON WAS MARRIED TO NIGHT TRAIN LAINE OF DETROIT LIONS Note: DID JAZZ FOR EMARCY WHILE DOING POP FOR MERCURY RECORDS BLUES/R&B/JAZZ/ BIG BAND Henry Busse Jr . ========================================================================= Date: Mon, 28 Aug 1995 15:45:52 -0600 From: Ranko Vujosevic Subject: Re: Buddy Guy concert in AZ > > Buddy will be playing the King Bisquit Blues festival in Helena AR on Oct. 7. > Charlie Mussellwhite, Pinetop, Joe Cotton, and many others, many old-timers, > will be there. On the banks of the Miss. River, right down in the middle of > blues delta country. This festival is one of the last free outdoor festivals > in the nation. It is a definite blues event for the purist of blues fans. > I'm sure Buddy will do the crowd right. I've seen Pinetop Perkins/Snooky > Pryor jammin together at this festival, with it rain'in hard, as they dodged > rain pouring through the tarp covering the stage. This festival in Oct. is a > must see. > Oh, I'll be there baby! My knee recovered, I am again ready for some blues trips. Bonnie, if you are going, get through Iowa City and we'll go together. How's that? Art, how 'bout you? Ranko ========================================================================= Date: Mon, 28 Aug 1995 14:59:04 -0400 From: Doordog Subject: Re: St. Louis Blues Heritage Fest I know that B.B. King will headline Friday night at the Fox theater. Also on the bill are J. Vaughn, J. Geils and Magic Dick. This is a big bucks show and I believe it is sold out. Saturday the fesival it's self starts on the landing at 10:00 am. It goes for two days with lots of quality performers. (About 30 in all) I can't give you an exact list of who's playing but I myself will not miss it. There will be for the first time a $5.00 entry fee to one of the stages. This is for all day. Although the festival seems to be getting larger it would seem to me (my own opinion) that it is not as good as last's years and the same for the year before. Two years ago Chuck Berry showed up to play with Oliver Sain. Last year Joe Louis Waker. This year Ron Piazza. See you there Ron ========================================================================= Date: Mon, 28 Aug 1995 16:46:32 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - Aug 28th ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ANDERSON, HOWARD "DUKE" (p/BRADSHAW) b. 1917-0828, EAST ORANGE, NJ BAUM, BERNIE (a&r/CRYSTALS/CHANTELS) d. 1993-0828, YONKERS, NY 63 CLARKE, GEORGE F. (tsax/LUNCEFORD) b. 1911-0828, MEMPHIS, TN DREW, KENNY SIDNEY (p) b. 1928-0828, NEW YORK CITY, NY JACKSON, MICHAEL-GREGORY (g) b. 1953-0828, NEW HAVEN, CT MORRIS, KENNETH (gospel songw) b. 1917-0828, NY SELF, RONNIE (g/songw) d. 1981-0828, SPRINGFIELD, MO 43 SHABALALA,JOSEPH (ofLADYSMITH BL MAMBAZO) b. 1941-0828, LADYSMITH,S. AFRICA ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 28 Aug 1995 16:46:32 -4 From: "P.W. Fenton" Subject: (Fwd) Thank You Eric Clapton I was one of the original criticizers (if that's a word) of Eric and his "Blues" album. However, I am willing to give credit where credit is due. I am certain that we owe it to the success of his album ALONE, that we even HAVE a Billboard Blues Chart. I am thrilled by it. As long as it exists, the industry will be paying attention to it. If just a few more Blues artists get supported as a result, I say "Bravo, Eric. You done good for your first love." He may not be where I would go when looking for some Blues, but I feel we are all in his debt. Good things will actually come of this, Mary Katherine. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Mon, 28 Aug 1995 17:15:13 -0400 From: Hugh Hardy Subject: amp tech question I have a Vibroverb reissue. There are a couple of mods that make them sound louder and "browner". I think one has to do with disconnecting the vibrato. Does anyone know where I can find out what to do and how? Thanks, Hugh H. ========================================================================= Date: Mon, 28 Aug 1995 16:23:36 -0600 From: Don O Subject: gatemouth in dallas Yes, Eric Clapton starts his next tour in Big D tonight and Gatemouth will be opening for him on the tour. Last night, we had the opportunity to see a whole show from Gate without him being cut short by the "headliner". EC has been in the Dallas area for about 2 weeks, driving around in a purple Jaguar convertible. Apparantly, he and the band were rehearsing over at studios in Las Colinas, a Dallas suburb. There have been numerous "sightings" at various retail outlets including EC buying shoes at Irving Mall, buying an expensive pool cue at a specialty shop, and shopping at an eclectic store in Fort Worth. Poor guy, can't even go shopping without it being a news event. No wonder he's gone back to the blues. The Gatemouth Brown show was held at the Dallas Hard Rock Cafe. Cover charge was just 8 bucks and Gate and his band did a solid 2 hour set without a break. He played a lot of guitar, some fiddle, and even some viola on a self-described "coon-ass cajun stomp". The club was packed and Clarence smiled and posed for dozens of folks who approached the low stage with their cameras. Got a few great snaps myself. I ended up watching a lot of the show on the video monitors due to the SRO crowd. He did a usual Gatemouth show with a wide variety of styles; country, cajun, jazzy, and a lot of fine blues. Towards the end of the night he played a medley of Yankee Doodle "for you Yankees", Dixie "for you Southerners", and The Eyes of Texas are Upon You "for all us Texans". Man, he sure knows how to milk a crowd. It was great to see such a good crowd for such a talented performer. However, I suspect a lot of folks were there hoping that EC would show up and jam. He did have the Cheese Club reserved upstairs, but if he ever showed up, he never came downstairs. Regardless of why they were there, no one left disappointed and by the end of the night Gatemouth's sale table had sold out of CDs. Now that was great to see. Still, I bet Gatemouth isn't bothered much when he goes to buy a pair of shoes. Don O. ========================================================================= Date: Mon, 28 Aug 1995 14:54:06 PDT From: Gordon Fehlman Subject: Re: Huey Hey, I saw Huey and Stevie Ray Vaughn and Stevie had a off day. Kinda liked Huey's harp that day as good as I can remember. Gordon ========================================================================= Date: Mon, 28 Aug 1995 21:55:46 GMT From: Jeffrey Daniels Subject: St. Louis Bluesfest I was wondering if there were any blues-l activities at the bluesfest on the Landing in downtown St. Louis this Friday, Saturday, Sunday, and Monday? ========================================================================= Date: Mon, 28 Aug 1995 15:01:38 -0700 From: Jeff Birk Subject: Blues in Dallas? I'm going to be in Dallas September 11-13. Would love to see some blues while I'm there. Can anyone recommend some good clubs/venues? Thanks in advance. Jeff ========================================================================= Date: Mon, 28 Aug 1995 15:43:52 -0700 From: Eric LeBlanc-CISTI Subject: DAVE CLARK, The Granddaddy Of Black Record Promoters, dies at 86 This posting is dedicated to Ronnie White (1939-1995), baritone singer, songwriter & an original founding member of (Smokey Robinson's) The Miracles. ----------------------------------------------------------------------------- DAVE CLARK, a music industry veteran - known by some as 'the legend', has died. Some say he wrote the book on how to promote music. His motto was : "Drive your car when you're promoting records. When you're flying, you fly over a radio station". He was born March 6, 1909, Jackson, TN,. raised in Chicago, and eventually he returned to Jackson, graduating from Lane College in 1934 (along with future Ellingtonian, Ray Nance) and landing a job at Down Beat magazine, writing about everyone from King Oliver to Little Brother Montgomery. During this time (1936), he joined the reeds & horns section of Jimmy Lunceford's orchestra, finally becoming their 'advance man', seeing to it that the jukeboxes were stocked with Lunceford's records. He was even able to have one of Lunceford's records played on New York City WNEW's "Make Believe Ballroom", one of the first record-only radio shows. In time he would do 'advance work' for Louis Jordan, Ink Spots, Billie Holiday, Skeets Tolbert, Lionel Hampton, Mills Brothers, Nat King Cole, Louis Armstrong etc., finally being hired to do freelance promotion for Decca Records. During this time (1939), he graduated from Juilliard School Of Music. I could go on & write about how he discovered LaVern Baker, Big Maybelle Smith, Carl Carlton, Rance Allen, etc., about his songwriter skills (he wrote B.B. King's "Why I Sing The Blues" and the early protest song, "I Believe I'll Go Back Home (Because Bilbo Is Dead)"), how he worked for independent labels like Chess Records (1947-1951), Apollo Records (1952-1953), United Records (1953-54) (see Galen Gart's "First Pressing" series for details) but it was his work for Duke-Peacock Records (1954-1971), Stax Records (1971-1976) and Malaco Records (1980-1995) that we Blues/Gospel/R&B/Soul fans will remember him for. Artists like Bobbly Blue Bland, Little Junior Parker, The Dixie Hummingbirds, Jean Knight, The Blind Boys Of Mississippi, Z. Z. Hill, Little Milton, Johnnie Taylor, Rance Allen, etc. etc. all owe some of their success to his promotion work. At the time of his death, he was senior VP of Malaco Records. DAVE Clark died Saturday, July 22, 1995, Madison, MS., and was survived by his son William David Clark and his sister Anna Polk Walker. He is a member of the Black Music Hall Of Fame (1981), and was awarded the R&B Foundation Award on February 25, 1993. I'll end this tribute by just listing a few quotes from his peers, mostly taken from the attached bibliography. For those who want more information on DAVE CLARK, I suggest George Nelson's humorist Village Voice article & "Duke/Peacock Records : An Illustrated History with Discography" (Big Nickel Publications, 1990) "He was a real record man, and many - if not all - of the big artists that we signed came to Malaco only because of Dave." ~ Tommy Couch, Malaco Records, President "He was the most learned record or record music promotion man that I've ever witnessed - a man who not only understood all the fundamentals associated with record music promotion but created and wrote the book on many of the concepts." ~ Al Bell, Bellmark Records, President "Dave Clark was a promotion man before the term's creation. To him, James Brown is a kid" ~ George Nelson, author/journalist "Almost every black person in the record business today worked for him at one point or another, or they knew him. He was a great teacher. He gave it to you - if you didn't get it, that was your fault" ~ A. D. Washington, MCA Records, VP of R&B Promotion "Everybody want to know, why I sing the blues, Yes, I sway, everybody want to know, why I sing the blues, Well I've been around a long time, I really have payed my dues" ~ "Why I Sing The Blues", B. B. King & Dave Clark (1969) "[Dave Clark] introduced the concept of record promotion for black and white artists via radio" ~ Dr. Portia Maultsby, Indiana University References : =========== T. Barnes, "Everybody Knows The Hits, But How About The Men Behind Them?", Billboard, June 12, 1993, p. r16 "Dave Clark, The Granddaddy Of Black Record Promoters:, Soul, January 17, 1972, p. 12 G. Gart & R. C. Ames, Duke/Peacock Records : An Illustrated History with Discography (Big Nickel Publications, 1990) G. Gart, First Pressings : The History Of Rhythm & Blues (Big Nickel Pub) N. George, "Why I Promote The Blues (Dave Clark Interview)", Village Voice, August 26, 1986, p. 74 "Gospel Music Gains Youth Acceptance Says STAX Dave Clark", Soul, January 15, 1973, p. 11 P. Guralnick,"I Do Not Play No Rock 'N' Roll : Malaco Records - The Last Soul Company", Living Blues, Jan-Feb 1989, p. 84 J. McAdams, "Promotion Pioneer Dave Clark Dies at 86", Billboard, August 5, 1995, p. 6 J. McAdams, "Malaco Earns Fans Sans Fanfare", Billboard, May 2, 1992, p.20 "Testimonial Diner Honors Dave Clark", Soul, June 5, 1972, p. 8 J. Williams,"Memphis Is Reviving As Music Hub (Dave Clark Interview)", Billboard, January 12, 1980, p. 32 J. Williams,"Black Music History For Tenn. Youth", Billboard, March 24, 1979, p. 91 ========================================================================= Date: Mon, 28 Aug 1995 18:49:50 -0400 From: Charles d'Orban Subject: Dixie Chicken Yesterday I was perusing an old book of mine from the 80s which consists of interviews with songwriters. There was an interview with Lowell George (conducted 10 days before his death) in which reference was made to a version of "Dixie Chicken" by Clarence Gatemouth Brown. Can anyone tell me what album this is on and whether it is available still on CD? (CD Now wasn't of any help). Also, is it any good? Charles. ========================================================================= Date: Mon, 28 Aug 1995 15:53:02 MST From: Bill Breen Subject: Re: Huey RE Huey's harp--I remember really enjoying his playing-- a pretty bluesy set as an unknown (to us) act opening up for the Doobie Brothers around 1980. --bill-- ========================================================================= Date: Mon, 28 Aug 1995 19:37:34 -0400 From: Barry Silverberg Subject: One Man's Opinion-Larry Garner. LARRY GARNER - Double Dues (JSP #244) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND SCARED OF YOU / NO FREE RIDES / BUSTER / SHUT IT DOWN / DREAMING AGAIN / THE TAXMAN / BROKE BLUESMAN / TALE SPREADERS / CALIFORNIA SISTER / PAST 23 NY CD-Takes SCARED OF YOU: This CD opens up with a wealth of music. A little marching band beat, a guitar riff and then a big harmonica run. Larry Garner then steps up to the plate and his sweet vocals take over. Here he has a very driving beat set inside a souly-blues tune. Very nice vocals from an upcoming blues artist whose importance is evident. Terry Dockery on the harmonica is exceptional and Larry Garner's guitar is very hot. They play each other off quite nicely and set a perfect backdrop to Mr. garners voice. NO FREE RIDES: Here the guitar cries the opening bars and the drums and harmonica follow suit. A deep, dark and broody cut. This is the blues - and Larry Garner's voice adds the soul. His sound and playing here are right in the tradition of the great Robert Cray. I'd love to see these two giants play in a face-to- face. This is a very touching and moving cut. One of the best sides I've listened to in a long time. Amazing music from start to finish. This cut also features all of the instruments up front and center stage. Very well produced and arranged. You'll probably hit replay a couple of times before you move on to the next cut. BUSTER: This side has a different set of musicians backing Mr. Larry Garner. From the opening bars it's evident that jazz here is the underpinning. Marc Adams, Oscar Davis, Ronnie Houston, Frank Mitchell and Spencer Williams all combine to offer up a well played side. This is another very musical cut that should be listened to carefully. It gives us a sneak peek into what Larry Garner can offer and the multi sides he brings to the table. Now that he has his second CD out and everyone is raving - where were the fans when he and JSP started the journey. SHUT IT DOWN: Listen as Larry Garner opens up on his fine guitar. This is good picking and leads into a talky vocal cut. Larry Garner as storyteller is this sides venue. A nice piece and yet still another side to recommend this big bluesman. This side is right in the style of T-Bone Walker and John Lee Hooker and Phillip Walker. Very back porch and very pleasing. Listen to the words as well. A modern day tale of the blues - setting Larry Garner right in the center of today's blues-stream. A wonderful 9 minute cruise that never stops being wonderful. DREAMING AGAIN: Some more soft tones in a laid back country taste. Mr. Garner sings this side full of heart and with plenty of motion. Here he just glides along and takes you over - BEAUTIFUL. Listen to the rapup on this side as Mr. Garner takes from the best roots of soul and R&B to offer us some original and tasty sounds. THE TAXMAN: Now the pace is up and the big guitar of Larry Garner leads us off. This side is a more rocking cut and moves out at a mid pace tempo - a nice side in a great CD. Once again Mr. Garner is backed by his jazzier ensemble and the tune belies the roots. Very strong harmonica work by Oscar Davis. BROKE BLUESMAN: Here we have some more brooding blues. A lot of finger picking by Larry Garner makes for a great intro. The pace here is slow, lopey and capturing. Once again Oscar Davis on harmonica blows up a storm - a gentle storm - a gentle blues' storm. This is another long cut that gives Mr. Garner plenty of time to pull the song and make it all it can be. TALE SPREADERS: Here we come back to a mid paced blues side. A very strong original cut done perfectly. CALIFORNIA SISTER: The drums and bass here are the front sounds and the harmonica begins with a single note cut in that is delicious. Another modern day Larry Garner special. Pay particular attention to what Mr. Garner is singing - he's not forgetting the past but his music and lyrics are today's cry and today's music. This cut deserves a thorough listen to. PAST 23: This CD ends on a whole different sound from Mr. Larry Garner and backup. It is quicker paced and features an up tempo dancing beat. It is more mainstream than the rest of this CD and I hope that Mr. Garner continues this tradition in his future works. Songs like this will help a working bluesman get the due he deserves - and Larry Garner deserves plenty. This is a sweet man with a sweet voice, a strong guitar and a sense of music and rhythm that keeps you listening for more. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 28 Aug 1995 19:57:44 -0400 From: CATBAUER Subject: Chicago on Friday I'll be in Chicago on Sept. 1 and plan on going to Legends that night, the show doesn't start until 11. Is there anyone else playing nearby before that? Cat Catbauer@vivanet.com ========================================================================= Date: Mon, 28 Aug 1995 20:16:15 -0400 From: Garry Segal Subject: Re: Buddy Guy then and now I just cant help wondering what Buddy would say. In recent interviews when he was asked why he recorded Mustang Sally etc. he said he had been playing those "pop" R&B songs for years and he thought it was a good idea to do his version. I saw Buddy in the late 60s early 70s doing very rocked up stuff ala JIMI and Cream because he wanted to but labels wanted him to be a bluesguy. Which brings me to the point of its not the cover song or the original artist its HOW Buddy plays those covers. He is happy doing it apparently and doesnt want to live up to others perceptions of what he SHOULD be doing. Thankyou Buddy, play what you want, the way you want to in 1995 ! Thank God you arent Chuck Berry banging out the same songs the same way with unrehearsed pickup bands. Garry ========================================================================= Date: Mon, 28 Aug 1995 20:16:22 -0400 From: Garry Segal Subject: Re: Latest sign of the apocalypse Thanks for clearing up the KOKO NRBQ gig story, LW. Im glad it was a first hand story and not conjecture. I didnt mean to offend you. As for KOKO and Huey Lewis its probably just a case of Huey liking KOKO and making the offer. Hopefully KOKO will make some new fans...thats good right? At least its not Bob Seger doing his cover of Come To Mama(PaPa) as a duet with KOKO. :-D) Garry ========================================================================= Date: Mon, 28 Aug 1995 20:16:34 -0400 From: Garry Segal Subject: What They Do, What You Want > Most people would dig the real blues if they heard them < LW I really wish that was true. In my 20 years of exposing blues to people who live in "pop" land my experience has been that maybe 10% get it. The others pick out a particular song and say I like that one. Unfortunately the stuff that we all like is sometimes just to raw for mainsteam folks to get into. I really dont care anymore I just play the music (blues/soul/R&B) and let folks make up their own mind. The more the heavy sell is used, the less they get it . I dont evangelize the blues just play 'em with soul. As far as blowing off Raitt, Clapton etc. did it ever occur to anyone that they might like those songs that also sell ? I dont think they sit home feeling bad that they dont play straight blues for a living, maybe they feel they are not worthy and if they did there are those that would say they shouldnt . They've gone down the road that works for them and most have given credit where its due and given more $$s and time to benefit the blues community then most of us have. They are just individuals, not a conspiracy. I was having a rough day clearing land with a friend of mine, hot sun, heavy logs, skeeters like B52s but a radio tuned to a commercial rock station that was playing an hour of blues. All really good choices, Houndog, BB, Muddy, no rock guys! It was making the task at hand so much easier for me . Half way through my buddy drops his end of a tree we were carrying and rushes over to the radio shouting "I cant take it anymore !!" Whipped the station to some Journey or Def Leopard or something and sighed with relief. I laughed. Its too big a world to big to keep pointing fingers and making accusations about people,artists or their motivations that we dont really know. Garry ========================================================================= Date: Mon, 28 Aug 1995 20:12:51 -0400 From: Stew Crossen Subject: WHUS Top 20 Blues CD's Hello, If any one would like to recieve a list of the WHUS Top 20 Blues Albums for August and/or a copy of WHUS Blues Biz, please request via private e-mail to: Bfstew@aol.com Specify text or word format. Thanks and have a blue day! Stew Crossen WHUS Blues MD ========================================================================= Date: Mon, 28 Aug 1995 21:00:40 +0600 From: Rage 'n Records Subject: Gatemouth Studio time Gatemouth has some studio time booked at Sigma Sound when EC and him come to Philly. They are doing some vocal stuff for TelArc. Does anybody have more info? ========================================================================= Date: Mon, 28 Aug 1995 20:16:48 -0400 From: Stew Crossen Subject: Re: Billboard's new Blues Chart What's the criteria for being a BLUES artists? Stew Crossen WHUS Blues MD ========================================================================= Date: Mon, 28 Aug 1995 18:51:56 -0700 From: Mary Katherine Aldin Subject: Re: Billboard's new Blues Chart You wrote: > >What's the criteria for being a BLUES artists? > >Stew Crossen >WHUS Blues MD > Tha answer, according to an article in the September 2, 1995 issue of Billboard Magazine, is as follows: (talking about the new blues chart).....As with other Billboard specialty charts, inclusion on the blues chart indicates Billboard has determined retailers are likely to merchandise these titles in their blues sections. Titles by artists who are not typically considered blues. such as Eric Clapton or Jimi Hendrix, will be considered on a case by case basis..... Mary Katherine ========================================================================= Date: Mon, 28 Aug 1995 22:18:00 -0400 From: BluesRevue Subject: Re: What They Do, What You Want Thanks Gary for the level headed response . . . please don't hesitate to bring the a sense of reason to these discussions more often...... bob vorel ========================================================================= Date: Mon, 28 Aug 1995 20:57:04 -0400 From: Garry Segal Subject: Re: Buddy Guy concert in AZ >he must have felt he was delivering what the audience wanted< I cant believe how many people on this list think Buddy Guy is just a puppet doing tricks the audience wants. Does anybody have respect for him and his choices? Do you really think he hates what he is doing, just wants to make a buck ? Everything Ive read on him and heard from him tells me he plays what he wants the way he wants to and is more put off by blues police telling him what to do than anything. Even in a small blues club he does the same thing . Damn Right He's Got The Blues ! Garry ========================================================================= Date: Mon, 28 Aug 1995 21:53:00 CDT From: Bonnie Kalmbach Subject: Buddy/Future of the Blues Buddy Guy has already headlined the Helena King Biscuit Festival; it was about 4 or 5 years ago. I admit to getting kind of bored when he went into his Hendrix thing. I wandered around looking at the crowd. Many of the younger white audience members, especially the guys, were enjoying the set immensely. Most of the black audience members, mostly over thirty, after an initial warm reception were just standing there, watching - but kind of apathetically, some looked bored, and others were talking to each other. Gone was the animation, enthusiasm, and obvious enjoyment that greeted little Little Milton, Anson and Sam, and other more traditional artists. *** I get the impression sometimes, that when some people say the blues has to change, as all art forms do, to stay viable, they mean that it has to move exclusively toward rock music. I happen to think that Big Jack Johnson is one of the most creative blues artists working today - but he incorporates a lot of country music into his style of playing - which he did brilliantly at the Mississippi Valley Blues Festival in Moline this year - and - at the Chicago Fest he did a lot of jazz when he played with the New Africa String Quartet. Many other contemporary blues artists also use a lot jazz in their style. So the future of the blues is not quite a steady progression toward rock and rock alone...My .02 cents worth this evening. -Bonnie ========================================================================= Date: Mon, 28 Aug 1995 23:03:40 -0400 From: Bob vanArsdall Subject: Re: Woodshed Speculation, pure speculation, but I always though the transition was like this: Coloquially the woodshed was where you were taken to be punished, to be "taught a lesson." Musically, learning lessons is repetitive practice, over and over till it is right. So woodshedding in music became the practice which teaches the lesson. Bob ========================================================================= Date: Mon, 28 Aug 1995 23:20:42 -0500 From: Rob Varak Subject: Re: your mail L W wrote: I didn't lose respect for EC, Buddy Guy or Bonnie Raitt when they changed the music they lovED and played the kind that sells - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - I understand your point, LW, and I agree that you can't blame any artist for trying to make his/her living. I wonder about how you phrased that though. Who's to say that the music that those artists love isn't some of the same music that sells? I mean I have heard both EC and Bonnie Raitt mention that while they love the blues they feel that they have something in their makeup compelling them to do work outside the genre as well. That something may be the almighty dollar, but I'm not that cyical. (Well, I am just not in this case:). Just wondering... ROb Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 29 Aug 1995 01:47:33 -0300 From: Rogerio Andre dos Santos Subject: Hello, I'm brazilian and think my english's poor. I'm new in the list. Two questions: 1. Does anyone know the brazilian Blues band Blues Etilicos? 2 .Can anyone tell me which Little Milton's album had the music "Stormy Monday" that i heard in a "the best of" album ? Rogerio randre@iis.com.br ========================================================================= Date: Tue, 29 Aug 1995 00:03:37 -0600 From: Don O Subject: Jimmie Vaughan For those of you in range of Dallas: Word is Jimmie Vaughan will play a date at the Dallas Hard Rock Cafe on September 19. There is also a tentative booking for the BB King/Jimmie Vaughan package at Starplex the following Sunday. Don O. ========================================================================= Date: Tue, 29 Aug 1995 18:17:13 +1000 From: Kurt Derbyshire Subject: David Torkanowsky query Can anyone provide me with some biographical information on keyboard player David Torkanowsky, who has appeared on several Black Top and Verve releases over the last couple of years? Thanks Kurt Derbyshire derbysk@ensis.nth.dpi.qld.gov.au ========================================================================= Date: Tue, 29 Aug 1995 11:27:12 +0400 From: "Henrik R. Lassen" Subject: Stan West A friend of mine who has lived in the Los Angeles area for about twenty years played me a couple of songs from a Stan West album, saying that this was a local artist that he had seen a number of times. Pretty good stuff in a sort of John Lee Hookerish style. Anyone familiar with this guy? ======== Henrik Lassen ======== ==== Odense, Denmark ==== 'Tis a new and and unseconded way in History to fornicate at a distance, and much offendeth the rules of Physick, which say, there is no generation without a joynt emission, nor only a virtual, but corporal and carnal contaction. Thomas Browne. "Pseudodoxia Epidemica: Enquiries into Vulgar and Common Errors." 1646. ========================================================================= Date: Mon, 28 Aug 1995 21:28:49 GMT From: George_Washington@CHERRY_TREE.VIRGINIA.COM Subject: Bo's Proposal I've been watching this newsgroup for about 2 weeks now and haven't really seen anything about Bo Diddley. Does anyone still listen to him? I actually wanted to write a letter telling about how my boyfriend got Bo to propose marriage to me. Bo came to our hometown of Wilkes-Barre, PA to do a show in a small jazz cafe. Of course we did everything in our power to go see him. The problem was that Pete and I had broken up, but had already made plans to go see him. We went as friends, and jokingly Pete asked what it would take to get me to marry him. He asked if it would take Bo Diddley to prove his love for me. I thought he had flipped his lid and didn't think he would actually go through with it. But the next thing I knew I was on stage speechless. Bo made it seem like this was the greatest thing of the evening, and said that he had to 'get in the mood'. He said, "By the powere invested in me, my father drank more beer than your father did", in that Roman Catholic chant tone. Finally he asked if I knew who Pete was and if I even like him. All I could stammer out was a simple 'yes' ( I was still stunned that Bo was talking to me. ) But he asked if I would marry Pete realizing that I would have to spend every blessed day with him for the rest of my life. Of course I said yes, and when Pete came up on stage I smacked him before I kissed him for embarassing me like that. Bo then sang "You Perty Thing" for us and even made up a song of his own to sing to us. After the show we went backstage to thank him and he even remembered my name. I was ecstatic! I continue to joke with Pete that 'Bo knows Kat' and not Pete since they almost didn't let him in to see him with me. I am, however, disappointed that we couldn't get a copy of the evening on tape. We gave his manager our address and he said he would see what he could do, but I guess if was pushing our luck. I'm not complaining, I am thrilled that I get to tell my grandchildren (knock on wood) how their grandfather proposed to me. thanks for reading - kat P.S. Pete and I are not married yet, but are still happily engaged. ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ The mountain slopes crawl with lumberjacks, Axing everything in sight- Yet crimson flowers Burn along the stream. Chin-doba,? ^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~^~ ========================================================================= Date: Tue, 29 Aug 1995 06:11:00 -0400 From: "J.E. Downey" Subject: Re[2]: Latest sign of the apocalypse Armed intimidation or no, however I think of it, the mental image of Koko Taylor opening for Huey Lewis and the News is simply a disgusting spectacle. To me. Makes me glad to be far away here in Russia. Joe D. J.E._Downey@bakermck.com (Sad she doesn't play here too much, but also glad they don't) ========================================================================= Date: Tue, 29 Aug 1995 05:32:38 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 29th ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLISON, GENE (v/VEE JAY REC) b. 1934-0829, NASHVILLE, TN BELL, JIMMIE (p) b. 1910-0829, PEORIA, IL BROWN, LAWRENCE (p/PAUL ROBESON) b. 1893-0829, JACKSONVILLE, FL EVANS, PAUL A. "STUMP" (sax/cl/IDA COX) d. 1928-0829, DOUGLAS, KS 23 HENDERSON, HORACE W. (p) d. 1988-0829, DENVER, CO 83 JACKSON, MICHAEL [MICHAEL JOSEPH JACKSON] b. 1958-0829, GARY, IN MALLARD, OETT M. "SAX" (sax/MEMPHIS SLIM) d. 1986-0829, CHICAGO, IL 70 MAUPIN, BENNIE (tsax/ssax) b. 1940-0829, DETROIT, MI MORGAN, JONES (last of BUFFALO SOLDIER) d. 1993-0829, RICHMOND, VA 110 PARKER, CHARLIE (asax) b. 1920-0829, KANSAS CITY, KS REED, JIMMY (g/hca/songw) d. 1976-0829, OAKLAND, CA 50 ROBERTS, JOHN T. (founder: INAJE) d. 1984-0829, SHERMAN OAKS, CA 66 TEAGARDEN,JACK [JOHN WELDON LEO TEAGARDEN]b. 1905-0829, VERNON, TX WALKER, ALBERTINA (of THE CARAVANS) b. 1930-0829, CHICAGO, IL WASHINGTON, DINAH [RUTH LEE JONES] (p) b. 1924-0829, TUSCALOOSA, AL SILVERMAN, MAX "WAXIE MAXIE" (dj) d. 1989-0829, WASHINGTON, DC 79 WILLIAMS, MARION (v/gospel/CARAVANS) b. 1927-0829, MIAMI, FL ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 29 Aug 1995 13:19:35 +0200 From: Peter Gallagher Subject: RORY GALLAGHER Discography (fwd) Here follows a very extensive discography, compiled by SERGIO, in Milan,Italy. Sergio has obviously spent a great deal of time getting this information together. I have it from official sources that Rory's last recorded guest appearance was with Samuel Eddy, and Sergio has this one on his list too, so by all accounts, a very up to date listing. Sergio is on vacation and asked me to post this to BLUES-L. Regards, PeterG ---------------------------------------------------------------------- I'm trying to compile a discography of Rory Gallagher's official releases. Has someone already prepared a better one? Corrections, improvements, etc. are welcomed. Post them to: rory.sergio@iol.it PLEASE NOTE THAT TITLES MARKED WITH * ARE NOT CHECKED ON THE ORIGINAL RORY GALLAGHER DISCOGRAPHY AND FILMOGRAPHY (July 1995 - bootlegs are not included) 1974 IN THE BEGINNING. AN EARLY TASTE OF RORY GALLAGHER (recorded in 1967, AKA TAKE IT EASY BABY) TASTE 1969 TASTE 1970 ON THE BOARDS 1970 LIVE AT THE ISLE OF WIGHT 1971 LIVE TASTE 1987? IN CONCERT (The Marquee-London, 1968) 1994 TASTE ANTHOLOGY * RORY GALLAGHER BAND 1971 RORY GALLAGHER 1971 DEUCE 1972 LIVE! lN EUROPE 1973 BLUEPRINT 1973 TATTOO 1974 IRISH TOUR '74 1974 THE STORY SO FAR (COMPILATION) * 1975 SINNER AND SAINT (COMPILATION) * 1975 AGAINST THE GRAIN 1976 CALLING CARD 1976? THE BEST YEARS (COMPILATION) * 1978 PHOTO-FINISH 1978 TOP PRIORITY (1988: reissued on CD with bonus track Nothing but the devil) 1979 STAGE STRUCK (1989: reissued on CD with alternate version of Follow me) 1982 JINX (1988: reissued on CD with bonus track Hellcat) 1987 DEFENDER 1990 FRESH EVIDENCE 1992 EDGED IN BLUE (COMPILATION) 1973 READING FESTIVAL,1973: Hands off (live) 1986 BLUES ON 2: When my baby she left me 1987 LIVE FOR IRELAND (double album only): Follow me (live) 1995 PETER GREEN SONGBOOK - FIRST PART: Leaving Town Blues; Showbiz Blues 1992 G-MEN BOOTLEG SERIES, VOL. 1 3 CDs set with the official reproduction (bootleg the bootleggers...) of the following 2 bootlegs: CALLING HARD THE BULLFROG INTERLUDE (AKA WHAT'S THE STORY RORY) FILM 1974 IRISH TOUR '74 (directed by Tony Palmer; unfortunately not yet available on video) VIDEO 1990 LIVE IN CORK (1987) (directed by Anita Notaro) GUEST APPEARANCES 1971 MIKE VERNON - BRING IT BACK HOME * 1972 MUDDY WATERS - THE LONDON MUDDY WATERS SESSIONS 1973 JERRY LEE LEWIS -THE SESSION. LONDON, 1973 (1986: reissued as THE COMPLETE SESSION, VOL. 1 -2, with 6 bonus tracks, 2 of them with Rory Gallagher) 1974 MUDDY WATERS - LONDON REVISITED * 1977 ALBERT KING - LIVE (1975) 1977 JOE O'DONNELL - GAODHAL' S VISION * 1978 LONNIE DONEGAN - PUTTING ON THE STYLE 1978 MIKE BATT - TAROT SUITE 1984 BOX OF FROGS - BOX OF FROGS 1986 BOX OF FROGS - STRANGE LAND 1989 THE FUREYS & DAVEY ARTHUR - THE SCATTERING 1989 DAVY SPILLANE BAND - OUT OF THE AIR 1992 THE DUBLINERS - 30 YEARS A-GREYING 1993 CHRIS BARBER & BAND - THE OUTSTANDING ALBUM (1968-1972) 1995 SAMUEL EDDY - STRANGERS ON THE RUN * .. -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 29 Aug 1995 04:55:33 -0400 From: RLaMour Subject: Musicians beware: if they screwed me...... ....they're bound to screw you, too. I'm talking about Fatso's in Arlington, Texas. The Lavelle White band showed up for their gig last Saturday and found that they had been cancelled even though the engagement was advertised. No explanation was given and they drove the 3 1/2 hours back to Austin without the $1000 they were contracted for. (This is actually the second time they have screwed us. The first time they shorted Lavelle $200.) Watch out for these jerks. Some guy named Mark Hoak is supposedly responsible. He is a snake. This gig had been booked since May and we were given no notice. Anyone else have any problems with Fatso's? ========================================================================= Date: Tue, 29 Aug 1995 07:58:44 -0400 From: Mike Subject: Willie Kent - Aug 31 Does anybody know where Willie Kent is playing on Aug 31? ========================================================================= Date: Tue, 29 Aug 1995 07:22:04 CST From: William Shute Subject: Bugs Henderson "Gitarbazndrumz" CD From: Bill Shute It shouldn't have come as much surprise when Bugs Henderson was back out on "the road" (as he has immortalized it in song) only a week or two after his heart attack. The word INDEFATIGABLE must have been created to describe this tireless man. Critics and fans sometime say that no Henderson album, live or studio, captures his live power, and that may be true, but here is one little- known live album that for me is a fine surrogate/substitute for a Bugs live show and a nice memento for those who have seen him: BUGS HENDERSON AND THE SHUFFLE KINGS "Gitarbazndrumz" Live At Poor David's Pub, Dallas, TX, August l992 Poor David's Recordings Vol. 3--PDRD1030 released late l992 Henderson--gtr, vcl, leader Cody Norman--drums Keith Jones--bass Beginning with a nice spoken intro from Pub owner David Card, Bugs and crew start things off with his standard "TAke Your Time." Since the days of Butterbeans and Susie, musical entertainers have known that double entendre material will wake up and turn on an audience, and Bugs takes HIS time with this laid-back 12 minute opener, which like ALL of this album captures the interplay and symbiotic relationship this fine performer has with his audiences. Among the other treats are a nice version of Sleepwalk, a Little Richard cover, his moving instrumental version of When A Man Loves A Woman, a number of catchy and audience-pleasing originals, and a "C&W Medley" where Bugs pulls offhis legendary trick of playing two songs simultaneously on his gtr.The CD closes with Bugs in the audience, inaudible and off mike, as the crowd sings Shake Rattle and Roll. More than almost any live album I know, this sounds like an actual gig. The chats to the audience, the gtr tricks (which he narrates for those of us at home), the extended moody numbers, the crowd pleasers, the give-and-take relationship with the long-time fans who know his music inside out. I've been told that Poor DAvid's does not do mail order, so good luck in finding/ordering this CD. And interested Texas Music fans will also want to check out the superb RUSTY WIER live album (vol. 4) on this label. Here's a piece of Bugs trivia. On the recent "Shreveport Stomp" CD of RAM label recordings from the late 50s/early 60s, there's a track by label owner Mira Smith, under her Grace Tennessee psuedonym, an American Indian-oriented gtr instrumental called "Pow Wow" which was recorded in l961 at Robin Hood Brians' studios in Tyler, Texas (where, later, many of the great Mouse and the Traps records with Bugs were recorded) and which features Bugs on 2nd gtr. Is this his earliest recording? I have some rockin' instrumental 45 somewhere that I was once told is a band led by Bugs, but that sounds circa l963 or so. With all the talk of awards, if I were forced to give awards, I think I would give some to artists such as Bugs Henderson, Gary Primich, and others who are out there ALMOST EVERY NIGHT playing great music for diverse but appreciative audiences of ALL sizes and building significant word-of-mouth reputations and repeat business among audiences who wouldn't even know WHERE to buy a blues record. Thank you, Bugs. Bill Shute San Antonio, TX (where I smell the Pearl brewery on my way into work every morning at 6:30 am) "and I keep kissing my pillow/staring at the wall and I keep hearing your footsteps/coming through the hall and I keep counting the million dreams that never will come true and I keep kissing my pillow/ and pretending it's you" --Warren Smith/Harlan Howard ========================================================================= Date: Tue, 29 Aug 1995 08:36:36 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Billboard's new Blues Chart I for one would like some rational discussion on the lines. On one hand, blues had a lot of babies. You hear everyone from rock, country, Jazz to classical artists playing blues. But lets be honest, if I play hard or mellow rock, including some blues covers does not make me a blues artist. If that is the case, then because Wynton Marsalis covered "Sometimes I feel like a Motherless Child" he should be considered a blues artist, or should I say Gospel artist? By no means should we become blues police, but OTOH we should not endorse misconceptions and lies. I am glad to see Blues receive any PR, even in error. But let's correct the errors. One Heart, Moses ========================================================================= Date: Tue, 29 Aug 1995 07:52:34 CST From: William Shute Subject: the R&B organ of Hank Marr From: Bill Shute With the discussion of Wild Bill Davis yesterday, I was hungry for some classic organ R&B/jazz instrumentals last night and dug out some of the masters: Baby Face Willette, Larry Young, Jimmy Smith (it goes without saying!), Bill Doggett (by the way, those laid-back, late-night albums of his on King are for me the ULTIMATE make-out records! Now that they are reished domestically on King CDs, you can pop one in, hit the "repeat" button, and.............), and the great Hank Marr, out of Columbus, Ohio. HANK MARR "Greasy Spoon" Charly R&B CD 271 original l960-64 King/Federal recordings Marr-organ Rusty Bryant or Osborne Whitfield-tenor sax and on two tracks, FREDDIE KING on GUITAR!!! Hearing an organ/sax-led R&B combo kick around a melodic phrase or steamroll some bebop riff is one of the great joys of music. This kind of music used to be in the environment a lot when I was a kid of elementary school age back in the mid-60s. You'd hear it as the background music on radio commercials, you'd hear it rapped over by DJ's who had echo added to their voices, you'd hear it coming out of beauty salons, and although I was too young to go into bars, I'd hear it coming out of those "taverns" which left their doors open as I walked by. It's still great party music and is capable of creating an "instant lounge" wherever you go! Hank Marr is a master of this sound. Freddie King's playing on the cover of Lucky Millinder's (there HE is popping up again!) Ram-Bunk-Shush is tasty, although this track, featuring an up-front gtr, is untypical of the rest of the album (it's the lead-off track). This is not music to discuss, but music to enjoy...and to enjoy with OTHER PEOPLE. If my life were a film (and sometimes I wonder if it is, with me playing a Shemp Howard role in a Martin Scorsese world!), I'd get someone like Hank Marr to do the soundtrack. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 29 Aug 1995 09:18:00 EDT From: Robert Page Subject: Re: Buddy Guy then and now >Date: Mon, 28 Aug 1995 13:27:02 CDT >From: L W >Subject: Re: Buddy Guy then and now > >----------------------------Original message---------------------------- >>price over many years to stand behind it, and obviously enough folks out >>there DO like it enough to make him rich; more power to him! > >Just curious do you feel the same about Janet Jackson, EC and Micheal Bolton >They must be rich and a lot of people like them.. >............marketing works > >LW 'IMHO not qualified to dispute Dick Shurman, and not intended as disputing' > >------------------------------ LW I get the impression that you dismiss the opinions of those who do not adopt or hold the same opinions as you, without consideration. This impression comes from what I would describe as flippant come-backs like the above re: the Janis Jackson, Micheal Bolton, and EC (I can't stomach seeing Clapton's name grouped with the other 2 either, but that's another rant) comment. So you don't dig Buddy's show. Fine. Don't go. You've expressed your opinion about Buddy's style of performance before (the last time we had this exchange was back in January before the spring EC tour). What I ask is this. Provide a bit of new info supporting your position, that might stimulate a reconsideration of one's own feelings about Buddy's performance style. Those of us that have been on the list a while know well what your previously stated opinions are, and the discussion and rhetorical style used above does NOTHING to contribute to the discussion. Richard Shurman put forth some useful insights into why Buddy does what he does, and you come back with the above. Zero value, IMHO. Seems unlikley that anything you put forth would cause me to reconsider my feelings about Buddy's performance style (which I ENJOY, and have been, for over 16 years....hasn't varied one iota...in your mind does that imply I also fall prey to the marketing strategies of Janet Jackson and Micheal Bolton???) at this point, if only because of the style of discourse you've chosen to employ (and not just on this thread, either, I'd point out that opinions vary widely on NRBQ, or as you put it, the 'Sesame Street Band'). All of the above, of course, is IMHO. Bob Page ========================================================================= Date: Tue, 29 Aug 1995 10:03:31 -0400 From: Rick Miller Subject: Spend My Money (suggestion) How about...ummmm..do you have BBKing's "Blues Summit" ? Lotsa big Chicago sound, horns, and guitar-work, plus all those great duets with big voices. Go spend some money, man! :) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 29 Aug 1995 09:13:43 CDT From: L W Subject: The Rising Sun Collection Anyone like to share their opinion/knowledge of the Rising Sun Collection CD's I've seen a couple of these CD's and bought the Lightin Hopkins yesterday I haven't really had a chance to give a good listen.... Comments ???....Private mail, of course THANKS LW ========================================================================= Date: Tue, 29 Aug 1995 10:19:20 -0400 From: Rick Miller Subject: Apocalypse and EC opening for Gatemouth Hi Bill, one can assume that when these things are set up, that it's a business matter who is the headliner and who is the opener. For sure, in every corner of the globe except maybe in the Mississippi delta, Clapton is a much bigger draw than Gatemouth, right? As for whose blues are favored, well that's a matter of taste, obviously. But you've gotta put the BIG name on top, and on stage last. So whether we blues-lers like it or not, EC is H U G E right now. Hey, maybe we should look at it this way, we die-hard blues fans all know Clarence Gatemouth Brown, but maybe now some Clapton fans will get some much needed exposure to a bonafide blues man that they might not otherwise get. Maybe we're not so close to the apocalypse after all! :) *whew!* :) Riffin Rick (((( oo-) /- I got a woman, lives up on the hill Says she gonna love me but I don't believe she will. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 29 Aug 1995 10:33:27 -0400 From: bob unger Subject: Satan and Adam gigs Here's a few more dates for Satan and Adam gigs. There are additional dates posted at Musi-Cal for those interested: http://www.automatrix.com/concerts September 9 - The North Star - Philly, PA. September 24 - Averill Park Blues Festival - Albany, NY September 30 - Terra Blues - NYC October 28 - The Town Crier - Pauling, NY BU bob@sun.bnkst.edu ========================================================================= Date: Mon, 28 Aug 1995 13:50:56 PDT From: rjbauman@IQUEST.NET Subject: My Mail Server Choked!! My apologies to all of you who were in correspondance with me regarding the blues fest in Indy Saturday.. My mail server gagged on a message at the beginning of a download and I had to have my provider dump 256 messages. They won't go into anybody's mail to delete any one file. To make matters worse, I installed a new mouse and it wouldn't let Windows run until I piddled the day away editing my config and autoexec files. :-( Please know that I'm not ignoring you all! Also, sorry if any of you had trouble with the Netscape Chat attachment I posted. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Tue, 29 Aug 1995 10:54:01 -0400 From: Gerald Leddy Subject: Ltd. BC/axe question I ran into a possible deal and was wondering if any of you knowledgeable about guitars can help me out. The `find' is a Martin O18, very good shape, serial number 225551; owner has had it for at least 22 years (or so she says) and it's for sale. Neck appears straight, no marks, and no fret buzzes. It does not come with a Martin case, however; it's in a gig bag kind of thing. Any information about its age, worth, and questions I should ask would be greatly appreciated. Private responses gladly accepted. Thanks in advance, Jerry. ========================================================================= Date: Tue, 29 Aug 1995 10:20:08 CST From: William Shute Subject: Harvey Mandel "Twist City" CD From: Bill Shute Has it been almost 30 years since Harvey Mandel blasted upon the scene with Charlie Musselwhite? His playing with CM and then John Mayall (where I first heard of him) and his solo albums on Philips and Janus, all of which hold up REALLY WELL today I M H O....WOW. Actually, and this is no slight to Mr. Mandel, I've never purchased a new copy of one of his solo albums. Actually, I never remember seeing any new copies of the Janus albums where I lived...only promo copies for sale "used" and then cutouts. And I never saw a copy of this l993 Chicago-based effort sold new down here--this cheap used copy was the first one I'd seen. It's great to see this innovative and distinctive blues guitarist back with a recent release. of course, he's probably "never been away," but I seem to have missed much of his l980s activity. This roots-oriented album features mostly original compositions by Mandel and/or vocalist Mark Skyer (kind of a Darrell Nullisch (sp?) type singer), and it's refreshingly unpretentious and NOT overproduced as so many records are today. Mandel's inimitable tone and technique (like Jimmy Dawkins, but in a VERY different way, Mandel is a master of controlled distortion, and uses it as precisely as a scalpel) shine throughout, and frankly I wonder why some "major" blues label hasn't signed this man up, teamed him with a vocalist, and let him assume his proper place at the forefront of modern blues/blues-rock gtr players.(or, better yet, why can't he just do all-instrumental albums if he wants??? what a radical concept THAT would be in today's marketplace!!!) I see that Baby Batter has been paired with another early 70s Mandel album for CD release; the early Musselwhite material has been reished; the Mayall albums are all now available again; back in the late 80s, Line Records in German reissued 4 or 5 Mandel albums, I think...so maybe now, this "new wave" of blues fans will pick up on Harvey Mandel. An album like this one won't date, so whenever you stumble upon a copy, you might want to pick it up. Then, like me, you'll be anxiously awaiting Mr. Mandel's NEXT project. (by the way, excellent notes from Dan Forte/Teisco Del Rey, discussing Harvey Mandel's unique style and his place in the pantheon of modern guitarists) If he's new to you, try listening to some of the Baby Batter reissue at one of those stores that let you listen to CDs in-store before buying them. Or borrow a friend's Musselwhite CD of VAnguard material. (or find some aging psych-head who has a copy of Christo Redemptor) You too will wonder why you don't see his name mentioned more often. ------(deleted reference to Clapton)-------- HARVEY MANDEL "Twist City" Western Front Entertainment WFE 10022 (US, CD) their address is PO Box 1372, Morton Grove, IL 60053 fax 312 384 9256 -------------------------------------------------------------------------- Bill Shute San Antonio, TX (who once saw a photo of a "sculpture" of part of Mr. Mandel!) ========================================================================= Date: Tue, 29 Aug 1995 10:31:17 -0600 From: Tom Rossen Subject: Re: Latest sign of the apocalypse I'm half-Jewish and I studied some Greek, so here's my two cents: She pitch that Wang Dang Doodle, don't matter who the headliner be. "Apocalypse" means something like "revelation" or "epiphany" - it don't gotta be a bad thing, St. John the Divine to the contrary.... =81 >At 10:51 AM 8/28/95 -0400, Steve Levine wrote: >>The latest sign of the apocalypse is: >> >> Koko Taylor is opening for Huey Lewis and the News! (and I thought it >>was bad enough when he was headlining the New Orleans Jazz Heritage >>Festival). :) >> >> > >Actually, Steve, sounds like a GOOD apocolyptic sign to me: a main-stream >rock act, recognizing that the blues has some drawing power, giving an >important blues performer some much-needed exposure in front of a >main-stream rock audience... > >Sounds pretty good to me. > >But, then again, I'm Jewish - what do I know about apocolypses.... > > >David Silberberg Woman I love has two teeth >davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Tue, 29 Aug 1995 10:31:25 -0600 From: Tom Rossen Subject: Re: My Mail Server Choked!! Once again, let us Mac owners not sneer at RJ, the poor victim of Billgatesian hype. "Windows 85 - er, 95 - just startin' to catch up with the Mac." :-} >My apologies to all of you who were in correspondance with me >regarding the blues fest in Indy Saturday.. > >My mail server gagged on a message at the beginning of a download >and I had to have my provider dump 256 messages. They won't go into anybody's >mail to delete any one file. > >To make matters worse, I installed a new mouse and it wouldn't let Windows >run until I piddled the day away editing my config and autoexec files. :-( > >Please know that I'm not ignoring you all! > >Also, sorry if any of you had trouble with the Netscape Chat attachment I >posted. > >------------------------------------- >Name: R. J. Bauman >E-mail: rjbauman@pop.iquest.net (R. J. Bauman) >Date: 08/03/95 >Time: 14:17:21 > >This message was sent by Chameleon >------------------------------------- Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Tue, 29 Aug 1995 11:29:30 -0400 From: Mike Evans Subject: Jo Ann Kelly I'm looking for an album by British blues singer Jo Ann Kelly with John Fahey on guitar. It may have been on Blue Goose records. I don't have the album title. any info on where this might be found would sure be appreciated Thanks, Mike ========================================================================= Date: Tue, 29 Aug 1995 11:36:37 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Buddy/Jimi/Robert Cray/Hypnotics/Future of the Blues I agree that blues can and will not continue a headlong rush to rock. It never has. Some blues artists have and may find that there there is more money in rock, and play Bluerock, while they decide if they will be dual format artists or become rock musicians. But, somewhere, there will always be True Blues. One Heart Moses ========================================================================= Date: Tue, 29 Aug 1995 11:36:24 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Opening & Main Acts, Why not better planned That just shows that some promoters don't understand their own job. Proper planning would reduce that. BTW I think mixed format shows are a very good idea. One Heart Moses ========================================================================= Date: Tue, 29 Aug 1995 11:36:28 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Buddy Guy then and now "100 Years of The Blues" True Blues will always be here, but it will continue to have legitimate and illegitimate offspring. I can appreciate and enjoy many types of music, most that owe their birth to Blues. However my opinion of them drops when the very people performing it are so ashamed of it that instead of giving credit to its' parent, they try to pass it off as the parent, or deny the parent. If I'm at a BBQ, I can enjoy a burger as well as a steak. But please don't insult me by trying to make me believe that you putting A-1 steak sauce on my burger turned it into T-Bone. One Heart Moses ========================================================================= Date: Tue, 29 Aug 1995 11:47:27 -0400 From: Stew Crossen Subject: Re: Spend My Money (suggestion) BB's blues summit is good choice. i always open my show with "playing with my friends " from the summit album. Stew Crossen (Beef Stew) WHUS Radio ========================================================================= Date: Tue, 29 Aug 1995 08:49:46 -0700 From: Joe Lempkowski Subject: Re: Spend my money...Please! Steve Roberts writes: Here's what I'm dreaming of: Big, big Chicago sound Lotsa horns...sax, too. Harp Hammond B3 Great guitar leads wouldn't hurt Sounds like you just described Billy Branch's recent Verve release, "The Blues Keep Following Me Around." It meets all of your requirements and then some. It features: 1. Possibly the greatest harmonica player on the planet, Mr. Billy Branch. Billy is a very inventive player and moved beyond the Little Walter or George Smith type stuff that most harmonica players are still doing. 2. One of the most awesome guitar players on the scene, Mr. Carl Weathersby. Carl plays some fierce Albert King style stuff. Carl is also an incredibly soulful singer. 3. It contains an Hammond B3, horns and has that great Chicago sound. This is easily my pick of 1995. It has been in one of the CD players since I acquired it. I had to buy a second copy for my wife since I go almost nowhere without my copy. It is the only CD I have a duplicate of. Cheers, Joe ========================================================================= Date: Tue, 29 Aug 1995 09:11:27 -0700 From: Adrian Spidle Subject: Roy Buchanan Hi; I was wondering: Roy Buchanan toured with the same band for at least 3 years (right up to his death) but never recorded with them. Why would that be? The obvious explanation seems to be that they were cheaper to tour with than the people he recorded with; if he preferred playing with them, shouldn't he have recorded with them? But if the people he recorded with cost more, how did he afford it? Or was there some sort of deal with the recording company where they covered his albums but gave him less for a touring budget? Oh heck I don't know anything about music economics. Anyone? Adrian ========================================================================= Date: Tue, 29 Aug 1995 09:09:00 -0700 From: Ned Kraft Subject: Buddy guy I've seen Buddy a couple of times and I have to say that he is an original, like it or not. I'm tired of the "I can play ... " portion of his show but it was quite short last time I saw him AND - he played almost exclusively quiet blues. At Stanford the PA was a piece of crap, Sonny Landreth opened up with a weak performance and worse sound. On some of the songs you could hear Buddy's unamplified voice above the band. It was cool and the young(!) crowd was really into it. Buddy plays what he likes and is making some decent bread - any musicians here who wouldn't LOVE to do the same? Ned ========================================================================= Date: Tue, 29 Aug 1995 12:49:00 EDT From: edward c liu Subject: Re: Billboard's new Blues Chart Howdy all, One thing worth noting on Billboard's new blues chart: >6. Essential Blues/Various Artists (House of Blues Records) Yup...that much-vilified Ho? has put out a 2-CD "blues primer" set. I caught a gander at it in a Tower Records. I doubt most of the regular contributors to this list would want it, but it is a pretty decent selection of blues for the uninitiated, mostly (from what I remember) from the 50's and 60's. No Hootie & the Blowfish or Sheryl Crow to be seen. I'm not even sure they make it as far as SRV. Of course, I don't think they make it much further back than Muddy Waters' "I Can't Be Satisfied" either. The HoB critics will undoubtedly blast them for making money off of it by riding the blues trend. However, they do contribute and participate in Blues in the Schools, so I *STILL* think their hearts are in the right place. They gotta eat, too. I'll still recommend the Alligator 20th Anniversary set over this one for anybody who wants to get into this "blues thing," but the HoB set is also a decent way to get one foot in the blues. -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 29 Aug 1995 12:49:00 EDT From: edward c liu Subject: Can Everybody Dig the Blues? Howdy all, LW wrote: >I believe (pretty strongly) that most people would dig the "real" blues if >they actually heard them. Gotta disagree with you here. After many attempts at "blues conversions," I've just come to the conclusion that there's a whole LOT of people out there who don't get it. There are also lots of people who are perfectly happy buying EC's _Unplugged_ and _FTC_ and that's all the blues they want or need. There are people I know who follow whatever's hot on top40 radio, who would buy blues if that was being played. There are people I know (like my current roommate) who like that alterna-crap and techno dance stuff and must have holes in their souls the size of Texas. Everybody's had the blues, but the blues is not for everybody. Sad, but true. There's more of us out there than you'd think, but -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 29 Aug 1995 09:42:59 MST From: Bill Breen Subject: Re: Buddy Guy concert in AZ I guess I wasn't very clear in my posting: I certainly don't think Buddy is a puppet doing tricks for the audience. I'm sure that he only plays the songs that he WANTS to play. And his versions are incredible - intense and soulful. I also think that a good entertainer (and Buddy is a great one) connects with an audience and may alter his set based on the crowd's reaction. Bottom line - 1. Buddy is an incredible artist. 2. His concert was an unforgettable experience for me. 3. For my own personal tastes, I would have liked to hear Buddy play some other material, that's all. (or better yet, instead of replacing some of the 'rockier' songs, just ADD some of his older stuff.) --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Re: Buddy Guy concert in AZ Date: Monday, August 28, 1995 8:45PM DATE: Aug 28 20:34:28 1995 -07:00 relative to GMT IPMessageID: ?950828205704(u)65674198(a)emout04.mail.aol.com? FROM: BLUES-L AUTHORIZED: BlueSngr TO: BLUES-L BCC: bbreen SUBJECT: Re: Buddy Guy concert in AZ REPLY TO: BlueSngr IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- >he must have felt he was delivering what the audience wanted< I cant believe how many people on this list think Buddy Guy is just a puppet doing tricks the audience wants. Does anybody have respect for him and his choices? Do you really think he hates what he is doing, just wants to make a buck ? Everything Ive read on him and heard from him tells me he plays what he wants the way he wants to and is more put off by blues police telling him what to do than anything. Even in a small blues club he does the same thing . Damn Right He's Got The Blues ! Garry ========================================================================= Date: Tue, 29 Aug 1995 17:02:44 +0000 From: Pat Hertel Subject: Re: Latest sign of the apocalypse On Tue, 29 Aug 1995, Tom Rossen wrote: > I'm half-Jewish and I studied some Greek, so here's my two cents: >=20 > She pitch that Wang Dang Doodle, don't matter who the headliner be. >=20 >=20 > "Apocalypse" means something like "revelation" or "epiphany" - it don't > gotta be a bad thing, St. John the Divine to the contrary.... >=20 > =81 >=20 >=20 Maybe they mean "apoplectic" :):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [29/8/95 12:57 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 29 Aug 1995 12:53:05 -0400 From: Willy Evans Subject: Re: Roy Buchanan On Tue, 29 Aug 1995, Adrian Spidle wrote: > Hi; > > I was wondering: Roy Buchanan toured with the same band for at least 3 > years (right up to his death) but never recorded with them. Why would > that be? The obvious explanation seems to be that they were cheaper to tour > with than the people he recorded with; if he preferred playing with them, > shouldn't he have recorded with them? But if the people he recorded with > cost more, how did he afford it? Or was there some sort of deal with > the recording company where they covered his albums but gave him less for > a touring budget? Oh heck I don't know anything about music economics. > > Anyone? Playing in the studio is very different from playing live. There is a body of studio musicians who make their living makeing records sound good. So I suspect that the decision was based on having the right people for the job. Also I suspect it is cheaper to have people that can get a track done in fewer takes. That's my guess, anyways! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Tue, 29 Aug 1995 13:40:10 EDT From: qquit Subject: Clarksdale Would some of you who have travelled to Clarksdale, Miss., please tell me if it is worth the trip? Do a number of Blues artists still preform around town on a regular basis? What is the best time of year to go etc. Thanks. jwp. ========================================================================= Date: Tue, 29 Aug 1995 14:15:01 -0400 From: Rick Miller Subject: Test, sorry-no blues testing a new address file. sorry gang. patience please. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 29 Aug 1995 14:48:35 -0400 From: Bob German Subject: Re: Clarksdale JWPATT00@UKCC.UKY.EDU (qquit) wrote: >Would some of you who have travelled to Clarksdale, Miss., please tell me if it > is worth the trip? Do a number of Blues artists still preform around town on a > regular basis? What is the best time of year to go etc. Thanks. jwp. Not sure about local performers, but the trip is most definitely worthwhile for a fan of blues music. The first place you should go is to the Clarksdale Blues Museum in the public library on Delta street. There, you can purchase a blues map of the Clarksdale area, marking such sites as the legendary crossroads, Robert Johnson's grave site, the site of Bessie Smith's car wreck, and the birth and grave-sites of many other blues legends. Plus, the day I went, there was a local player in the library giving guitar lessons to a small group of people. The museum is free to tour, unlike the Memphis Blues Museum (which, by the way, the proprietor told me back in July, is up for sale). ========================================================================= Date: Tue, 29 Aug 1995 18:57:49 GMT From: Paul L Pearson Subject: Re: Bugs Henderson "Gitarbazndrumz" CD Sorry for the repost of the entire text, but I wanted to crosspost this to the other newsgroup in light of our recent discussions about Bugs. In <19950829.082209.925918.NETNEWS@AUVM.AMERICAN.EDU> William Shute writes: >From: Bill Shute >It shouldn't have come as much surprise when Bugs Henderson was >back out on "the road" (as he has immortalized it in song) only a >week or two after his heart attack. The word INDEFATIGABLE must have been >created to describe this tireless man. >Critics and fans sometime say that no Henderson album, live or studio, >captures his live power, and that may be true, but here is one little- >known live album that for me is a fine surrogate/substitute for >a Bugs live show and a nice memento for those who have seen him: >BUGS HENDERSON AND THE SHUFFLE KINGS >"Gitarbazndrumz" >Live At Poor David's Pub, Dallas, TX, August l992 >Poor David's Recordings Vol. 3--PDRD1030 >released late l992 >Henderson--gtr, vcl, leader >Cody Norman--drums >Keith Jones--bass >Beginning with a nice spoken intro from Pub owner David Card, Bugs and >crew start things off with his standard "TAke Your Time." Since the >days of Butterbeans and Susie, musical entertainers have known that >double entendre material will wake up and turn on an audience, and >Bugs takes HIS time with this laid-back 12 minute opener, which like >ALL of this album captures the interplay and symbiotic relationship >this fine performer has with his audiences. >Among the other treats are a nice version of Sleepwalk, a Little >Richard cover, his moving instrumental version of When A Man Loves >A Woman, a number of catchy and audience-pleasing originals, and >a "C&W Medley" where Bugs pulls offhis legendary trick of playing >two songs simultaneously on his gtr.The CD closes with Bugs in >the audience, inaudible and off mike, as the crowd sings Shake >Rattle and Roll. >More than almost any live album I know, this sounds like an actual >gig. The chats to the audience, the gtr tricks (which he narrates >for those of us at home), the extended moody numbers, the crowd >pleasers, the give-and-take relationship with the long-time fans >who know his music inside out. >I've been told that Poor DAvid's does not do mail order, so good luck >in finding/ordering this CD. And interested Texas Music fans will also >want to check out the superb RUSTY WIER live album (vol. 4) on this label. It's available from cdconnection.com and maybe cdnow.com. >Here's a piece of Bugs trivia. On the recent "Shreveport Stomp" CD >of RAM label recordings from the late 50s/early 60s, there's a track >by label owner Mira Smith, under her Grace Tennessee psuedonym, >an American Indian-oriented gtr instrumental called "Pow Wow" >which was recorded in l961 at Robin Hood Brians' studios in Tyler, >Texas (where, later, many of the great Mouse and the Traps records >with Bugs were recorded) and which features Bugs on 2nd gtr. Is this >his earliest recording? I have some rockin' instrumental 45 somewhere >that I was once told is a band led by Bugs, but that sounds circa >l963 or so. Are any of these early records still available. Does anyone have a complete Bugs discography? I have: At Last, Still Flyin', American Music, Years in the Jungle, Daredevils of the Red Guitar, Gitarzbazndrumz-Live at Poor David's, and That's the Truth-Live. I also have the Bugs video-Live at the Fox put out by Flat Canyon Records. All of the above are CD's (and currently available) except the Still Flyin' album (IMHO, his best) which is on Flying High Records. Any others I don't have?? >With all the talk of awards, if I were forced to give awards, I think >I would give some to artists such as Bugs Henderson, Gary Primich, >and others who are out there ALMOST EVERY NIGHT playing great music >for diverse but appreciative audiences of ALL sizes and building >significant word-of-mouth reputations and repeat business among >audiences who wouldn't even know WHERE to buy a blues record. >Thank you, Bugs. Ditto. >Bill Shute >San Antonio, TX >(where I smell the Pearl brewery on my way into work every morning >at 6:30 am) >"and I keep kissing my pillow/staring at the wall > and I keep hearing your footsteps/coming through the hall > and I keep counting the million dreams that never will come true > and I keep kissing my pillow/ and pretending it's you" >--Warren Smith/Harlan Howard -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Tue, 29 Aug 1995 13:10:48 -0700 From: Ron Wack Subject: Re: Can Everybody Dig the Blues? Item Subject: Message text I'd have to say no, some people don't get it. I have a good friend who I've been trying to convert to the blues for years. He's an exceptional R&R guitar player and has been trying to get me into some British punky stuff (can't remember the group but they have a song Lost in the Supermarket or something), a group called Squeeze, some Talking Heads, etc. I don't get a bunch out of it. On the other hand, he can't get by the "every song sounds the same" argument that non-bluesers try to use all the time. We do share a common interest in good classic and roots type R&R though. I guess that puts me at the far end of the non-purist category! %) Later RW ========================================================================= Date: Tue, 29 Aug 1995 15:21:28 -0400 From: Jeffrey Becker Subject: Trying To Subscribe To Your Mailing List To Whom It May Concern: I have been trying to subscribe to your mailing list, with no return response. I am very interested about your subject and would like to be placed on the list. My e-mail is ravenboy@pipeline.com. Thank you very much!!!! ========================================================================= Date: Tue, 29 Aug 1995 15:23:51 -0400 From: Bob vanArsdall Subject: Norwegians with the Blues Some time ago, we got postings from a group of Norwegians who were planning a trip to Dallas, New Orleans, then a drive through the Delta to Memphis. Reports of their presence appeared from Dick Waterman in Oxford, who ended up going to Junior Kimbrough's with them. I, for one, would be really interested in a "trip report" and their experiences on the road in the heart of blues country. Sorry I didn't keep your names.... Bob ========================================================================= Date: Tue, 29 Aug 1995 16:32:17 -0400 From: CATBAUER Subject: Blues-L Billboard list After reading the Billboard chart I happened to mention the list to a local blues dj who also works at a local record store that specializes in blues and jazz. We came up with a list based on sales from the store along with what's requested by listeners of the local blues shows. I'd love to know what is popular in other areas. Cat Rawls & Luckett - Can't Sleep at Night, Rooster Mighty Sam McClain - Keep On Movin', Audioquest Smokey Wilson - The Real Deal, Bullseye/Rounder Little Milton - I'm A Gambler, Malaco Buddy Ace - From Me to You, Bobby Bland, Evejim Wilie Clayton - No Getting Over Me, Ichiban Howard Tate - Get It While You Can, reissue on Mercury Buddy Guy - Slippin' In, Silvertone Snooks Eaglin - Soul's Edge, Blacktop Saffire - Old, New, Borrowed & Blue, Alligator Lazy Lester - I'm Evil, reissue on AVI/Excello Trudy Lynn - First Lady of Soul, Ichiban Charles Brown - These Blues, Verve Chris Duarte - Texas Sugar/Strat Magik, Silvertone John Lee Hooker - Chill Out, Pointblank/Virgin Etta James - Live from SF, Private ========================================================================= Date: Tue, 29 Aug 1995 16:18:01 -0400 From: Gerald Leddy Subject: Re: Just don't get it! I think the blues may be just like a lot of other things, some just don't get it, and some just do! Take for example `modern' art. A number of people can look at, say, a painting in the cubist style and see the `Nude descending stair case', and others say, "Nude...what nude? Where's the hiney?". A co-worker that plays guitar has absolutely no time for anything that even borders on blues. But ask him about The Stones (and before you jump in and mention the number of songs they covered, I've tried directing him to the originals) or The Cure, and he's a happy clam. Those of us that do get it (and even we can agree-to-disagree what are the blues, who is the blues, who can play the blues, and so on) find both particular enjoyment in this kind of music, and a very active list to, at least, lurk upon. I wished I had kept the recent post from someone, the gist being, your own ears are enough to know what you like. That's good enough for me. Jerry. ========================================================================= Date: Tue, 29 Aug 1995 13:32:31 -0700 From: Mary Katherine Aldin Subject: Re: Clarksdale You wrote: > >Would some of you who have travelled to Clarksdale, Miss., please tell me if it > is worth the trip? Do a number of Blues artists still preform around town on a > regular basis? What is the best time of year to go etc. Thanks. jwp. > The best time of year to go is fall and winter, when the many large mosquitos, chiggers, ticks and other livestock are asleep. I got chewd up when I was there this past June! Yes, Clarksdale is worth it; stop by Jim O'Neal's Stackhouse Records and pick up a copy of his Map To The Delta, which will show you many points of interest. Fortunately, I had a friend drive me through the Delta when I was last there, and so I got to slightly out-of-the-way places like Avalon (where I stood beside John Hurt's grave for a moment of quiet) and Tutwiler (ditto Sonny Boy Williamson) and Como (ditto Fred McDowell). If there is anywhere in Mississippi, not just Clarksdale, that you want to go, jim will be able to direct you. Also, in Holly Springs is Junior Kimbrough's juke joint and I understand that recently R.L. Burnside has opened a "competing" place. If you get to Oxford, go to Uncle Buck's Records on the Square and visit some with Peter Lee, (ex-editor of Living Blues) who can let youknow what's going on in the way of live music. Also in Oxford is the Center for the Study of Southern Culture. Dick Waterman, who is wired at jinxblues@aol.com and is on this list, can probably give you many more pointers since he lives there! Mary Katherine ========================================================================= Date: Tue, 29 Aug 1995 14:07:25 -0700 From: Chris Adams Subject: Re: the R&B organ of Hank Marr Hank Marr has a new CD on the Double Time label out of the Midwest. I received the catalog today in the mail. What timing! Just when I thought that I would never see the Paul Chambers Blue Note recording "Bass on Top" on CD, I get this catalog with a sale on the complete Blue Note catalog, including the "Connosieur Series", which includes limited editions of some of the catalog. This particular CD features the bluest of the jazz guitarists, Kenny Burrell, as well as Chambers doing some phenomenal bass bowing. Most of the catalog is on sale for $9.95 and the "Connosieur Series" is $12.95. I will be filling out my Jimmy Smith collection, as well as picking up some Eddie "Lockjaw" Davis CD's. Any blues fan who has not heard some of these blues-jazz players are really missing out. If you are interested in getting this catalog, e-mail me privately. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 29 Aug 1995, William Shute wrote: > From: Bill Shute > > With the discussion of Wild Bill Davis yesterday, I was hungry for > some classic organ R&B/jazz instrumentals last night and dug out > some of the masters: Baby Face Willette, Larry Young, Jimmy Smith > (it goes without saying!), Bill Doggett (by the way, those > laid-back, late-night albums of his on King are for me the ULTIMATE > make-out records! Now that they are reished domestically on King CDs, > you can pop one in, hit the "repeat" button, and.............), and > the great Hank Marr, out of Columbus, Ohio. > > HANK MARR > "Greasy Spoon" > Charly R&B CD 271 > original l960-64 King/Federal recordings > > Marr-organ > Rusty Bryant or Osborne Whitfield-tenor sax > and on two tracks, FREDDIE KING on GUITAR!!! > > Hearing an organ/sax-led R&B combo kick around a melodic phrase > or steamroll some bebop riff is one of the great joys of music. > This kind of music used to be in the environment a lot when I was > a kid of elementary school age back in the mid-60s. You'd hear it > as the background music on radio commercials, you'd hear it > rapped over by DJ's who had echo added to their voices, you'd > hear it coming out of beauty salons, and although I was too young > to go into bars, I'd hear it coming out of those "taverns" which > left their doors open as I walked by. It's still great party music > and is capable of creating an "instant lounge" wherever you go! > > Hank Marr is a master of this sound. > > Freddie King's playing on the cover of Lucky Millinder's (there HE > is popping up again!) Ram-Bunk-Shush is tasty, although this track, > featuring an up-front gtr, is untypical of the rest of the album > (it's the lead-off track). > > This is not music to discuss, but music to enjoy...and to enjoy with > OTHER PEOPLE. If my life were a film (and sometimes I wonder if it > is, with me playing a Shemp Howard role in a Martin Scorsese world!), > I'd get someone like Hank Marr to do the soundtrack. > > > Bill Shute > San Antonio, TX > ========================================================================= Date: Tue, 29 Aug 1995 14:00:40 -0500 From: Roger Struve Subject: Can Everybody Dig the Blues? -Reply I agree with Ed. I got a friend named Doug, who doesn't understand the blues at all...in fact, he won't listen to me play even (we've been friends for 24 years) because any and all blues makes him sad (according to him)...and he asked me how i manage to be so happy playing such sad music... Well, the conversation waned at that point, and didn't arise again, until one day, we were on his boat in beautiful Lake Minnetonka, and he puts on this tape of disco music...and he says, "Rog, (no delta doc), now this is where my soul is!" and he proceeded to do some disco dancing right there in the boat...i didn't know whether to fall into the water, sit down, or just expire at that point...can you imagine that your soul is touched only by disco music? So, now, we lovingly refer to him as "disco Doug"...and i never fail to be quite amused at the range of musical tastes that human beings exhibit whenever i think of this episode. regards, delta doc roger ========================================================================= Date: Tue, 29 Aug 1995 16:44:41 PDT From: rjbauman@IQUEST.NET Subject: Re: My Mail Server Choked!! I'm NEVER going to get Windows 95. V3.1 and I are getting along just fine, thanks. :-) If you won't sneer at me for learning Dos 6.22 I won't sneer at you for staying with AOL. :-) :-) >Once again, let us Mac owners not sneer at RJ, the poor victim of >Billgatesian hype. > > "Windows 85 - er, 95 - just startin' to catch up with the Mac." > > >:-} BTW, that "garbage" file I sent turns into a nifty internet tool once it's decoded. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Tue, 29 Aug 1995 21:16:36 GMT From: Curtiss Clarke Subject: Cleanhead Vinson Reissue Hi: I'm trying to find a CD reissue of Cleanhead Vinson's sides he made in the 40's with Cootie Williams' band. So far I have only 1 side from a Columbia anthology of jazz singers. Does anyone know if this stuff is available with decent sound (on CD ?). Thanks C. Clarke Toronto ========================================================================= Date: Tue, 29 Aug 1995 17:20:19 -0500 From: "Henry Busse Jr." Subject: Happy Birthday August 30th BEAN, FLOYD R.Born:1904 GRINNELL,IA Died:03 / 09 / 1974 CEDER RAPIDS,IA Age:70 PIANO / ARRANGER Woked with: BIX BEIDERBECKE / BUNNY BERIGAN / JIMMY MCPARTLAND / BOB CROSBY / WINGY MANONE / BOB SCOBY BROWN, OLIVE (OLIVE JEFFERSON)Born:1913/ST.LOUIS,MO Died:05/09/1982/ST.LOUIS,MO AGE: 68 SINGER / DRUMMER BRYANT,WILLIE (WILLIAM STEVEN) Born:1908 / NEW ORLEANS,LA Died:02/09/1964 /Los Angeles,CA AGE:56 SINGER / LEADER/MC FOR BROADCASTS FROM THE APOLLO THEATRE DORHAM, KENNY ( MCKINLEY HOWARD ) Born:1924/FAIRFIELD, TX Died:12/05/1972 NEW YORK, NY AGE:48 TRUMPET / COMPOSER Worked With: DIZZY GILLESPIE / BILLY ECKSTINE / LIONEL HAMPTON / CHARLEY PARKER JOHNSON, LUTHER " GEORGIA BOY " aka SNAKE BOY ( LUCIUS JOHNSON ) Born:1934 / DAVISBORO, GA GUITAR Worked With: MUDDY WATERS JONES, RODNEY ( BRUCE ) Born:1956 / NEW HAVEN, CT GUITAR Worked With:JAKI BYARD / CHICO HAMILTON / DIZZY GILLESPIE / TOMMY FLANAGAN / HORACE JONES RENA, KID ( RENE HENRY ) Born:1898 NEW ORLEANS, LA Died: 04/25/1949 / NEW ORLEANS, LA AGE:51 TRUMPET / LEADER Worked With:KID ORY BROTHER OF JOSEPH RENA ========================================================================= Date: Tue, 29 Aug 1995 20:23:32 GMT From: John Sharpless Subject: Re: "Blown" harps- tech question I have been having bad luck blowing out D harps (MB Special 20s). Although 90% of my playing is on the draw notes, for some reason I tend to push the 4 blow hole over its limit every now and then, making it go flat. I've heard that there is a Lee Oscar brand tool kit which goes for around 25-30 which enables one to tune the put the "blown" reed back in tune. Although the tool kit is made by Lee Oscar, it can retune hohners and other brands too. I've never seen or used the kit myself, but have heard that it is worth its cost. Someone else responding to this note mentioned Kevin's Harps. I know that they sell harps cheaper than I've ever seen, and also carry the tool kit as well as green bullets and custom astatic mics. (I have no affiliation with Kevin's Harps) --J.S. ========================================================================= Date: Tue, 29 Aug 1995 18:07:00 CDT From: Bonnie Kalmbach Subject: Re: Clarksdale >The best time of year to go is fall and winter, when the many large >mosquitos, chiggers, ticks and other livestock are asleep. I got chewd >up when I was there this past June! Mary Katherine isn't kidding about the local bugs biting - they most certainly do and harder than almost anywhere else. I still have the marks on my arms from the Sunflower Blues Fest three weeks ago. Delta ants are pretty fierce too. Maybe you could buy some insect repellent at the Clarksdale Walmart (yes, national franchises have come to the Delta unlike Cooperstown, NY, the Baseball Hall of Fame town where they've kept them out!). Most of the folks into the local blues scene will tell you that there are no venues with regularly scheduled booked bands. It's all pretty impromptu and by word of mouth. You can obtain this word of mouth at the Stackhouse or perhaps the Delta Blues Museum - particularly from John Ruskey, it's current curator (?) and a local musician himself. Most of the local musicians have day jobs so expect to find live music only on weekends. The Sunflower Blues Association was kind enough to provide a map of Clarkdale pointing out local clubs, such as Margaret's Blues Diamond Lounge, Red's South End Disco, the Rivermount (we heard The Ladies Choice Band from Indianola this year - one of my favorites - with Willie Foster on harp) and Hopson's Plantation. I sure would try to find out where Johnnie Billington is playing - he is a monster guitar player - in my traditional point of view. ;-). -Bonnie ========================================================================= Date: Tue, 29 Aug 1995 18:52:26 -0600 From: Don O Subject: freddie king tribute Well, I was hoping Richard Chalk would post on this, but since he hasn't, here it goes... The same night that Clarance Gatemouth Brown played at the Dallas Hard Rock Cafe (8/27), Topcat Records held their record release party for their new Freddie King CD, This Is the Blues. Their part of the show started at 8:30 and it was already standing room only. Freddie's daughter Wanda, son Vernon, and another daughter attended the show, but the big surprise was the presence of Benny Turner, Freddie's brother and long time bass player. The show was MC'd by Jon Dillon, the Dallas DJ that recorded the interview and two acoustic tracks that appear on the CD. Things kicked off with Mark Pollock on guitar, Bobby Chitwood on bass, Lewis Stephens on piano, and keyboard and drummer who's name I didn't catch (see why I was waiting for Richard to post on this first?). The first tune was "Hideaway" and it was a smoker as always. Both Pollock and Lewis played in Freddie's band for 3 years and I believe the drummer and keyboardist were ex-Freddie King band, too. Chitwood had jammed with Freddie many times. Tutu Jones took Pollock's place and did several rollicking tunes with Benny on bass. "Going Down" was one of the tunes and is a standard in Tutu's repertoire. Wanda, Vernon and their sister took the stage to sing several tunes. Let me tell you, they got their father's vocal genes. Wanda, in particular, can really belt out the blues. Butch Bonner took Tutu's place on guitar and Chitwood came back on bass (they really had to twist Benny's arm to get him up onstage, but he had perked up a lot when his nephew and neices came up). Tutu reappeared to sing a few and was later replaced by Harold Walker. All in all it was a great record release party and a nice tribute to Freddie. Kudos to Topcat for doing things right and working with the Freddie King estate in releasing their CD. Richard did a great job lining up a bunch of Freddie's exband members to play at the show. Along those same lines, My 10th (or 11th, I forget) annual Freddie King birthday tribute show (the only real "theme show" I do all year) will air this Friday from 7-10 pm on KNON 89.3 FM in Dallas. 3 hours of nothing but Freddie King. One of Freddie's kids MAY stop by the show to talk about their father. Happy Birthday to Freddie King on September 3. I just wish he was still here to celebrate with us. Don O. ========================================================================= Date: Tue, 29 Aug 1995 19:19:39 -0500 From: William A Morgan Subject: Re: David Torkanowsky query On Tue, 29 Aug 1995, Kurt Derbyshire wrote: > Can anyone provide me with some biographical information on keyboard > player David Torkanowsky, who has appeared on several Black Top and Verve > releases over the last couple of years? > > Thanks > > Kurt Derbyshire > derbysk@ensis.nth.dpi.qld.gov.au > Torkanowsky is a fine keyboard player from New Orleans. He mostly is renowned here in New Orleans as a piano player and as more of a jazz artist, although if you attend the New Orleans Jazz and Heritage Festival you'll notice that he plays with two to four artists per day, and you might notice him going from stage to stage. He plays in a contemporary jazz band called Astral Project. As noted by Kurt, he's done quite a bit of blues session work lately. That's him playing the Hammond B-3, which was mentioned in a previous post, on the Billy Branch "the blues keep following me around" CD. He also does some excellent work on Larry Garner's latest, "you need to live a little". (And I recommend the Larry Garner CD to the blues-ler who expressed an interest in blues that contains some horns and B-3 Hammond music.) A couple of other CDs that I have with Torkanowsy are Steve Masakowski's BlueNote release, "what it was" and Johnny Adams' (aka the tan canary), "the Verdict". Masakowski also is a member of Astral Project. And Johnny Adams is one of several artists that I saw Torkanowsky play with at last year's New Orleans Jazz and Heritage Festival. Torkanowsky has a rich and diverse musical background. His father was a classical musician and a conducter. I think he conducted the New Orleans Symphony many years ago. His mother is originally from Spain and a flamenco dancer. I believe she teaches flamenco dancing somewhere around New Orleans. *********************** Bill Morgan ========================================================================= Date: Tue, 29 Aug 1995 20:10:56 -0400 From: Patti Bowman Subject: RJB's Server Choked!! >My mail server gagged on a message at the beginning of a download >and I had to have my provider dump 256 messages. They won't go into anybody's >mail to delete any one file. > >Also, sorry if any of you had trouble with the Netscape Chat attachment I >posted. > >Name: R. J. Bauman RJB- Any chance that the replies from your Netscape Chat attachment choked your mail server? Since I believe that what goes around comes around, I have to think that maybe your files which locked up my mail, did nasty things to you when I forwarded them back at ya. If there is a God........... -Patti PS - apology accepted. ========================================================================= Date: Tue, 29 Aug 1995 19:24:00 CDT From: "" Subject: EC show in Dallas EC opened his tour in Dallas last night. WHEW! ALL BLUES!! Really great. No Layla! They did 100% blues. It was a sort of revue of blues from the beginning. All acoustic at first, slowly progressing to electric stuff. Started with Robert Johnson and finished up with Freddie King. And all points in-between. Most every tune would have been better in a club setting, without the big booming bass and drums of the concert hall. But the really great thing was the fact that there were 50,000 people there, most of whom this was the first real experience they had had with the blues. There were several comments overheard around me such as 'Robert Johnson, I've heard or him!'. Of course we would all rather hear the original Elmore James, but EC did the blues world a great service by using his name and talents to promote and expose the blues light to a whole set of folks that live in the dark. Thanks Eric. Ya done good boy! Richard Chalk TopCat Records ========================================================================= Date: Tue, 29 Aug 1995 19:35:00 CDT From: "" Subject: Re: Freddie King release party From: topcat@computek.net Subject: RE: Freddie King release party To: don.o@chrysalis.org, topcat@computek.net Had a great Freddie King Bands Members Reunion party at the Hard Rock Cafe last Sunday night. Opened up for the Gatemouth show. The reunion consisted of most all of the former members of various bands that Freddie assembled during the 70's. Those that showed up were Mark pollock (Guitarist and now owner of Charley's Guitar Shop), Butch Bonner (Guitar), TuTu Jones (Guitar and singing), Lewis Stephens (piano), Ron Mason Organ, Chas. 'Sugar Boy" Myers (drums), Harold Walker (Drums and singing), Bobby Chitwood (Bass) , and lo and behold, the surprise of the night, was the presence of Benny Turner on Bass. He was Freddies Half-Brother. He played on 4-5 tunes and was as hot as ever. All I can say is that this was a KILLER show. Another surprise was Wanda King, Freddie's daughter. Man, can SHE sing! Great voice. After they played for the alotted hour, Gatemouth came on and tore it up! What a night! What a release party! Richard Chalk TopCat Records <---- End Included Message ----> ========================================================================= Date: Tue, 29 Aug 1995 19:42:00 CDT From: "" Subject: Re: Freddie King release party From: topcat@computek.net Subject: RE: Freddie King release party Had a great Freddie King Bands Members Reunion party at the Hard Rock Cafe last Sunday night. Opened up for the Gatemouth show. The reunion consisted of most all of the former members of various bands that Freddie assembled during the 70's. Those that showed up were Mark pollock (Guitarist and now owner of Charley's Guitar Shop), Butch Bonner (Guitar), TuTu Jones (Guitar and singing), Lewis Stephens (piano), Ron Mason Organ, Chas. 'Sugar Boy" Myers (drums), Harold Walker (Drums and singing), Bobby Chitwood (Bass) , and lo and behold, the surprise of the night, was the presence of Benny Turner on Bass. He was Freddies Half-Brother. He played on 4-5 tunes and was as hot as ever. All I can say is that this was a KILLER show. Another surprise was Wanda King, Freddie's daughter. Man, can SHE sing! Great voice. After they played for the alotted hour, Gatemouth came on and tore it up! What a night! What a release party! Richard Chalk TopCat Records <---- End Included Message ----> <---- End Included Message ----> ========================================================================= Date: Tue, 29 Aug 1995 12:27:24 -0700 From: Jeff Birk Subject: Blues in Toronto?? I'm going to be in Toronto Oct. 9-12. Never been there and I hear it's beautiful. Can anyone let me know of any places where I can see some good blues during my stay? Thanks. Jeff ========================================================================= Date: Tue, 29 Aug 1995 21:22:12 -0500 From: "June V. Taylor" Subject: Delta Studies Symposium...The Blues II A call for papers... The Department of English & Philosophy at Arkansas State University (Jonesboro) will hold a second interdisciplinary conference on the blues April 18-20,1996... Scholarly papers, organized panels, and creative multimedia presentations and demonstrations may come from any humanities and social sciences discipline, especially American studies, anthropology, folklore studies, history,literature,musicology,popular culture, and sociology. Though any topic relating to the blues will be considered, presenters might give special attention to pedagogical issues, the blues in literature and other media, women in the blues, blues stylists,and blues history. Proposals for papers should include a 250-word abstract; those for creative presentations should include a sampling of previous work...THE DEADLINE FOR SUBMISSIONS IS JANUARY 15, 1996. Send inquiries to: DELTA SYMPOSIUM COMMITTEE Department of English and Philosophy PO Box 1890 Arkansas State University State University,AR 72467-1890 Phone:501-972-3043 FAX:501-972-2795 email wclement@toltec.astate.edu or rburns@quapaw.astate.edu ========================================================================= Date: Wed, 30 Aug 1995 01:17:49 -0400 From: Msbeale Subject: Chris Cain CD Celebrations SF Bay area blues singer/songwriter/guitarist Chris Cain will be celebrating the release of his 4th CD-"Somewhere Along the Way" on Blind Pig Records at the following locations: Thurs-Aug 31-Lou's Pier 47-San Francisco Fri-Sept 1-JJ's Blues Club-San Jose Sat-Sept 2-Biscuits & Blues-San Francisco There will be Cd's and Blind Pig t-shirt giveaways in addition to some terrific music by the Bay area's premiere blues band. See ya there! ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 30 Aug 1995 01:29:38 -0400 From: Msbeale Subject: Need Help with tour in North East Trying to put together a last minute tour of major markets in the North Eastern U.S.A for Chris Cain in October. Will fly in to Newark NJ on 10/15. Need to do New York, Boston, Philly, area in 5 days. Must be in LA by 10/20. Under direct orders from the record company ....:) In order to make the most efficient use of our time, can I get suggestions on the BEST blues venues in these markets? Need clubs with minimum capacity of 250. Thanks in advance for your help. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Wed, 30 Aug 1995 01:12:18 -0600 From: Tom Rossen Subject: Re: Buddy/Future of the Blues > I get the impression sometimes, that when some people >say the blues has to change, as all art forms do, to stay viable, they >mean that it has to move exclusively toward rock music. I happen to >think that Big Jack Johnson is one of the most creative blues artists working >today - but he incorporates a lot of country music into his style of >playing - which he did brilliantly at the Mississippi Valley Blues >Festival in Moline this year - and - at the Chicago Fest he did a lot >of jazz when he played with the New Africa String Quartet. Many other >contemporary blues artists also use a lot jazz in their style. >So the future of the blues is not quite a steady progression toward >rock and rock alone...My .02 cents worth this evening. > I have seen the future and it sizzles: blues incorporating free jazz. Little Joe on trombone and Michael Peavy on alto sax sitting in with (who else) the SOBs, going into free changes in the middle of their solos and coming back out into funky blues. Even Carl was doing it.... > > -Bonnie Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 30 Aug 1995 04:47:22 -0400 From: Fred Sokolow Subject: Re: The Apocalypse may be closer than we think All this talk about the apocalypse is only wishful thinking (it's easier to deal with than...things just going on and on...like they do...)...Fred S. ========================================================================= Date: Wed, 30 Aug 1995 09:09:30 GMT From: AND Books Subject: Bluesman Wayne Newton! EC affect on glitztown is now more evident... last night's Conan show had Wayne Newton ending his bit with a guitar-thang of "Dankeshoen"... he announced enuff! Broke into a smiley blues number.... any comments on what this means to us purists? :) janos ========================================================================= Date: Wed, 30 Aug 1995 07:33:08 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 30th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLEN, THOMAS S. "PAPA DEE" (d/WAR) d. 1988-0830, VALLEJO, CA 57 BLACK, JAMES N. (d) d. 1988-0830, NEW ORLEANS, LA 48 BLACKMAN, JUNIOR (d) b. 1935-0830, LELAND, MS BROWN, JEWELL HAZEL (v/EARL GRANT) b. 1937-0830, HOUSTON, TX BROWN, OLIVE [OLIVE JEFFERSON] (v) b. 1913-0830, ST. LOUIS, MO BRYANT, WILLIE STEVEN (v/APOLLO dj) b. 1908-0830, NEW ORLEANS, LA CRUMB, ROBERT (:) (blues cartoonist) b. 1943-0830, ? NY DOMINQUE, ANATIE "NATTY" (tpt) d. 1982-0830, CHICAGO, IL 86 JOHNSON, LUTHER "GEORGE BOY/SNAKE" (g) b. 1934-0830, DAVISBORO, GA JONES, JOE "PHILLY"[JOSEPH RUDOLPH JONES] d. 1985-0830, PHILADELPHIA, PA 62 LITTRICEBEY, CLARA ALMA ALLEN "GRANNY"(g) b. 1913-0830, TEMPLE, TX LONG, HUEY PIERCE (gov of Louisiana) b. 1893-0830, WINNFIELD, LA LUBINSKY, HERMAN G. (owner: SAVOY REC) b. 1896-0830, BRADFORD, CT PEEL, JOHN RAVENSCROFT(dj/PEEL'S sessions)b. 1939-0830, HESWALL, UK TEDFORD, DWAIN (promoter) d. 1992-0830, LUBBOCK, TX 54 WALTON, MERCY DEE (p/SPECIALTY REC) b. 1915-0830, WACO, TX WASHINGTON, LAURA (v/ERSKINE HAWKINS) d. 1990-0830, BIRMINGHAM, AL 64 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 07:43:04 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: New Freddie King CD Although I'm not accustomed to writing reviews, I'll give it a shot, since the more I listen to this CD the more I like it. Comparisons will no doubt be made betwwen this CD and the "Live at Antibes 1974" and well they should as it appears to be the same band and around the same time period. Overall "This is the Blues" compares favorably and in a few areas like overall sound quality surpasses the Anitbes recording. The only thing "This is the Blues" lacks is the monster guitar intro and solo from "Have you ever loved a woman", which happens to be one of my all time favorite blues guitar pieces. But "This is the Blues" is great in it's own right. It starts off with a short intro and interview with Freddie and he plays and sings 2 acoustic numbers. The first "That's Alright" shows Freddie as a fine acoustic player, while he is a little sloppy on his second acoustic number "Dust My Broom". It's interesting to hear that he seems to mess up at the same point in this acoustic version as he does in the electric version later on the CD. The CD then goes into a concert performance from a long lost tape, some details of which are explained in the liner notes. Freddie's playing is strong troughout all of the performances, athough, and this is also the case on "Antibes", the keyborad player does a good job as a backup, but doesn't carry his solos off very well. The concert recording contains "Big Legged Woman", Woman Across the River", Key to the Highway, "Let the Goodtimes Roll", "Ain't Nobody's Business" (The highlight of the CD), "Sweet Home Chicago", "Dust My Broom" and "Hid Away Medley". The CD closes with somemore of the interview. The sound overall is good, but is a lttle rough in a couple of places. It in no way detracts from the power of Freddie's performance and can be excused based on the origin of the tape and the technology of the time. The liner notes include a nice article by Freddie's daughter and a few anecdotes from friends and is a welcome addition, providing some insight to Freddie the father and business man. This CD is like a piece of music history and is a must not only for Freddie King fans but all blues fans. Jim Smith ========================================================================= Date: Wed, 30 Aug 1995 04:55:48 -0700 From: Krzysztof Berger Subject: GRAY/VICKERS BLUE ROOTS at the Fireplace Club GRAY/VICKERS BLUE ROOTS is performing at the Fireplace Club (Friday, 09/01/1995, 199 Russel Str., New York, tel. 718-383-5091). Good, old Blues, both standards and their own tunes get good treatement at next of our cyclical shows - organized by the Labyrinth Group ! There is no cover charge, food and drinks are inexpensiveand the Crowd is GREAT !!! Be part of it !!! If you need more info or want to be included in our mailing list, please feel free to e-mail me directly at KRYS@IX.NETCOM.COM THANK YOU, AND SEE YOU THERE !!! ========================================================================= Date: Wed, 30 Aug 1995 07:22:28 CST From: William Shute Subject: Gatemouth Brown as Trojan Horse From: Bill Shute I'd like to follow up on Richard Chalk's post re the Clapton show in Dallas (EC's in Austin tonight) by saying that 4 of my friends, none of whom would qualify as "blues fans" by blues-l standards, attended that Clapton/Gatemouth Brown concert. Each one of them raved about the concert and asked me about Gatemouth Brown, including if they could borrow one of his albums.Next thing you know, they will be asking for more of "this blues stuff", buying their own Gatemouth albums, and eventually buying their own blues albums. Interestingly, each commented that Clapton did "all-NEW" material, since they didn't hear Cocaine or Layla! To give credit where credit is due, I must commend Mr. Clapton for the nature of this tour, and I predict that tens of thousands ofnew PERMANENT blues fans will result from it (probably hundreds of thousands of TEMPORARY ones), some of whom will no doubt wind up on blues-l. Now that the blues desire has been planted in these Clapton fans, it's up to US to "close the sale" as they say in the sales business. Bill Shute San Antonio, TX ========================================================================= Date: Wed, 30 Aug 1995 07:34:17 CST From: William Shute Subject: Norweigians with the Blues (reply) From: Bill Shute Following up on Bob's post, Jeff Seale and I ran into these guys in July at the Continental Club in Austin at a Toni Price show. I saw a few guys on the floor who were obviously not locals and commented to Jeff that it must be those Norwegians who had contacted me about Austin/San Antonio. I approached (wearing a Stax t-shirt) one of the guys and asked, "excuse me, are you from Norway," and he asked me, "are you Bill Shute?" He then reached into his pocket, and pulled out a piece of paper that turned out to be a printout of an e-mail I had sent him with my phone number and an invitation to call me when they got to south Texas. "We tried to call you last night, but you weren't in," he said. He then pointed to where I had been standing, and said, "that must be Jeff Seale there. We know of him too." We didn't get a chance to talk with them after the show, but they certainly had a great time and seemed to be enjoying the Shiner Bock also. It's a small blues-l world, isn't it? Bill Shute San Antonio, TX ps, with those Toni Price happy hours being such a strange phenomenon (in an extra-musical sense), I wonder what inferences they made about Austin? ========================================================================= Date: Wed, 30 Aug 1995 08:04:30 CDT From: L W Subject: Margolin Question & lyric help Steady Rollin Bob will be in town this Sunday, I have no doubts about the band or the guitarist...WHAT ABOUT THE VOCALS...I know he'll cover some Muddy tunes and Muddy's tunes have VOCALS which sometimes carry the tune.....Who does the vocaling with BM....Is it Bob himself....How are they... Can anyone supply me with the lyrics to Gimme Back My Wig.... LW 'couldn't stay gone' ========================================================================= Date: Wed, 30 Aug 1995 08:13:23 -0500 From: Bruce Roberts Subject: Gatemouth Viola Someone mentioned yesterday that Gatemouth Brown plays the viola. Are there any recordings of this? Bruce Roberts Austin, TX ========================================================================= Date: Wed, 30 Aug 1995 09:17:20 -0400 From: Larry Carlin Subject: Advice for Delta trip For my fiftieth birthday, I'm dragging my wife, her sister and brother-in-law on a drive from Memphis to New Orleans thru the Delta. Does anyone have suggestions on where to go and when festivals will be held so I can pick the best 2 weeks to do this? Larry Carlin ========================================================================= Date: Wed, 30 Aug 1995 08:20:49 -0500 From: Richard Shurman Subject: Re: the R&B organ of Hank Marr Fortunately it won't be too hard to find Hank Marr when your fantasy chance comes through; he's been teaching music at Ohio State for quite awhile. ========================================================================= Date: Wed, 30 Aug 1995 09:51:50 -0400 From: Marcia Grodsky Subject: Music in Kansas City? I'm going to be in Kansas City for about two weeks on business. Sept.4 - 17. I'd appreciate any guidance --- who's playing, where, what papers should I pick up when, etc. Thanks in advance. ---Marcia ========================================================================= Date: Wed, 30 Aug 1995 08:31:32 -0500 From: Richard Shurman Subject: Re: Roy Buchanan You're making this a lot more complicated than it was. First of all, his bands did change around a little more than you state. Apart from that, Roy consistently expressed to me and Bruce Iglauer his belief that he liked recording with a black rhythm section and enjoyed the one that he used on his first Alligator CD enough to hang onto them. Bruce and I also thought that his touring rhythm section was too "busy" and that as many notes as Roy played, he'd do best with a rhythm section that just put a nice fat pocket under him and left him lots of room. In fact, maybe the best-received gig I saw him play was when he flew into Chicago once and used the studio rhythm section. But the studio guys had other gigs (Larry Exum was playing with Jimmy Johnson till his untimely death in a van crash in '88 and Morris Jennings was in a society band) and Roy was comfortable travelling with the guys he knew. A bigger problem with Roy live during the last years was the difficulty in replicating the vocals from his albums since he didn't have Otis Clay, Delbert McClinton, etc. touring with him. He was still a fabulous guitarist and sidemen like Jeff Ganz (who's been excellent in the studio with Johnny Winter, who has him play under a kind of control Roy never exerted) sang some of trhe songs from the albums, but it was still different. ========================================================================= Date: Wed, 30 Aug 1995 09:04:52 PDT From: rjbauman@IQUEST.NET Subject: Re: RJB's Server Choked!! I'll get back to blues programming, I promise. But first, I've learned that even the best mail systems recommend not sending large files (over 100k). Even though the server can handle them, most mail programs can't because they time out to soon. This includes Eudora and Netmanage products. I was really *trying* to be helpful. If anybody out there would like to try an IRC BLUES session, let me know. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 09:04:37 CDT From: L W Subject: Advice for Delta trip ----------------------------Original message---------------------------- >For my fiftieth birthday, I'm dragging my wife, her sister and brother-in-law >on a drive from Memphis to New Orleans thru the Delta. I would suggest using heavy chain over rope , the rope would probally break and you would not be able to drag them all the way to New Orleans from Memphis The times I've drug folks along, I've noticed that really bumpy roads with alot of potholes does wonders, especially if you are having discipline problems..It usually only takes a few miles, before they give in.....:-) LW ========================================================================= Date: Wed, 30 Aug 1995 14:14:28 GMT From: keith abel Subject: Re: WHUS Top 20 Blues CD's Hey Stew, I would love to receive your Top 20!!! ========================================================================= Date: Wed, 30 Aug 1995 10:13:07 -0400 From: Rick Miller Subject: Roy Buchanan bands Adrian, I'm guessing on this, but I would bet that the recording band was hired basically as session players who were excellent and available over that period. Good session players may cost a bundle AND may not be available to tour, due to other commitments or whatever. The touring band may have been younger, cheaper, more exciting visually, etc. any or all of the above. 'Course, I'm just guessing. :) Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 30 Aug 1995 10:13:00 EDT From: edward c liu Subject: ID this song... Howdy all, Forwarded from my brother: > A question for you. Can you identify the singer of the following words? > > "I'm a one hour mama, can't stand no five-minute man ..." > > I'm guessing Katie Webster, but this is being used to settle an >argument. Any ideas, please respond to this address. Tnx. Actually, I'd guess Big Mama Thornton, but my BMT CD is at home. So how about it, 'zellers? Any takers? -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 30 Aug 1995 11:11:34 -0400 From: Garry Segal Subject: John Lee Hooker on AOL Johm Lee Hooker will be doing some sort of live thing on AOL tonight at 9pm ET. Garry BlueSngr@aol.com Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 30 Aug 1995 08:04:00 -0700 From: Ned Kraft Subject: Chris Cain Sat on the Chris Cain sidelines long enough. "Bay area's premier blues band"? Chris is talented and has been working here for a long time, but IMNSHO he's not close. I AM happy that his CD is getting a good listen. OK, my vote is John Lee Hooker and band with Chris in the top 30 (which ain't bad, lots of good bands here...;) Dirty Ned Hoosier Daddys (blues/rock/r&b, not eligible for ranking with blues bands - although I'd be happy to make the Billboard blues chart) San Jose, CA ========================================================================= Date: Wed, 30 Aug 1995 11:55:00 EDT From: "(Brent M. Smith)" Subject: yes anyone can dig the blues CAse in point : my girlfriend, Southern Baptist to the bone ( Her d dad freaked out when he saw Damn Right I Got the Blues on the table) She flatly refused to listen to the blues at first. It took her a while but she is now trained as are alot of my previously non blues friends. Gina now goes everywhere with Koko or Etta or BG playing in her car. Life is good :) I think that Most people would love the blues if they would only give it a chance. It takes a while to get into some of it but they will get there. Besides whats not to like?? --Brent ========================================================================= Date: Wed, 30 Aug 1995 16:13:46 GMT From: Art Schuna Subject: Re: Eric LeBlanc's Blues Dates - August 29th In article <199508291107.HAA41238@tequesta.gate.net>, "P.W. Fenton" says: >WASHINGTON, DINAH [RUTH LEE JONES] (p) b. 1924-0829, TUSCALOOSA, AL > Is it true that Dinah was a pianist? I'm very familiar with her vocal work but not with her piano skills. Checked Vol. 1 of the Complete Mercury Recordings this AM and she always used an accompanist on piano. If she played piano, where would I find these recordings? For those unfamiliar with Dinah, her earlier recordings would seem to fit best with readers of this group. If I remember correctly, Delmark issued her Apollo recordings on a single disc a few years ago and this would not be a bad place to start for her more blues-oriented work. Then if you find you like that, try tackling the Mercury recordings which are available as Complete recordings 3 discs/box - 7 volumes total. I would start with Vol. 1. After her big hit, "What A Difference A Day Makes", Mercury decided that she was more of a pop star and you have a lot more of Dinah with strings. My interest in her recordings fall off after that recordings but I still found I enjoyed her voice enough to eventually end up with all 7. The nice thing about the way these were issued, you didn't have to spring for all 21 discs and if you find the pop stuff not to your liking, you can stop at that point. Art Schuna ========================================================================= Date: Wed, 30 Aug 1995 12:14:18 -0400 From: Rick Miller Subject: Can everybody dig the blues? I think this is like that scene in the film "White Men Can't Jump" where Woody Harrelson and Wesley Snipes are arguing over the difference between listening to Jimi vs. "hearing" him. Some people just don't "hear" the blues. They don't know that despite the similar progressions and arrangements, the blues is in the heart and soul of the person who wrote/performs the song. Somebody said it nicely here on blues-l last week, that Rock'n'Roll is built by throwing some lyrics around great music/musicianship, which may make it hard to play (instrumenet-wise) but real easy to understand. Whereas blues is built with great feeling lyrics and soul, and building the music fairly simply around it. Therefore easy to play, but takes some more..whatever... to really "hear". Make any sense? Keep working on your R&R friend. :) Many of us got here through rock. By the way, the song "Lost In A Supermarket" is done by The Clash, one of MY OWN personal all-time fave-o-rite punk-rock-ish bands. :) I know there are other Clash and punk fans out there in the closets of Blues-L. :) :) Riffin Rick (((( oo-) /- I'm all lost in a supermarket, -can no longer shop happily. I came in here for that special offer, -guaranteed personality. I'm all lost.....I'm all lost.... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 30 Aug 1995 19:21:03 +0300 From: Jouni Ilari Hyyti{inen Subject: Re: ID this song... On Wed, 30 Aug 1995, edward c liu wrote: > Howdy all, > > Forwarded from my brother: > > > A question for you. Can you identify the singer of the following words? > > > > "I'm a one hour mama, can't stand no five-minute man ..." > > > > I'm guessing Katie Webster, but this is being used to settle an > >argument. Any ideas, please respond to this address. Tnx. > > Actually, I'd guess Big Mama Thornton, but my BMT CD is at home. So > how about it, 'zellers? Any takers? > > -- Ed > Edward C. Liu | "We don't mean any harm. We just don't have > edwick@cc.bellcore.com | any better SENSE!" > | -- Elvin Bishop > The opinions above are mine and not Bellcore's. Really! > Ida Cox ========================================================================= Date: Wed, 30 Aug 1995 12:39:58 -0400 From: David Goldstein Subject: Bluesman Wayne Newton! Yeah, it means we all have to wear a toup and get our teeth capped! ========================================================================= Date: Wed, 30 Aug 1995 12:45:21 -0400 From: David Ott Subject: Eddie Campbell Just picked up a CD by Eddie Campbell called "Let's Pick It!" - recorded in Europe in 1984. Liked Eddie but most of the supporting musicians were rather bland. Any opinions on some of his other recordings - I believe he did a Chicago set around 1977 and has a new recording "That's When I Know" which received good reviews in several of the blues mags. Thanks. Dave Ott ========================================================================= Date: Wed, 30 Aug 1995 13:48:34 -0300 From: Leonardo Kenji Shikida Subject: Re: your mail I'm also brazilian and sure I know "Blues Etilicos". Don't worry about your English : mine is also poor and nobody said nothing about it yet. I can't answer your 2nd question, but i thought it's intersting to see another brazilian in this list. For those who never heard brazilian blues, (we must tell them): In Brazil, there are many good bluesmen. Some are: - Big Allanbik - playing in USA - 2 CD's released : "Big Allanbik" & "Black Coffee" - Blues Etilicos - considered the best here - 1 LP released (very rare) and more 4 CD's: the last and the best (IMHO) is "Salamandra" + 1 CD solo of Flavio Guimaraes (Little Blues), with some very special features like Sugar Blue (Flavio's teacher in USA), Ed Motta e many others. He's a harp player and considered (IMHO) the best harp player in Brazil. - Andre Christovam - expert in slide guitar, recorded a CD in Chicago called "2120 sessions" or "2021 sessions" (I don't remember...) (IMHO, the best CD) and many others... There are many others like Solon Fishbone & Los Cobras, Celso BluesBoy and so on. I don't know all the good bluesmen in Brazil, but I'm sure they're very good on what they do: THEY HAVE THE BLUES! I'll ask Rogerio and all who know these bluesmen to help me on telling the people in this list how's the blues here Brazil. ps. welcome to the list, Rogerio. _____________________________ Leonardo Kenji Shikida "I've been driftin... like a ship out on the sea... Well I ain't got nobody, baby... in this world that would care for me..." Charles Brown -/- On Tue, 29 Aug 1995, Rogerio Andre dos Santos wrote: > Hello, > > I'm brazilian and think my english's poor. I'm new in the list. > Two questions: > > 1. Does anyone know the brazilian Blues band Blues Etilicos? > > 2 .Can anyone tell me which Little Milton's album had the > music "Stormy Monday" that i heard in a "the best of" album ? > > > Rogerio > randre@iis.com.br > ========================================================================= Date: Wed, 30 Aug 1995 16:57:42 +0000 From: Pat Hertel Subject: Re: Chris Cain I have asked, and I ask again ... how does the new CD compare with "Can't Buy A Break" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [30/8/95 12:36 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 30 Aug 1995 09:31:06 -0700 From: Corinne Subject: Re: Harvey Mandel "Twist City" CD Twist City came out last year.... Harvey's NEW CD is already available (check at Tower Records). There was a nice writeup about him in one of the blues magazines last month. Harvey lives in the Bay Area and plays the local club scene. ========================================================================= Date: Wed, 30 Aug 1995 12:25:42 -0500 From: Bruce Roberts Subject: Re: yes anyone can dig the blues > I think that Most people would love the blues if they would only give > it a chance. It takes a while to get into some of it but they will get > there. Besides whats not to like?? I don't see why it's so hard to believe that some people don't like the Blues. I can't stand country or rap music. I have friends who are convinced that I just haven't heard the right country or rap song. "Just listen to this..." I don't like it, I never have and I never will. It's not that hard to image that there are people who feel the same way about the Blues. Yes, there are people out there who have never been exposed to the Blues and if they were, they'd love it. But there are people who just don't like it. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 30 Aug 1995 13:31:21 +0500 From: Alan Brand Subject: Blues in Toronto > Jeff Birk > >I'm going to be in Toronto Oct. 9-12. Never been there and I hear it's >beautiful. Can anyone let me know of any places where I can see some >good blues during my stay? Thanks. My favourite places for Blues in Toronto: Black Swan (Danforth Ave) Grossman's Tavern (Spadina Ave : not always Blues) Quigley's (Queen St E, Beaches : occassional Blues) There are usually a few other places at any given time that are worth while. You should check out the listings in 'eye' just before you arrive, they are on-line: http://www.interlog.com/eye Enjoy your stay in our fair city! ___________________________________________________________________ AlanB ========================================================================= Date: Wed, 30 Aug 1995 09:11:04 PDT From: rjbauman@IQUEST.NET Subject: Re: Margolin Question & lyric help Bob Margolin , Pinetop Perkins, and a bunch of other ex bandmates of Muddy's opened up BB's festival tour last year. I thought his vocals were good. Not MUDDY good, but honest and strong. I've got a copy of Luther Allison singing "Gimme Back My Wig" as a tribute to Houndog Taylor. I'll post the lyrics when I get a chance. I assume the words are the same since it was in tribute, but who could argue they were wrong? Houndog's version is too hard to decipher for me. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 12:28:08 CDT From: L W Subject: Diggin The Blues...Can They Someone mentioned that they didn't dig Country or Rap and never will. I think they implied that the Country/Rap fans feel the same as us blues fans, whereas they think everybody would dig their music if we heard the right tune. IMHO: The reason I think blues would appeal to everyone is because , first of all, it's WIDE....You have Son House to Charles Brown,,,Secondly I truly believe that blues is universal. I don't care if you do like country, you can still relate to a blues song...I don't care who you are, there is one for your situation. My former wife was a big Madonna, George Micheal, Micheal Bolton....etc fan one night I talked herinto going to see Anson Funderberg. The very next morning I woke up and she was watching the American Blues Anson video....She didn't go buy any Anson CD's but she dug him. The same for Koko, the only time I ever saw her shake her hips (to music :-))..She got off on Koko...Now she likes country music, but I betcha Aretha would move her..... IMHO...blah...blah New term: Country-rap....could that be a corn field hollar.... LW ========================================================================= Date: Sun, 6 Aug 1995 23:25:51 +0200 From: Nils M Eriksson Subject: Hi all, I'm fairly new to the Blues-L list, so I don't know if this question has been asked before. If that is the case, then I'm sorry for asking again. I have six versions of this song. The strange thing is, that on two of my records Muddy Waters is credited as the songwriter, while on three others Elmore James/Marshall Sehorn get the credit. The 6:th record (an E J compilation!)gives no information at all. So, my question is: Is this song a traditional one? If not, who wrote it? I also need to know who wrote the E J songs 'Gotta Move' and 'One Way Out'. Thanks Nils ========================================================================= Date: Wed, 30 Aug 1995 12:53:54 CDT From: L W Subject: ----------------------------Original message---------------------------- >I have six versions of this song. The strange thing is, that on two of my >records Muddy Waters is credited as the songwriter, while on three others >Elmore James/Marshall Sehorn get the credit. The 6:th record (an E J >compilation!)gives no information at all. >so, my question is: >Is this song a traditional one? If not, who wrote it? How bout a hint, like the song title :-) >I also need to know who wrote the E J songs 'Gotta Move' and 'One Way Out'. "You Gotta Move" is Mississippi Fred Mcdowell (I think) "One Way Out" is Sonny Boy Willamson (I think) LW (I think) Nils ========================================================================= Date: Wed, 30 Aug 1995 14:00:34 -0400 From: Jacquelin Katz Subject: Re: Bluesman Wayne Newton! On Wed, 30 Aug 1995, AND Books wrote: > EC affect on glitztown is now more evident... last night's Conan show had > Wayne Newton ending his bit with a guitar-thang of "Dankeshoen"... he > announced enuff! Broke into a smiley blues number.... > > any comments on what this means to us purists? :) > > janos > Vegas will always be Vegas. It don't mean a thing if it ain't got that swing, so don't sweat it. jackie ========================================================================= Date: Wed, 30 Aug 1995 13:12:01 CDT From: L W Subject: Re: Bluesman Wayne Newton! ----------------------------Original message---------------------------- On Wed, 30 Aug 1995, AND Books wrote: > EC affect on glitztown is now more evident... last night's Conan show had > Wayne Newton ending his bit with a guitar-thang of "Dankeshoen"... he > announced enuff! Broke into a smiley blues number.... > > any comments on what this means to us purists? :) Just a friendly warning: You do know HO? has the ability to read this group So don't be shocked when "Lightin' Newton" shows up on National TV on Saturday night......I warned you...Don't laugh, Nancy "So Blue" Sinatra was on there,so "Lightin Newton" is not too far away.... LW ========================================================================= Date: Wed, 30 Aug 1995 14:23:10 -0700 From: Jeff Birk Subject: Re: yes anyone can dig the blues -Reply >I don't see why it's so hard to believe that some people don't like the >Blues. >I can't stand country or rap music. I have friends who are convinced >that >I just haven't heard the right country or rap song. "Just listen to this..." >I don't like it, I never have and I never will. You raise a point that I have been stewing over the last couple of weeks. I've just been waiting for the right time to bring it up. I went to a rodeo a few weeks ago (yeah......yeah.......I know......I'm ducking in front of my monitor to avoid the tomatoes that are flying out of it). Bear with me. I've never liked country music myself. Over the loudspeaker comes Reba McIntyre's "Why Haven't I Heard from You" and I'm thinking to myself, "Man, this aint all that bad." But as the song continued, it hit me. I said, "Wait a minute! She's just using a standard blues riff (or whatever you call it) No wonder I like it so much! What does she think she's doing?" Anyway, my point is this: have any of you had any similar encounters with country music? I wouldn't be wrong in assuming that blues have been around a lot longer than country, would I? Jeff ========================================================================= Date: Wed, 30 Aug 1995 15:12:09 -0500 From: Richard Shurman Subject: Re: Bluesman Wayne Newton/Vegas! Maybe there's SOME hope for Vegas. Apart from being colonized by residents B.B. King and Albert Collins, yesterday some corporation threw a private party there with music by James Brown and Otis Rush. ========================================================================= Date: Wed, 30 Aug 1995 16:50:13 -0400 From: Mike Evans Subject: Food for Thought With all the recent flap about Buddy Guy (and others) not sticking to the BLUES, I got to wondering if Blind Willie McTell or Barbeque Bob and many other bluesmen heard the same thing when they sang gospel to make a buck, or Big Bill Broonzy got flamed when he sang folk music. Did it make them less authentic? ========================================================================= Date: Wed, 30 Aug 1995 15:56:50 CDT From: L W Subject: Food for Thought ----------------------------Original message---------------------------- >With all the recent flap about Buddy Guy (and others) not sticking to the >BLUES, I got to wondering if Blind Willie McTell or Barbeque Bob and many >other bluesmen heard the same thing when they sang gospel to make a buck, or >Big Bill Broonzy got flamed when he sang folk music. Did it make them less >authentic? I think today the reasoning is the same as then, putting some cash in the pocket.....HOWEVER :-) THIS IS NOT ABOUT BUDDY GUY !!!!!!! This is my opinion: I think TODAY there is a great need to preserve the blues and keep them strong. I hate the FACT that it's tough for "??????" to make a living playing straight blues, but I also hate the FACT that "??????" abandons them. I have more admiration for those who "stick to their guns" than those who don't. I admire the artists that really love the blues like the ones I saw in Clarksdale more than I do '????????"....I think they are playing cause they love/feel the music and it shows. I would support them over someone who plays the blues in the living room, but at the "Gig" does the popular thang. What's the difference between Dan Ackroyd pretending to be a blues man and ???? playing the blues when it's profitable. To me there is no difference, if the blues were paying big bucks "??????" would be playing the blues....If rock was paying big bucks '?????" would be playing rock.. That's MHO and it probally doesn't make sense, just remember "money talks and blues walks" 'Love them or leave them" proof is in the output of the artists LW "no offense toward Ackroyd or "???????"' ========================================================================= Date: Wed, 30 Aug 1995 15:45:36 -0700 From: Jeff Birk Subject: Blues convert (was Gatemouth Brown as Trojan Horse -Reply) >To give credit where credit is due, I must commend Mr. Clapton for the >nature of this tour, and I predict that tens of thousands ofnew >PERMANENT blues fans will result from it (probably hundreds of >thousands of TEMPORARY ones), some of whom will no doubt wind up >on blues-l. I can testify to that. I'm one of em, except my "intro" to blues came through SRV. Since then, I've broadened quite a bit (well, IMO I have). My latest purchase was Alligator's 20th Anniversary double CD. WOW!! I can't wait to start buying the CDs of most of the people on this CD. I'm hooked, I love the blues, and I can't wait to learn more. Jeff ========================================================================= Date: Wed, 30 Aug 1995 17:22:43 GMT-6 From: Eliot Williams Subject: Re: Gatemouth Viola > From: Bruce Roberts > Someone mentioned yesterday that Gatemouth Brown plays the viola. Are there > any recordings of this? If you mean viola as opposed to violin (fiddle) I'm not so sure, but he did play fiddle on some of his old Duke/Peacock sides. I think either "Just Before Dawn" or "Slop Time" (can't remember which, I've got 'em both on an old Duke LP) was an instrumental featuring his fiddle playing. I'm pretty sure "Just Before Dawn" is on the "San Antonio Ballbuster" album; not sure about "Slop Time". EW !RoU2039 BROWN*CLARENCE GATEMOUTH ORIGINAL PEACOCK RECORDINGS $13.27 &ROUNDER 6/90 DRY3205 BROWN*CLARENCE GATEMOUTH SAN ANTONIO BALLBUSTER $11.78 DRIVE 8/95 Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 30 Aug 1995 17:19:31 -0500 From: dwhite Subject: Cortelia Clark I saw a reference to Nashville bluesman Cortelia Clark in Frye Gaillard's "Watermelon Wine" The Spirit of Country Music. He was a Nashville street musician for many years. He recorded one album "Blues in the Streets" with the assistance of Chet Atkins at RCA. The album won a Grammy in 1967 and had some critical acclaim; but wasn't a seller. He went back to the street corners and was killed in a house fire a few years later. His death was unheralded and his funeral sparsly attended. Though it did prompt Mickey Newbury to write a song about him. My question is to anybody who has heard the album. Is it worth seeking out? What was his style like? Dana dwhite@io.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ Equitare, arcem tendere, veritatem dicere ///////////////////////////////////////////////////////////////////// ========================================================================= Date: Wed, 30 Aug 1995 14:43:15 PDT From: Michael Suffern Subject: Re: Singing at my party LW, Bravo. It takes some guts to get up and sing. A lot of people who could do a fairly credible job don't every get up the gumption to do it. Look how long it took Clapton to sing (no debate on this please until December or so, O.K>?). Im glad you enjoyed it, too. I think half of the Blues is the singin' (only 'cause I'm so lifted by a good guitar solo). Can't have the Blues without singin'. Something that I found out last winter was that I could be moved as much singing sober as when I used to drink. Makes it easier to play the guitar too! I encourage all of you non-singing guitarists to pick a song that really moves you and is in your range and work on it. You may be suprised. Mike On Mon, 28 Aug 1995 08:42:25 CDT L W wrote: >We had the annual double b'day party for myself and a friend. I SANG and played >a whole lot. NO ONE got sick, some said my singing wasn't bad. It's the first >time I've ever sang in front of more than two people. I had drank alot though, >but hey it was my party and I'll drink if I want to. > >The highlight was my wife's EX-HUSBAND and I doing a little duet !!!!. He loves >my playing and is into delta blues really deep. It's really wierd doing >Kind Hearted Woman in front of him. I did kid of hurt him (not on purpose) by >doing a deep, heartfelt version of "Tears Came Rolling Down"...When I got to >the line "I went back to my room for a little while, got to thinking bout my >baby and cried just like a child"...he got up and walked off. I enjoyed his >singing better than the others who sang. It was quite interesting, I think he >is one of my biggest fans/supporters......Kind of neat, that we can get alog >and play music together....It hadn't always been this way, but I don't blame >him.... > >LW 'Who is realizing that, just maybe I can SING" ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 14:43:15 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 15:01:17 PDT From: Michael Suffern Subject: Blues Bowl III Chitown info Just called the promoter, The National Academy of Blues, Mr. Purvis Spann. This is their first promotion and they are going to be giving awards of recognition for 'artists that have arrived'. He is faxing info to Judith at the travel agency so I'll put out more tonight or tomorrow if it's not just the same handbill that Sara got. I don't understand what Bowls I & II were - must have been by someone else. I a'xed Purvis if they do any teaching - per the name - and he said not yet but they will be. Mike On Mon, 28 Aug 1995 12:48:38 CST6CDT Sara Oxton wrote: >I was in Chicago over the weekend. True to my blues scavenging ways, I >found a showbill on a phone pole to add to the growing collection in my >bedroom closet. The showbill read: > >Blues Bowl III >Saturday, Sept. 9 >UIC Pavillion > >Acts listed on the bill include Bobby Bland, Johnnie Taylor, Tyrone Davis, >Latimore, Otis Clay, Shirley Brown, Artie White, J. Blackfoot, Ruby Andrews, >Bobby Rush, the Mighty Clouds of Joy, and the Victory Travelers. (Whew!) > >No ticket price was given, but the number to call for information is >247-6200 in Chicago. > >I'm hoping one of our Chicago correspondents can verify that this is really >going to happen. And, hopefully someone will attend and post a report. I >too, am especially interested in a Bobby Bland update. If this one's >legitimate, it looks like he bumped his "farewell" back a week. > >Thanks! >Sara ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 15:01:17 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 15:21:02 PDT From: Michael Suffern Subject: Bludism joke What did the Bludist monk say to the Hot Dog vendor? "Make me one with everything" Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 15:21:02 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 16:12:27 PDT From: Michael Suffern Subject: Re: Blues-L Marketing On Tue, 22 Aug 1995 16:58:40 -0400 Alan C. Rollins wrote: ... > However I am not quite so sure that by naming it the Blues-L >Marketplace he retains the same degree of autonomy. ... >I am saying that if he is going to do this using the name of the Blues-L >I feel that the Blues-L then gets input as to what he can or can not do >in its name. Yes, blues-l should have the right to complain about anything that the majority of members find offensive. P.W. should be gracius enough to comply. > Further I feel that asking to do this is appropriate rather than >assuming to use the name. I agree. > Please remember if we allow him or anyone else the use of our >name we take on a certain amount of liability for what they do in our >name. I don't think we take on any 'liability' - we have a 'moral' obligation, in the best Internet tradition, to police it ourselves - would be a more correct statement, I think. As I said before, P.W. will get lot's of flames if he does anything distasteful. He can consider what is said, but I would think he wouldn't be bound by it unless the majority agreed. Still, proper critisism should infulence any reasonable person. > I feel that we need to design a policy re: the use of the Blues-L >name as it is specific in what it stands for and one bad experience could >destroy the good image it has. Too early to bother with a policy. If a newbie were to appropriate the name, and misuse it, we would deal with that at that time. I son't think that will happen though. > I am seeking input re: two things here. > 1. How should we deal specifically with Mr. Fenton's > offer at this time? If popular opinion seems to be mixed, not clearly defined, we should vote. > 2. What should the policy be re: the use of the Blues-L > name? None at this time. If it becomes a problem, we should make policy. > Alan > >ACR Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 16:12:27 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 15:39:34 PDT From: Michael Suffern Subject: Re: The harp questions Michael and Rick asked some harp questions: >1) Is there a trick to breaking the harp in so that the reeds will >bend easily? You are supposed to not play it too hard at first, especially don't bend it too much or too hard. Since I usually want to use my new harp to jam with a band I don't break it in most of the time. As a regular player, it would seem even harder to have the time, unless you bought them before your working harps started to go. >2) Are there any tricks I should know about keeping the harp in good >playing condition? I've seen/known harp players that soak their harps in >water before playing them onstage. What, exactly does this do? Soaking is useful only for wood body harps. Soak in a glass of water for 5 to 15 minutes (check the condition and playability every so often). Soaking swells the wood. For reasons I haven't comtemplated, you get easier bends and more volume. The problem is that the wood swells out from the front too. You will cut your lips on the holes (try 5 minutes first). Some players cut that extra wood out or sand it (yuk, pwffft, don't inhale that!). That said, I don't soak anymore. The difference wasn't that noticeable - it was there but not enough to cut my mouth up for. I've used to use the Hohner Blues Harp but they started a computerized production line in Germany and made them bigger. I don't like the new ones. They are louder but don't have the same feel (maybe I'll try the Marine Bands next). So, I've been using Lee Oskar harps lately. These are plastic body harps. You can't soak 'em, but they are loud and bend very easy (easier than the Blues Harp which bends easier than the Marine Band). I actually have trouble overbending sometimes. I would think this is a great beginner's harp because it bends easily. This is a $20 harp too - I tell the guy's at Guitar Center that they always give me $5.00 off because I buy all my harps there - and they do. >3) In playing cross harp, if the song is being played in E, then you >would use an A harp...correct? Which would mean that my C harp is good >for the key of C and cross harp in F...? Yeah, generally you go up four keys (not half steps). Get a C and a D first - to play in G and A. Then an A for E, an F for C, a G for D, an E for B, and a Bb for F. An Eb for Bb may be a good one (Bb is a nice key for guitar and singing). I love my Db old Blues harp so I try to get the guitarist to play a song in Ab every once in a while (Ab? what? O.K., I guess). Worry about F# (for Db) , Ab (for Eb) maybe never! I haven't. TIP: Play along with your fave harp tunes. Be prepared for your cassette deck to be off key (especially car decks). TIP: You *can* jam with a band with only the blow 3, draw 3, and blow 4 and still sound o.k. - especially if there aren't many harp players around your area. TIP: The best book I found - not very deep - was called "Country and Western and Blues Harp" by a guy who used to publish a harp newsletter. He has a new book out that isn't quite as good. He notates by circling draw notes. >Michael Hewitt mhewitt@telis.org >Region 7 Telementor MDH1953@aol.com >California Technology Project Troutbusters - Modesto, CA >So, do you SERIOUS harp players blow-out your Hohners on a regular basis? >Is there a particular key that tends to crap out more than others? >Thanks, gang. > >Riffin Rick I've blown out my C and D Hohners a couple of times just jamming once a week for a couple hours (before or after jamming on guitar - C for G and D for A). It's just because they get used the most in my situation - G and A being within the singer's range for the band that I jammed with). I haven't blown a Lee Oskar yet. They bend very easily and I sort of would have expected to blow one by now. They have field replaceable reeds! The reeds probably would have to be ordered - most shops wouldn't carry them in stock. Have your harp player try a Lee Osakar C harp and let me know what he thinks and if they last longer for him. As above, it he disciplines himself to break his harps in easy, he won't blow 'em as fast. Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 15:39:34 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 16:47:33 PDT From: Michael Suffern Subject: Learning Harp by playing along I started out playing along with - Led Zeppelin I. Some great harp, and, like Rob suggested, the oppourtunity to play along when the harp wasn't playing - i.e. when Page solos. I had a lot of fun with Little Feat's "Waiting for Columbus" live LP - no harp. The Stones is good too - "Beggar's Banquet" and "Let It Bleed" my faves. Then I battled with Little Walter (my fave player) and Big Walter on Chess' "The Best of Muddy Waters". You got it goin' on when you can swoop on "Forty Days and Forty Nights". Mike On Tue, 22 Aug 1995 22:23:29 -0500 Rob Varak wrote: >When I first started "playing" I found that my best bet was to listen to >the greats (___ Walter, SBW's et al) and then play along with other stuff >that had _no_ harp in the song. Acoustic stuff was usually best. This >let me hear myself (no great pleasure in the early days) and forced me to >improvise. Now I feel more comfortable with playing along with good harp >players. Actually, I should probably be doing that more :). Have fun!! > > Rob > >PS Nice to see a little harp talk on the list after all that guitar-bage:) > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu >LaGrange, Il USA >"Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 16:47:33 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 16:53:50 PDT From: Michael Suffern Subject: Harp and friends I find new friends, even if for a fleeting moment, when I play harp while out and about. At the gas station when filling up, at the park on lunch, sitting in the car at the store waiting for the wife, in line waiting for concert tickets... There is something about blowing harp that is very American, It seems to touch some ancestral memory or tribal... or tribal... what did Carl Jung call it?... tribal archetype. The flag, mom, apple pie, and harp! I think it represents our individualist spirit - a free soul, blowin' some Blues, outside the establishment and our hum-drum work, sleep, work lives, If I was single, it would be a great 'Chick Magnet' (would work equally well for the our single female members I'm sure), besides being a new friend magnet. I haven't lost any friends because of it - but then, I sounded pretty good after about two weeks. Is that what you meant, Garry - driving them away - like a student Trumpet player? Mike On Tue, 22 Aug 1995 22:47:27 -0400 Garry Segal wrote: >So ya got yerself a harp didja? Get ready to lose some old friends and >make new ones:) ... >Garry ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html Date: 08/30/95 Time: 16:53:50 ------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 1995 17:32:57 -0500 From: "Henry Busse Jr." Subject: 8/31/Birthdays Happy birthday to: ALIX, MAY (LIZA MAE,ALIX) Born:1904 CHICAGO, IL SINGER Worked With:JIMMY NOONE / CARROLL DICKERSON / LOUIS ARMSTRONG BLUES / JAZZ / DIXIE CONNOR, JOANNA Born:1962 BROOKLYN, NY SINGER / GUITAR BLUES HAMEL, GUNTER ( GUNTHER HAMPEL ) Born: 1937 GOTTEN, GERMANY VIBES / CLARINET / TENOR SAX / FLUTE / PIANO / COMPOSER JAZZ KOERNER, SPIDER ( JOHN ) Born:1938 ROCHESTER, NY SINGER / GUITAR / HARMONICA BLUES LITTLE, BIG TINY (DUDLEY ) Born:1930 WORTHINGTON, MN PIANO / SINGER / LEADER BIG BAND PARKER, BOBBY Born:1937 LAFAYETTE, LA GUITAR / SINGER Worked With:OTIS WILLIAMS / BO DIDDLEY BLUES / R&B RHODES, TODD Born: 1900 HOPKINSVILLE, KY Died:10/11/1965 FLINT, MI Age 65 PIANO / ARRANGER / LEADER Worked With: CONNIE ALLEN / LaVERN BAKER BLUES/R&B RILEY, HERMAN Born:1940 NEW ORLEANS, LA TENOR SAX Worked With:COUNT BASIE / SHELLY MANNE / CAPP-PIERCE / LIONEL HAMPTON JAZZ / BIG BAND SAMPSON EDGAR Born:1907 NEW YORK, NY Died:01/16/1973 ENGELWOOD, NJ AGE:66 ARRANGER / COMPOSER Worked With:DUKE ELLINGTON / FLETCHER HENDERSON / CHICK WEBB Arranged For:BENNY GOODMAN JAZZ / BIG BAND WALTON, MERCY DEE Born:1915 WACO, TX Died:12/02/1962 MURPHYS, CA Age:47 PIANO BLUES / R&B WINTERS, PAUL ( THEODORE JR ) Born:1939 ALTOONA, PA SOPRANO SAX / ALTO SAX / LEADER Worked With:PAUL WINTERS CONCORT JAZZ ========================================================================= Date: Wed, 30 Aug 1995 16:32:23 -0600 From: Gary Constantine Subject: CD's TO TRADE........ I have the following blues related CD's that I will trade for more blues related CD's, T-shirts, cassettes or whatever. R.CRUMB & THE CHEAP SUIT SERENADERS - SINGING IN THE BATHTUB R. CRUMB & THE CHEAP SUIT SERENADERS - CHASIN' RAINBOWS SONNY TERRY & BROWNIE McGEE - SONNY & BROWNIE B.B. KING - EVERYDAY I HAVE THE BLUES Private mail only please. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 30 Aug 1995 16:32:21 -0600 From: Gary Constantine Subject: James "Blood" Ulmer I have been listening to "the blood" for years but just recently I realized that I have absolutely no biographical information about the man. Anybody help me out? Thanx, Gary .............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 30 Aug 1995 20:19:28 -0500 From: Larry Kirchmer Subject: Bluesman Wayne Newton & Me!!! >I recently attended my 30th class reunion with my wife. While I was talking >to some classmates, my wife was talking to another of my classmates who >didn't recognize me or realize that she was married to me. He commented >that I reminded him of Wayne Newton. My wife immediately replied that I >would be more honored if he had said B.B. King. The man paused for a second >and said (in all seriousness), "But Larry isn't black". Love those blues.... ========================================================================= Date: Wed, 30 Aug 1995 20:25:32 -0600 From: Watterworth Jay Subject: Re: Jo Ann Kelly You could try the LP "Jo Ann Kelly with John Fahey, Woody Mann, John Miller, and Alan Seidler" Blue Goose Records, BG 2009. There was a lady that could sing the blues, IMHO. Jay Watterworth CU Boulder On Tue, 29 Aug 1995, Mike Evans wrote: > I'm looking for an album by British blues singer Jo Ann Kelly with John Fahey > on guitar. It may have been on Blue Goose records. I don't have the album > title. any info on where this might be found would sure be appreciated > Thanks, Mike > ========================================================================= Date: Wed, 30 Aug 1995 22:00:14 -0500 From: Craig Edmundson Subject: Neighbors Lyrics? Does anyone know the words to the second line of the last stanza in "Neighbors" by Howlin' Wolf? Well every Monday morning, my neighbor knockin' on my door My neighbor __???__ tell me, I want some __???__ dough Well I told my neighbor, can't spend no money no more Neighbor he got mad, and walked on away from my door Thanks in advance. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Thu, 31 Aug 1995 13:03:12 +1000 From: Richard Holliday Subject: Jimi Hendrix's influences(?) plus ... Hi all, As we are approaching the 25th anniversary of Jimi Hendrix's death,= I thought you might be interested in the following. It was originally= printed in New Musical Express, March 1967. I got it from the NME,= 12 May, 1990, where it was reprinted as part of an article called= "Kerrang Guru Court: guitar stars pick their heroes". JH topped= the list at the end of the article titled The Final Tally, which= listed the favoured 20 guitarists. Birthplace Seattle, Washington Birthdate November 27, 1945 Personal points 5'11"; 11 stone 5 lbs; dark brown eyes; black sometimes brown hair Instruments played Guitar piano organ drums bass Where educated Seattle, Vancouver BC, two weeks in San Francisco Musical education None except radio and records, going to gigs to listen to the guitar= players Age entered show business 17 =46irst public appearance as amateur Seattle when I was 16 =46irst professional appearance Seattle when I was 16 Biggest break in career Meeting Chas Chandler and forming group Biggest disappointment When the tour bus left me broke and stranded in Kansas City TV debut Ready, Steady, Go Radio debut Pop North, Saturday Club Biggest influence in career Blues Elmore James BB King early Muddy Waters Bob Dylan =46ormer occupations before show business Drop out (school that is), painting landscapes day-dreaming music =46avourite colour Sometimes black, blue, certain shades of red, purple =46ood Strawberry shortcake spaghetti Drink Pineapple orange juice chocolate milk shakes Clothes Slightly different things Singers Dylan Muddy Waters Elmore James BB King Ray Charles Actor/Actress Sometimes Paul Newman, sometimes Natalie Wood Band/instrumentalists Cream John Mayall Spencer Davis Shotgun Express Composers Dylan Muddy Waters Mozart Groups The Beatles Cream Miscellaneous likes Music hair mountains fields Dislikes marmalade cold sheets Best friend Tony Garland Eric Clapton Most thrilling experience Jumping out of a plane, jumping back in, getting thrown back out Tastes in music =20 Psychedelic, classical (own up), Blues of course Origin of stage name 88 per cent from birth certificate, 12 per cent from mis-spelling Pets My two little furry minded guitars Personal ambition Have my own style of music. To see my mother and family again Professional ambition To be a movie and caress the screen with my shining light Richard R.Holliday "One good thing about music, "When it hits, you feel no pain". R.N. Marley ========================================================================= Date: Wed, 30 Aug 1995 23:11:27 -0400 From: Patti Bowman Subject: Re: Food for Thought Odd comparison but.......... remember that when Linda Ronstat started she sang pop. When she was finally _LINDA RONSTAT_ she sang the songs true to her heart (all those spanish songs that she produces now.) I doubt she'd have had the success or brought so many fans with her to the "less popular, less mainstream" music if she hadn't done it in that order. Just a thought. PB __________ _________________________ The world has been made by fools that wisemen may live in it. - Oscar Wilde _________________________ __________ ========================================================================= Date: Wed, 30 Aug 1995 21:09:22 PST From: "D. ALLEN SIMPSON" Subject: Ulmer bio. stuff Born in St. Matthews, South Carolina on Feb. 2, 1942. Sand (Sang) with the Southern Sons gospel group from 7 to 13. By 17, was working in Pittsburgh with rock and roll bands. He spent 10 years playing in early jazz-funk line-ups and worked with organist Hank Marr in the mid-60s (see Hank Marr in The Marketplace). By '68 Ulmer was in Detroit and was experimenting with his innovative style which he later became noted for. He moved to NYC in '71 and worked with former Coltrane drummer Rashied Ali, which Coltrane noticed, and led to a decade-long association with Coltrane. Ulmer performed in the Cal Massey-Archie Sheep musical Lady Day at Brooklyn Academy of Music, worked w/Paul Bley, played at Carnegie Hall w/Ornette Coleman (he has been a "Student" of Coleman's work/harmolodics theory since at least the '70s) and recorded with Joe Henderson, Larry Young and Arthur Blythe. Discography with other artists (probably incomplete): Hank Marr: Hank Marr In The Marketplace (King) John Patton: Ascent Of The Blues (Blue Note) Rashied Ali: The Rashied Ali Quintet (Survival) Joe Henderson: Multiple (Milestone) Larry Young: Lawrence of Newmark (Perception) Arthur Blythe: Lennox Avenue Breakdown (CBS) Solo Work: Tales Of Captain Black (w/Ornette Coleman) (Artists House) Are You Glad To Be In America? (Rough Trade/Artists House) Free Lancing (CBS) Black Rock (CBS) Odyssey (CBS) Part Time (Rough Trade)- live in Switzerland Got Something Good For You (Ger.- Moers Music) Phalanx (Moers Music) Live At The Caravan of Dreams (Caravan of Dreams)- live in America America-Do You Remember the Love? (Blue Note) Original Phalanx (Moers Music) And with the Music Revelation Ensemble: No Wave (Moers Music) There are some later 90s releases, as well. Doug Simpson ========================================================================= Date: Thu, 31 Aug 1995 00:14:22 -0400 From: Garry Segal Subject: Re: Harp and friends When I said get ready to lose some friends and make some new ones in reference to beginner harp players , I was Joking !!!! ......You might not have any friends at all.. In fact " Nobody loves me but my mother ...and she may be jivin' me too" Garry , the harp playing soul singing Moodswinger guy BTW Good Luck Mike ! Another great play along album is the Fab Tbirds "GIRLS GO WILD" on Tacoma I think there is a CD reissue of it also ========================================================================= Date: Wed, 30 Aug 1995 21:35:16 -0700 From: Pamela Segal Subject: New email for Moodswingers For those of you who know me, and like me anyway, here is my new email bluesngr@ix.netcom.com See ya AOL.... ;--D) Garry, and those darn Moodswingers ========================================================================= Date: Wed, 30 Aug 1995 22:33:47 -0500 From: William A Morgan Subject: Odd musical pairings (formerly The Apocalypse may be closer...) I saw Muddy Waters play at an automobile race track just outside of Memphis (Lakeland) in 1977 or 1978. Sharing the bill was the Earl Scruggs Review. **************** Bill Morgan ========================================================================= Date: Thu, 31 Aug 1995 01:08:39 EDT From: Joseph Leichter Subject: Re: Odd musical pairings (formerly The Apocalypse Once saw Muddy with Maria Muldaur(?)-of "midnight at the oasis" fame as the opening act ("this is the end, beautiful friend....") ========================================================================= Date: Wed, 30 Aug 1995 11:40:13 -0400 From: RLaMour Subject: Re: Musicians beware: if they screwed me...... The people at Fatso's in Arlington, TX have made right my situation with Lavelle White. We have found an amicable settlement and all is amended. My apologies to Mark Hoak for any unjust accusations I may have said in anger. I spoke too soon and apologize for my comments on this creditable organization. R.D. Narmour RNA Booking Austin, TX ========================================================================= Date: Wed, 30 Aug 1995 13:59:23 -0400 From: Doordog Subject: Ry Cooder Question Can anyone tell me if and when Ry might be touring in these United States? I have heard that he is touring in England. Ron ========================================================================= Date: Thu, 31 Aug 1995 01:33:27 -0400 From: C Horst Subject: Re: Blues Histories Some of my favorite blues histories: The Country Blues, by Samuel B Charters Chicago Blues: The City and the Music, by Mike Rowe Also, I have found a couple of lyric books that really hit it for me: Country Blues Songbook, by Stefan Grossman, Hal grossman, and Stephen Calt Downhome Blues Lyrics: An Anthology from the Post World War II Era, by Jeff Todd Titon Finally, for finding what you're looking for: The Blackwell Guide to Recorded Blues, Paul Oliver, ed. --Colin C Horst@AOL.com (Colin Horst) ========================================================================= Date: Thu, 31 Aug 1995 01:45:36 -0400 From: C Horst Subject: Re: "Blown" harps- tech question A couple notes re: "Blown" harps: Though I am quite the ameteur player, I do put a lot of mileage on my MB's and Special 20's (keeps my head straight), and have had several go flat on me. First, I do believe that breaking in a harp does help (especially with those D's). Second, with a little looking around, you can find MB's and 20's' for $10-15 (I have found them in the SF Bay Area, the DC area, and once, after getting a bag ripped off in Spain, I even got a Hohner Blues Harp for under $10!). Third, I wouldn't get rid of the old ones--I sometimes record when I play, and have heard some nice sounds come out of what I thought was a "dead" harp. Having a note or two go flat is a killer, but for the ones that sound "gushy," they can be nice (it's like playing a BH, i.e. softer). If all else fails, those old harps are good on roomates, since they do OK when played softly, and are thus good for picking out riffs. --Colin C Horst@AOL.com (Colin Horst) ========================================================================= Date: Thu, 31 Aug 1995 01:42:18 -0600 From: Tom Rossen Subject: Clash closet (Re: Can everybody dig the blues?) [..] > >Keep working on your R&R friend. :) Many of us got here through rock. > >By the way, the song "Lost In A Supermarket" is done by The Clash, one of MY >OWN personal all-time fave-o-rite punk-rock-ish bands. :) I know there are >other Clash and punk fans out there in the closets of Blues-L. :) :) > >Riffin Rick Count me out (of the closet) :-) Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Thu, 31 Aug 1995 01:42:34 -0600 From: Tom Rossen Subject: Re: yes anyone can dig the blues [...] > > I don't see why it's so hard to believe that some people don't like the >Blues. >I can't stand country or rap music. I have friends who are convinced that >I just haven't heard the right country or rap song. "Just listen to this..." >I don't like it, I never have and I never will. Are you really that dead certain about yourself? I suspect that when people say something like this, it's not really the music but some kind of sociocultural issue for them - "people who like that kind of music are screwed up/morally bankrupt/evil/etc. in some way". I know that's been the stumbling block for me in a lot of cases. One was Elvis - VT had to mop the floor with my brain to get me to realize that for all my (still legitimate, ah say, ah say) objections to the racism of the Kult of the King, the guy was a bluesman. Right now I'm going through a similar process about rap. So I'm never that dead certain about my pet hates anymore. [...] > >Bruce Roberts >Austin, TX Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Thu, 31 Aug 1995 01:42:51 -0600 From: Tom Rossen Subject: Country and blues (was Re: yes anyone can dig the blues -Reply) [...] > I've never liked country music myself. Over the >loudspeaker comes Reba McIntyre's "Why Haven't I Heard from You" and >I'm thinking to myself, "Man, this aint all that bad." But as the song >continued, it hit me. I said, "Wait a minute! She's just using a standard >blues riff (or whatever you call it) No wonder I like it so much! What >does she think she's doing?" > >Anyway, my point is this: have any of you had any similar encounters >with country music? I wouldn't be wrong in assuming that blues have >been around a lot longer than country, would I? > >Jeff "Country" and blues have been miscegenating from the beginning. For historical and racial reasons, the majority of innovations in this miscegenation were delivered from the womb of African-American performance situations. This is not to diminish the art of some great country performers like Jimmy Rodgers, Hank Williams, Bill Monroe (and, yes VT, I'll include Elvis). Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Thu, 31 Aug 1995 06:44:03 GMT From: Bob Ancheta Subject: Blues Radio Show I host the Sunday Night Blues Show on KGON in Portland, Oregon, the hottest west coast city around, if you've got product send it to KGON, 4614 SW Kelly, Portland, Oregon 97201 or call (503) 223-1441 or E mail me at: bigba@teleport.com ========================================================================= Date: Thu, 31 Aug 1995 10:46:04 +0200 From: Peter Gallagher Subject: Fabulous T-Birds (advice?) The Fabulous Thunderbirds are playin the Paradiso here in Amsterdam on Sunday. I've never heard anything of the FT's and was hoping someone could advise me: What style doe they play? Are they, IAHO (in Anyone's humble opinion :) ) "not to be missed" ? thanks, regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 12:37:54 +0300 From: Jouni Ilari Hyyti{inen Subject: Re2: ID this song... On Wed, 30 Aug 1995, Jouni Ilari Hyyti{inen wrote: > On Wed, 30 Aug 1995, edward c liu wrote: > > > Howdy all, > > > > Forwarded from my brother: > > > > > A question for you. Can you identify the singer of the following words? > > > > > > "I'm a one hour mama, can't stand no five-minute man ..." > > > > > > I'm guessing Katie Webster, but this is being used to settle an > > >argument. Any ideas, please respond to this address. Tnx. > > > > Actually, I'd guess Big Mama Thornton, but my BMT CD is at home. So > > how about it, 'zellers? Any takers? > > > > -- Ed > > Edward C. Liu | "We don't mean any harm. We just don't have > > edwick@cc.bellcore.com | any better SENSE!" > > | -- Elvin Bishop > > The opinions above are mine and not Bellcore's. Really! > > > > Ida Cox > > You can find this song on ROSETTA RECORDS album. ONE HOUR MAMA I've always heard that haste makes waste, so I believe in takin my time. The highest mountain can't be raced, It's something you must slowly climb. I want a slow and easy man; He needn't ever take the lead, Cause I work on that long time plan And I ain't alookin for no speed. I'm a one hour mama, so no ONE minute papa Ain't the kind of man for me. Set your alarm clock papa, one hour that's proper, Then love me like I like to be. I don't want no lame excuses, Bout my lovin bein so good, That you couldn't wait no longer Now I hope I'm understood. I may want love for one hour, then decide to make it two. Takes an hour before I get started, maybe three before I'm through. I love this stuff... jouni (15 second man) ========================================================================= Date: Thu, 31 Aug 1995 06:01:11 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Brlues Dates - August 31st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALIX, MAY (v/LOUIS ARMSTRONG)/OKEH REC) b. 1902-0831, CHICAGO, IL BONDS, SON "BROWNSVILLE" (g/JOHN ESTES) d. 1947-0831, DYERSBURG, TN 38 BRENT, CHARLIE (g/TRICK BAG) b. 1948-0831, NEW ORLEANS, LA CONNOR, JOANNA (g/BLIND PIG REC) b. 1962-0831, BROOKLN, NY NELSON, DIRTY RED (p/ALADDIN) b. 1907-0831, SUMNER, MS FELDER, WILTON LEWIS (tsax/CRUSADERS) b. 1940-0831, HOUSTON, TX HULBERT, MAURICE ("MR. BEALE STREET") d. 1984-0831, MEMPHIS, TN 88 KOERNER, JOHN "SPIDER" (g/ELEKTRA REC) b. 1938-0831, ROCHESTER, NY MORRISON, VAN [GEORGE IVAN MORRISON] b. 1945-0831, BELFAST, N. IRELAND PARKER, BOBBY (g/BLACK TOP REC) b. 1937-0831, LAFAYETTE, LA PICKETT, DAN [JAMES FOUNTY](g/GOTHAM REC) b. 1907-0831, PIKE CTY, AL RHODES, TODD WASHINGTON (p/KING REC) b. 1900-0831, HOPKINSVILLE, KY SAMPSON, EDGAR MELVIN (cl/arr) b. 1907-0831, NEW YORK CITY, NY THOMAS, JERRY (d) d. 1990-0831, BROOKLYN, NY 49 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 04:48:33 -0600 From: Gary Constantine Subject: Re: Re2: ID this song... (text deleted) >> > > A question for you. Can you identify the singer of the following words? >> > > >> > > "I'm a one hour mama, can't stand no five-minute man ..." >> > > >> > > I'm guessing Katie Webster, but this is being used to settle an >> > >argument. Any ideas, please respond to this address. Tnx. >> > >> > Actually, I'd guess Big Mama Thornton, but my BMT CD is at home. (text deleted) >> Ida Cox >You can find this song on ROSETTA RECORDS album. (text deleted) One of the better versions of "One Hour Mama", as well as a lot of other "blue" songs can be found on: DANA GILLESPIE BLUES IT UP ACE CDCHD 950. Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Thu, 31 Aug 1995 11:45:38 +0000 From: Pat Hertel Subject: Re: Food for Thought On Wed, 30 Aug 1995, Mike Evans wrote: > With all the recent flap about Buddy Guy (and others) not sticking to the > BLUES, I got to wondering if Blind Willie McTell or Barbeque Bob and many > other bluesmen heard the same thing when they sang gospel to make a buck, or > Big Bill Broonzy got flamed when he sang folk music. Did it make them less > authentic? > Nowhere was there any mention of Buddy Guy "not sticking to the BLUES" unless I missed something. The issue was more whether or not Buddy was playing Buddy as opposed to SRVesque or Claptonesque stuff. If BLUES-L was alive back then Broonzy et. al. WOULD have been flamed :):):) The issue in a nutshell (it seems to me) is whether or not you can make money playing the blues. You have guys like Clapton playing the blues, FINALLY, because now they can afford to do it. You have guys like Buddy altering their style to please a wider audience because they can't afford NOT to or they see the bigger bucks there. The HOB is a microcosm example. Here's a purportedly "BLUES" establishment that appears to admit, implicitly if not explicitly, that it can't make it on Blues alone..... and damned if the flames are not deserved from a blues-lovers point of view. On one side you have the economics and on the other the music and some law of supply and demand making the two almost incompatible. You want your heroes to do well, you just don't want the consequence to be on the downside, musically. A rock and a hard place. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/8/95 7:25 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 31 Aug 1995 14:03:35 +0000 From: Alain Le Mercier Subject: T Bone Walker Can somebody tell me if the double LP "very rare" of T Bone Walker has been issued in CD ? Thanks in advance Alain LE MERCIER ========================================================================= Date: Thu, 31 Aug 1995 08:14:35 EDT From: george morales Subject: Garcia tribute (fwd) (no blues content) I thought there would be some members of this list who would appreciate the fllwg messg.Sorry for no blues content....George ----------------------------Original message---------------------------- Return-Path: Received: from TEMPLEVM (NJE origin SMTP@TEMPLEVM) by VM.TEMPLE.EDU (LMail V1.2a/1.8a) with BSMTP id 2414; Wed, 30 Aug 1995 17:50:18 -0400 Received: from nemesis.Berkeley.EDU by VM.TEMPLE.EDU (IBM VM SMTP V2R2) with TCP; Wed, 30 Aug 95 17:50:17 EDT Received: (daemon@localhost) by nemesis.Berkeley.EDU (8.6.10/8.5) id NAA06593; Wed, 30 Aug 1995 13:58:10 -0700 Received: (factotum@localhost) by nemesis.Berkeley.EDU (8.6.10/8.5) id NAA06316; Wed, 30 Aug 1995 13:43:02 -0700 Received: from well.com (tnf@well.com [198.93.4.10]) by nemesis.Berkeley.EDU (8.6.10/8.5) with ESMTP id NAA06291; Wed, 30 Aug 1995 13:42:55 -0700 Received: (from tnf@localhost) by well.com (8.6.12/8.6.12) id NAA28888 for dead-heads@nemesis.Berkeley.EDU; Wed, 30 Aug 1995 13:42:54 -0700 Date: Wed, 30 Aug 1995 13:42:54 -0700 From: David Gans Message-Id: <199508302042.NAA28888@well.com> To: dead-heads@nemesis.Berkeley.EDU Subject: Garcia tribute Sender: dead-heads-dist@nemesis.Berkeley.EDU Among the offers I received from various publishers following the death of Jerry Garcia, one proposal actually made some sense. So I am looking for messages, stories, expressions of grief, testimonials, obituaries, etc. from people online. If you have something to say that you would like to have included in this book, please EMAIL it to me asap. Please include a note acknowledging that you are sumbitting this for the book and that I have your permission to include it. I am looking for PERSONAL, original statements, not published material. If you want to send me something you posted to the net, that's great - I haven't got the time to read all the amazing stuff that's been posted. Everyone who contributes gets a free copy of the book. Thanks in advance for participating. David Gans tnf@well.com http://www.well.com/user/tnf/ Truth and Fun, Inc., 484 Lake Park Ave #102, Oakland CA 94610 ========================================================================= Date: Thu, 31 Aug 1995 08:03:01 EDT From: Henry Gould Subject: Blind Dates benefit gig (RI area interest) The Blind Dates will be playing their brand of country blues, folk jug washboard original stuff at CAV, 14 Imperial Place, Providence, on Wed. Sept 27th starting at 9 pm. A benefit for The Poetry Mission and Nedge, the Missions' literary journal. No cover. Mission litwatchure on hand for purchase, donations, subscriptions, etc. Poetry & other nonsense set to music between sets. Coffee, tea, vino, beer, good food and persian rugs and trinkets available from CAV. Harp, guitar, slide, bass, and electric washboard (played seven different ways!!), plus Sandy Croft on vocals. For directions to CAV call 401-751-9164. ========================================================================= Date: Thu, 31 Aug 1995 07:34:36 CST From: William Shute Subject: UK mid-priced HI RECORDS CD reissues From: Bill Shute I've been having some interesting off-network discussions of Hi Records material with some fellow soul fans, so I thought that I would list for them and for any other interested blues-l persons the CD reissues as of spring l995 on the UK "Demon" label of Hi Records material. I will do this in two parts: first the mid-price reissues, and in s separate post later, the full-priced ones. These reissues are not too hard to find. I have actually gotten most of the mid-priced ones at BIG chain record stores like Blockbuster Music! Usually at expensive places like those, the mid-priced UK reissues have sold for about fourteen bucks. At discounted stores (such as Waterloo Records in Austin and elsewhere), I have gotten them for nine or ten dollars. Note: all mid-priced ones have a prefix "HILOCD" before the number. I will only list that ONCE to save time. OK? HILOCD1 OTIS CLAY The 45s ------2 O.V. WRIGHT The 45s ------3 various The Dance Sounds of HI ------4 various What's The Question, vol. 1 ------5 various Pain, Sorrow, and Loneliness ------6 SYL JOHNSON The 45s (note: I own this, and its actual title is "The A Sides") ------7 various HI Girls ------8 various Name of the Game ------9 various What's The Question, vol. 2 ------10 various Trouble, Heartaches, and Sadness ------11 various Soul Searching ------12 various Should I Go or Should I Stay ------13 ANN PEEBLES US R&B Hits '69-'79 ------14 various Country Meets Soul ------15 various The Legacy of Gene Miller ------16 WILLIE CLAYTON/OTIS CLAY Chicago Soul Masters ------17 various Memphis Soul Greats ------18 various HI Fidelity I own five of the various artists ones. Some of them are unreissued tracks and alternate takes, while others (like HI Fidelity) are basically samplers of lesser-known album tracks from albums that Demon/HI have reissued on full-price CDs. Some, like the wonderful HI GIRLS, combine unreissued and UNRELEASED tracks with some from other Hi/Demon reissues. If you're a fan, of course, you'll probably want all of them. SHOULD I GO OR SHOULD I STAY and SOUL SEARCHING are good places to start. HI FIDELITY is a kind of best-of the reissues with many singles tracks by greats like Al Green, OV Wright, Ann Peebles, etc. and would be a good starting place for those who don't already have much HI material. Next time: the full-priced line. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 31 Aug 1995 07:52:58 -0400 From: Willy Evans Subject: Re: yes anyone can dig the blues -Reply Jeff Birk sez: > I went to a rodeo a few weeks ago (yeah......yeah.......I know......I'm > ducking in front of my monitor to avoid the tomatoes that are flying out of > it). Bear with me. I've never liked country music myself. Over the > loudspeaker comes Reba McIntyre's "Why Haven't I Heard from You" and > I'm thinking to myself, "Man, this aint all that bad." But as the song > continued, it hit me. I said, "Wait a minute! She's just using a standard > blues riff (or whatever you call it) No wonder I like it so much! What > does she think she's doing?" > > Anyway, my point is this: have any of you had any similar encounters > with country music? I wouldn't be wrong in assuming that blues have > been around a lot longer than country, would I? > > Jeff > I'll say it again! If you can't hear blues in a lot of country , then you just ain't listening. When I play solo, and the audience is into it, I'll play some Hank Williams, George Jones (one of MY favorites) and even a little Norman Blake. Pretty bluesy stuff!!!!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 31 Aug 1995 07:56:27 -0400 From: Willy Evans Subject: Re: Food for Thought After I went on and on about Buddy Guy and why he might "stray" from the blues. I got to thinking about some stuff I play and thought, "Hell, ole Buddy might just LIKE playing a little Rock and Roll!!" Strange Brew is a pretty cool song, and I don't think that anybody can go wrong playing a little Hendrix! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 31 Aug 1995 09:17:31 -0400 From: Ed Mezynski Subject: Re: Margolin Question & lyric help >LW's Margolin question "WHAT ABOUT THE VOCALS..." When I saw Bob a few weeks ago, he did most of the vocals. His drummer, Chuck Cotton also sang a bit. If you are lucky, he will also have "Sweet" Betty Journey as a featured performer. She is a treat, soulfull vocals, she's wonderful. They have been recording a cd for "Sweet" Betty, and Bob and his band have been backing her in the studio. It will be on New Moon Music. ========================================================================= Date: Thu, 31 Aug 1995 06:22:00 -0700 From: Bradley Gekler Subject: Re: Fabulous T-Birds (advice?) On Thu, 31 Aug 1995, Peter Gallagher wrote: > The Fabulous Thunderbirds are playin the Paradiso here in Amsterdam on > Sunday. > I've never heard anything of the FT's and was hoping someone could advise me: > > What style doe they play? > Are they, IAHO (in Anyone's humble opinion :) ) "not to be missed" ? > > thanks, > regards, > PeterG > -- > ----------------------------------------------------------------------------- > Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl > > " I used to finish every sentence I started, but now I just ...." > --my sister, Christine > ----------------------------------------------------------------------------- > Peter: Do you like Little Walter? Do you like good fat blues guitar? If you answer yes to either of these, IMHO they are "not to be missed" if you can avoid it. Hold it, I don't mean to say that kim's Little Walter-but he does himself proud the many times that i've seen them. Kid Ramos, is a nice addition if you can't have Jimmie Vaughn. Anyway, if you go-you'll be glad...., ---"Now Margaret remembers that for me", The Dutchman ========================================================================= Date: Thu, 31 Aug 1995 15:34:29 +0200 From: "Gerrit M. Rentier ITK" Subject: The Fabulous Thunderbirds Rule! A review of some kind of the Fabulous Thunderbirds Live, 8-30-1995, Effenaar, Eindhoven, The Netherlands "I'm in the mood to tear it up!". These magic lines from "Tear It Up" opened this great T-Bird gig. Already after the second chorus Kid Ramos bursted into his first guitar solo, introducing us to his raunchy, wry stinging Strat-sound with just enough maniac edge. This took away any doubt in the minds of those who weren't yet in the know: this `Kid' can play, and the T-Birds are here to stay! Then they took us to the first (and only) slow blues song via "Pretty Baby", "My Babe", an unidentified sweet swampy thing and "Don't Bite the Hand that Feeds You" from Kim Wilson's second solo CD. In "My Babe" we were presented with Gene Taylor's wonderfully self-assured piano in a few rockin' solo's. But they really got to the audience through the slow blues, BB King's "Sweet Little Angel", which featured a great solo by Ramos. He took the crowd from bearily audible tones to a big, firy pit of emotions, beating out his feelings both with his boots on the stage and with his hands on his strings: from a storm back to a whisper, and then again up into soaring screams. Wilson's vocals were very good on this one, very intense, interspersed with short high moans which reminded me of Buddy Guy singing. Then into "Twist of the Knife", where Ramos showed he could `do' Robilard licks as well. Of course, the fact that he respects the earlier work of Vaughan as well as of Robilard and Bangham licenses the fact that the band is still playing under this name, even though only two (or in fact only one; but Fran Christina replaced Mike Buck as early as around the second album in '80) original band members are in this lineup. But this works well, because Kim Wilson's harp and vocals make up the first half of the band's unique signature, and Kid Ramos respects the other half. Bass player Willie J. Campbell has that same, typical, deep pumping bass-style as Keith Ferguson and Preston Hubbard put in before him. Nicely juxtaposing the new with the old, they played "Roll of the Dice" from the likewise titled brandnew album followed by "Wait on Time" from the very first nameless '79 album, aka "Girls Go Wild". The former might not be exactly what purists will go for, but features some awesome butch harp by Kim. The latter was classic, with Ramos excelling in killer biting leads of short, firy phrases and screams: Kim just had to retalliate with a magnificent version of "Down at Antone's", with about 10 minutes of Kim on harp without any backing, never dropping the beat for a second, keeping us swinging and yelling throughout! >From that moment on the battle was won, and the crowd surrendered to a short barrage of new songs from "Roll of the Dice", including "Takin' It Too Easy" and "Mean Love", mixed with a "Let's Rock This Place" to which the crowd heartily sang along. During "She's Tuff" the effortless way in which Ramos copied Jimmie V's licks gave away that at some early point he must have spent more than a few hours with the T-Birds' old classic stuff. They left us with "Look At That" at a pace which was incredible after a performance of more than two hours, and left dancers all but exhausted, and encored on "Tuff Enuff": Yes, you are! It seems pretty clear that The Fabulous Thunderbirds still rule as the best damn' R'n B band in the world! Gerrit "Blues me or loose me" Rentier -- ========================================================================= Date: Thu, 31 Aug 1995 08:18:12 -0500 From: Richard Shurman Subject: Re: Blues Bowl III Chitown info Be aware that Spann's last two blues extravaganzas have been disasters or close. A couple of years ago he held one in Soldier Field. Word got around just before the show, based on one he'd just put on in the southeast, that payment of performers was in question, so many didn't show or perform and he was just about run out of Chicago. Last summer he held a show at UIC. About fifteen artists were advertised (which is crazy for a four hour show; how many can share that time, and what difference in drawing power are the 11th-15th going to make?); about ten showed up; six performed (some like Johnnie Taylor refused); and only one got paid at the time. So, on the positive side, there will certainly be some excellent blues/R & B talent (Spann has put on lots of good shows over the years); on the negative side, you definitely don't want to take the advertised list of artists at face value. Should be interesting... ========================================================================= Date: Thu, 31 Aug 1995 08:21:54 -0500 From: Richard Shurman Subject: Re: Ulmer bio. stuff That's a really nice capsule portrait of Blood Ulmer. The title of the John Patton LP is Accent On The Blues, not Ascent Of The Blues. ========================================================================= Date: Thu, 31 Aug 1995 08:55:00 -0600 From: Don O Subject: YES ANYONE CAN DIG THE BLUES > From: "(Brent M. Smith)" > but she is now trained as are alot of my previously non blues > friends. Ah, and here is the key. We should all be blues evangelists. Rather than looking down on someone because they love Wayne Newton, or whoever, we should all be telling these people "Have you ever heard of Albert King (or whoever your favorites are)? Check out this CD." Not everyone will bite, but I am convinced we can change the world, one pair of ears at a time. Don O. "Give me a beef taco, some chitlins, and a Lone Star beer" Freddie King ========================================================================= Date: Thu, 31 Aug 1995 08:55:15 -0600 From: Don O Subject: Re: GATEMOUTH VIOLA > From: Bruce Roberts > > Someone mentioned yesterday that Gatemouth Brown plays the viola. > Are there > any recordings of this? The only one I have that has viola credited is "Blackjack" on the Music is Medicine label from 1977 (MIM #9002). Don't ask me which songs cause it all sounds like fiddle to me! On the back of the album his road manager is listed as Hammond Scott. Yep, it's the same one because Naumann is listed in the credits, too. Don O. ========================================================================= Date: Thu, 31 Aug 1995 08:55:13 -0600 From: Don O Subject: Re: BLUESMAN WAYNE NEWTON/V > From: Richard Shurman > Maybe there's SOME hope for Vegas. Apart from being colonized by > residents B.B. King and Albert Collins, yesterday some corporation > threw > a private party there with music by James Brown and Otis Rush. What corporation? I wanna buy stock. Don O. ========================================================================= Date: Thu, 31 Aug 1995 08:58:50 CDT From: L W Subject: Yes, Anyone Can Dig Country I got to thinking, I said the Blues was wide enough to have something for everybody...I don't doubt that... The same could be said for rock and country (don't know about rap)....I'm sure everyone of us has dug a country song, be it Doc Watson, Ernest Tubb or Vince Gill....I think most of use has dug a rock song from time to time... I don't know about rap, I haven't heard any good rap, only vulgar rap in cars with BIG WOOFERS.... LW ========================================================================= Date: Thu, 31 Aug 1995 10:19:10 GMT From: "DUTTWEILER.J" Subject: Hip Linkchain TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Hip Linkchain Has anyone any information on Mr. Hip Linkchain? I ran across a CD by him the other day and was curious, in that I had never heard of him before. It was an Evidence re-issue, so I assume he has been around for awhile. Can anyone provide details? Thanks. ========================================================================= Date: Thu, 31 Aug 1995 09:29:33 -0500 From: Bruce Roberts Subject: Re: Gatemouth Viola > > Someone mentioned yesterday that Gatemouth Brown plays the viola. Are there > > any recordings of this? > > If you mean viola as opposed to violin (fiddle) I'm not so sure, but > he did play fiddle on some of his old Duke/Peacock sides. I think > either "Just Before Dawn" or "Slop Time" (can't remember which, I've > got 'em both on an old Duke LP) was an instrumental featuring his > fiddle playing. I'm pretty sure "Just Before Dawn" is on the "San > Antonio Ballbuster" album; not sure about "Slop Time". EW He does play viola on "Talking Timbuktu". I forgot about that yesterday. But I would still like to know about any Blues CD's. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 31 Aug 1995 10:43:50 -0400 From: Ross Whitwam Subject: Re: Yes, Anyone Can Dig Country L W wrote: >I got to thinking, I said the Blues was wide enough to have something for >everybody...I don't doubt that... > >The same could be said for rock and country (don't know about rap)....I'm >sure everyone of us has dug a country song, be it Doc Watson, Ernest Tubb or >Vince Gill....I think most of use has dug a rock song from time to time... > >I don't know about rap, I haven't heard any good rap, only vulgar rap in cars >with BIG WOOFERS.... > >LW *Sigh* here we go again... It isn't enough to say you just aren't familiar with with rap? You have to trot out the tired stereotypes too? It isn't enough to say you haven't bothered to investigate the genre much? You have to bolster your sense of taste by demeaning it too? There is a diversity in rap equal to the diversity in blues or country. There is loud rap, there is quiet rap, there is political rap, violent rap, fantastic rap, realistic rap, demeaning rap, uplifting rap, happy rap, mournful rap. Well, you get the idea. Yes, among the reasonably open-minded, anyone can dig rap too. Knows he's opening a can of worms (and for the upteenth time) but just doesn't like to see cliches and blanket dismissals go unchallenged, Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Thu, 31 Aug 1995 09:47:48 -0500 From: T-Bone Subject: Re: Gatemouth Viola On Wed, 30 Aug 1995, Eliot Williams wrote: > > From: Bruce Roberts > > > Someone mentioned yesterday that Gatemouth Brown plays the viola. Are there > > any recordings of this? > > If you mean viola as opposed to violin (fiddle) I'm not so sure, but > he did play fiddle on some of his old Duke/Peacock sides. He also plays "fiddle" on Professor Longhair's "Rock and Roll Gumbo" cd, but only on "Jumbalaya". T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 31 Aug 1995 09:50:23 CDT From: L W Subject: Re: Yes, Anyone Can Dig Country ----------------------------Original message---------------------------- > >I don't know about rap, I haven't heard any good rap, only vulgar rap in cars >with BIG WOOFERS.... > >LW >It isn't enough to say you just aren't familiar with with rap? >You have to trot out the tired stereotypes too? It isn't enough >to say you haven't bothered to investigate the genre much? >You have to bolster your sense of taste by demeaning it too? How did I stereotype it ..? How did I demean it.... You read soemthing that wasn't there. Do not put in something that's just not there. I said I (as in I) haven't heard any good rap...I haven't seen a good opera either....I did not say there wasn't any good rap......Stereptyping...gimme a break LW ========================================================================= Date: Thu, 31 Aug 1995 07:56:24 -0700 From: Richard Del Grosso Subject: Yank Rachell Folks on Blues-L Happy to be off the raod and back on-line. Heard a rumor from a club owner here in CA that Yank Rachell had passed away. Certainly hope it is just a rumor, but can anyone verify it? Knew Yank well when I lived in the MidWest, even worked together a few times. He really inspired my music. Let me know what you know. Rich DelGrosso ========================================================================= Date: Thu, 31 Aug 1995 09:44:46 -0500 From: T-Bone Subject: Re: yes anyone can dig the blues -Reply On Wed, 30 Aug 1995, Jeff Birk wrote: > Anyway, my point is this: have any of you had any similar encounters > with country music? I wouldn't be wrong in assuming that blues have > been around a lot longer than country, would I? Blues and country share some similar origins and "parents". It is thought by some that both developed on stages of medicine shows that toured the South selling booze to people who couldn't/wouldn't otherwise buy it. Cases in point are Piedmont bluesman Pink Anderson, who actually started out by playing with these medicine shows, and country music's Jimmie Rogers. Rogers' repertoire included some no-doubt-about-it blues that were marketed as country, and his records were somewhat popular amongst some black record buyers. There are also country "hybrids" like western swing and bluegrass which owe more than a nod of acknowledgement to black music. I oculd go on, but most of you know this already. Let me just recommend that those who want to know more consult some books on the subject. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 31 Aug 1995 10:17:15 CST From: William Shute Subject: UK FULL-priced HI RECORDS CD Reissues From: Bill Shute Here is the continuation of my earlier post--this one listing the full-priced British reissues of Hi Records material on the UK "demon" label. At full-priced stores, I see these going for nineteen bucks or so; at discount record stores, I see them for fifteen or so. You'll notice that many of these have two titles: these ones are CD reissues of 2-albums-on-1-CD. The full-priced CDs I own usually have good liner notes referring specifically to the albums included; however, some of them, such as the BILL BLACK cds have one set of liner notes (a good set, but the same one) used in ALL albums. For me, the real hidden gems are the two 2-album-on-1-CD Willie Mitchell reissues (120 and 132). Of course, some of the releases are not R&B/soul. Narvel Felts (one of my dad's favorite vocalists,and one of mine too) is a purveyor of "country soul"--those who like him as I do would consider him the Al Green of country music--those who dislike him would find him melodramatic, overwrought, pretentious,etc. Jerry Jaye is an interesting post-rockabilly singer who had a fluke hit with a l967 cover of Fats Domino's "Hello Josephine." He could probably be labelled "rockin' country." OK--are we ready? Once again, all of these have the same prefix before the number: HIUKCD. I will only use that on the first one to save time. Happy listening... This list is as of Spring l995. HIUKCD100 ANN PEEBLES Greatest Hits ------101 various The Hi Story ------102 BILL BLACK/WILLIE MITCHELL Memphis Rock n Soul ------103 OV WRIGHT The Wright Stuff/Live ------104 AL GREEN Tokyo...Live ------105 ANN PEEBLES Lookin' for a Lovin' ------106 AL GREEN Green is Blues/Al Green Gets Next To You ------107 AL GREEN Cover Me Green ------108 OV WRIGHT That's How Strong My Love Is ------109 QUIET ELEGANCE You've Got My Mind Messed Up (a collection of the singles and unreleased tracks by this little-known female soul group, this is a neglected gem in the HI catalog IMHO) ------110 OTIS CLAY That's How It Is ------111 AL GREEN I'm Still In Love With You/Call Me ------112 BILL BLACK'S COMBO Solid & Raunchy/Movin' (a favorite in the Shute household--I often use "the untouchable sound" of the Bill Black Combo on my phone answering machine) ------113 AL GREEN Livin' For You/Al Green Explores Your Mind ------114 AL GREEN Al Green Is Love/Full of Fire ------115 BILL BLACK'S COMBO Greatest Hits/Plays Tunes By Chuck Berry ------116 DON BRYANT Doin' The Mustang (Bryant's CDs are also neglected gems in the HI Catalog--fine deep soul) ------117 SYL JOHNSON Music To My Ears (Almost everything of Syl's is first-rate to me--for the blues side of this great artist, check out his recent Delmark album, one of the best releases of the year IMHO--the collection of his A-sides in the mid- price list is a good place to start investigating Mr. Johnson) ------118 various RIVERTOWN BLUES ------119 AL GREEN Have A Good Time/The Belle Album ------120 WILLIE MITCHELL Solid Soul/On Top ------121 ACE CANNON Tuff Sax/Moanin' Sax ------122 JERRY JAYE My Girl Josephine ------123 NARVEL FELTS This Time...plus ------124 BILL BLACK'S COMBO Goes West/Plays The Blues ------125 ACE CANNON Aces Hi/Plays The Great Show Tunes ------126 AL GREEN/ACE CANNON Christmas Cheers ------127 various HI: The Early Years, Vol. 1 (many of the early singles with rockers like Carl McVoy, etc. not much R&B, if that's what you want) ------128 various HI: The EArly Years, Vol. 2 (once again, many rockers here, some R&B instrumentals, not much of what most would call R&B--produced by the great Rockin' Ray Harris) ------129 various HI R&B and SOUL ------130 AL GREEN The Supreme Al Green ------131 BILL BLACK'S COMBO Let's Twist Her/The Untouchable Sound (another personal fave of mine--if you like "the roller rink sound" and Dave Baby Cortez, imagine a beat-heavy Memphis version of that!) ------132 WILLIE MITCHELL Ooh Baby You Turn Me On/Soul Serenade (GREAT little-known instrumental albums from the Memphis master! When I next visit Memphis, I will be visiting his club for sure!) ------133 DON BRYANT Comin' On Strong ------134 BOBBY McCLURE/WILLIE CLAYTON Hi Records Presents... ------135 various HI 45s Collection Vol. 1 ------136 various HI 45s Collection Vol. 2 (if you haven't bought that domestic HI box set, 135 and 136 might be good introductions to the HI sound) ------137 ANN PEEBLES Straight From The Heart/I Can't Stand The RAin ------138 ANN PEEBLES Tellin' It/If This Is Heaven ------139 ANN PEEBLES This Is Ann Peebles/The Handwriting Is On The Wall ------140 various Cover Me Soul ------141 AL GREEN The Flipside of Al Green ------142 SYL JOHNSON Back For A TAste of Your Love/Diamond In The Rough ------143 SYL JOHNSON Total Explosion/Uptown Shakedown ------144 ANN PEEBLES The Flipside of Ann Peebles ------145 BILL BLACK'S COMBO That Wonderful Feeling/Goes Big Band note :the following five Al Green releases are in a separate numerical sequence... HIUKCD405 AL GREEN Let's Stay Together ------425 AL GREEN Greatest Hits ------438 AL GREEN Take Me To The River...Greatest Hits Vol. 2 ------443 AL GREEN Love Ritual ------444 AL GREEN You Say It Whew! Bill Shute San Antonio, TX (though my SOUL is in Memphis) ========================================================================= Date: Thu, 31 Aug 1995 11:22:51 -0400 From: Barry Silverberg Subject: Columbia House Blues-LONG! To the best of my knowledge the following is a complete list of blues titles available through Columbia House. It is posted on a strictly voluntary basis by me. I am in no way affilliated with them. I have begun a very nice collection of blues CD's through Columbia House and simply want to share my findings. If anyone is interested in the various offers they make there are FAQ's etc. available on that. This is merely a list of what can be gotten from them (sorry for the truncations). I will repost this list on a regular basis - monthly. If you have any questions, flames, comments, additions, etc. e-mail me bsco@panix.com. I would be particularly grateful to know if there is anything I have left out and will certainly include it in my next post. Also if you plan to order from this list I recommend you recheck the ordering #'s as I am sure I have made some typing errors. I accept no responsibility for wrong names, titles etc., however I have done my best to be as accurate as I could. ARTIST ORDER# TITLE LABEL Ammons Albert 101881 Master of Boogi Mila Louis Armstrong 101840 Blueberry Hill Mila Lavern Baker 414839 Lavern Baker Atlantic/Jazz Beausoleil 389825 Bayou Boogie Rounder Elvin Bishop 482125 Tulsa Shuffle Epic/Legacy Bobby "Blue" Bl 478677 Years of Tears Malaco Bobby "Blue" Bl 484576 Turn on Your Mca Bobby Bland 404137 Midnight Run Malaco Bobby Bland 431601 Portrait of Blu Malaco Bobby Bland 452144 Two Steps from Mca James Booker 489914 Resurrection of Rounder Charles Brown 452177 Driftin' Blues Emi Charles Brown 489781 Just a Lucky So Bull Clarence "Gatem 472290 Standing My Gro Alligator Big Bill Broonz 447201 Good Time Tonig Columbia/Legacy Lonnie Brooks 472282 Turn on the Nig Alligator Ruth Brown 434886 Fine and Mellow Fantasy Clarence Carter 485359 Snatchin it Bac Rhino Boozoo Chavis 100503 Boozoo, That's Rounder Clifton Chenier 452128 Bayou Blues Specialty Clifton Chenier 472308 I'm Here Alligator Collins/Cray/Co 472332 Showdown! Alligator Albert Collins 472316 Ice Pickin' Alligator Albert Collins 472324 Cold Snap Alligator Johnny Copeland 460782 Flyin' High Gitanes Johnny Copeland 481788 Catch up with Verve Johnny Copeland 489856 Texas Twister Rounder James Cotton 101378 Living the Blue Verve James Cotton 462150 Cut You Loose! Vanguard Cotton/Wells/Be 472340 Harp Attack Alligator Blind Gary Davi 485367 Harlem Street Fantasy Bo Diddley 408955 Chess Box Chess Bo Diddley 429126 Rare and Well D Chess Willie Dixon 380113 the Chess Box Chess Willie Dixon 447219 Big Three Trio Columbia/Legacy Willie Dixon 465625 I Am the Blues Columbia/Legacy Champion Jack D 458661 New Orleans Bar Columbia/Legacy Champion Jack D 485326 Blues from the Atlantic Aretha Franklin 358804 Sings the Blues Columbia Blind Boy Fulle 447235 East Coast Columbia/Legacy Lowell Fulson 446906 Hung down Head Chess Buddy Guy 110171 Slippin' in Silvertone Buddy Guy 434373 Damn Right Silvertone Buddy Guy 440602 Complete Chess Chess Buddy Guy 457234 Feels like Rain Silvertone Buddy Guy 462143 a Man and the Vanguard Buddy Guy 462168 My Time after Vanguard Buddy Guy 472357 Stone Crazy Alligator Buddy Guy & Jun 441238 Buddy Guy Rhino Buddy Guy & Jun 472365 Alone & Acousti Alligator Slim Harpo 462077 Best of Slim Rhino Ted Hawkins 484519 the next Hundre Dgc Hound Dog Taylo 485375 Hound Dog Taylo Alligator Holmes Brothers 489880 Soul Street Rounder John Lee Hooker 407080 Real Folk Blues Chess John Lee Hooker 438333 Detroit Special Atco John Lee Hooker 440305 Best of John Ho Mca John Lee Hooker 462176 Plays & Sings Chess John Lee Hooker 472126 Graveyard Blues Specialty Lightnin' Hopki 460790 it's a Sin to Gitanes Son House 447193 Father of the D Columbia/Legacy Howlin' Wolf 400499 London Sessions Chess Howlin' Wolf 415745 Real Folk Blues Chess Howlin' Wolf 440438 Chess Box Chess Howlin' Wolf 485342 Change My Way Chess Mississippi Joh 379826 Best/M.j.hurt Vanguard Etta James 379685 Second Time Chess Etta James 380154 7 Year Itch Island Etta James 452250 Right Time Elektra Etta James 461699 Essential Etta Chess Etta James 485334 Etta James Rock Chess Elmore James 462085 Dust My Broom Rhino Elmore James & 472142 Whose Muddy Sho Chess Blind Willie Jo 458745 Complete Record Columbia/Legacy Johnnie Johnson 427344 Johhnie B. Bad Elektra/Nonesuch Lonnie Johnson 446831 Steppin' on Columbia/Legacy Lonnie Johnson 482117 Stompin' at the Columbia/Legacy Pete Johnson 101857 King of Boogie Mila Robert Johnson 414888 Complete Record Columbia Keb Mo 482430 Keb Mo Okep Albert King 102228 the Best of Alb Stax Albert King 446914 King of the Blu Atlantic Albert King 452169 I'll Pay the Stax B.b. King 209668 Live at Regal Mca B.b. King 379776 Best of Bb King Mca B.b. King 421354 Live at the Grp B.b. King 440628 Lucille Mca B.b. King 448084 King of the Mca B.b. King 463505 Blues Summit Mca Sleepy Labeef 100446 Strange Things Rounder Booker T. Laury 489898 Nothin' but the Bull Leadbelly 428524 King of the 12- Columbia/Legacy Leadbelly 489724 Nobody Knows Th Rounder Furry Lewis 485383 Shake 'Em on Fantasy Smiley Lewis 472134 Best of Smiley Emi Lil'ed and the 472373 What You See Alligator Lonnie Mack 472381 Strike Like Lightni Alligator Little Milton 101295 Welcome to the Chess Little Milton 408708 Too Much Pain Malaco Little Milton 486399 I'm a Gambler Malaco Little Walter 446849 Best of Little Chess Little Walter 461707 Essential Littl Chess Lonnie Mack Wit 472381 Strike like Alligator Delbert Mcclint 472399 Live from Austi Alligator Mcghee Brownie 482067 Complete Browni Columbia/Legacy Blind Willie Mc 472159 Atlanta 12-Stri Atlantic Blind Willie Mc 482075 the Definitive Columbia/Legacy Memphis Minnie 379800 I Ain't No Bad Portrait Memphis Minnie 447227 Hoodo Lady: Columbia/Legacy Jelly Roll Mort 462119 Mr. Jelly Lord Rhino Charlie Musselw 472407 Ace of Harps Alligator Nathan and the 100735 Zydeco Live Rounder Shuggie Otis 482141 Shuggie's Boogi Epic/Legacy Junior Parker 485318 Junior's Blues Duke Dan Penn 480061 Do Right Man Sibh Pinetop Perkins 461194 Portrait of a Omega Lucky Peterson 460774 I'm Ready Gitanes Lucky Peterson 479782 Beyond Cool Verve Professor Longh 452110 New Orleans Pia Atlantic Professor Longh 472415 Crwfish Fiesta Alligator Tampa Red 482091 the Guitar Wiza Columbia/Legacy Jimmy Reed 366534 Compact Command Motown Zachary Richard 100768 Mardi Gras Mamb Rounder Jimmy Rogers 446880 Chicago Bound Chess Roy Rogers 111559 Slide Zone Li Roomful of Blue 100255 First Album Varr Otis Rush 437004 Mourning in the Atlantic Saffire - the U 472423 the Uppity Blue Alligator Johnny Shines 102236 Hey Ba-Ba-Re Bo Rounder Bessie Smith 383430 Bessie Smith Columbia/Jazz Bessie Smith 421388 Complete Vol. 1 Epic/Legacy Bessie Smith 428532 Complete Vol. 2 Columbia/Legacy Bessie Smith 458703 Complete Vol. 4 Columbia/Legacy Bessie Smith 449561 Complete Vol. 3 Columbia/Legacy Son Seals 472431 Midnight Son Alligator Otis Spann 485391 Blues Never Die Fantasy Taj Mahal 447177 Taj's Blues Columbia/Legacy Taj Mahal 467019 Dancing the Blu Private Music Koko Taylor 429142 What it Takes Chess Koko Taylor 452151 Koko Taylor Chess Koko Taylor 472449 Queen of the Bl Alligator Sonny Terry 102202 Sonny Is King Fantasy Sister Rosetta 101865 Live at the Hot Mila Irma Thomas 100289 Simply the Best Rounder Big Mama Thorto 472118 Hound Dog/Peaco Mca Big Joe Turner 474494 Jumpin' with Ic Emi James Blood Ulm 472977 Blues Preacher Columbia Various Artists 100305 Modern New Orle Rounder Various Artists 100321 Mardi Gras Part Rounder Various Artists 101899 Le Hot Club De Mila Various Artists 352591 Atl.blues:piano Atlantic Various Artists 352609 Atl.blues:guita Atlantic Various Artists 352617 Atl.blues:vocal Atlantic Various Artists 352625 Atl.blues:chica Atlantic Various Artists 353656 Atl.blues Atlantic Various Artists 378414 Best of the Chi Vanguard Various Artists 378422 Great Blues Men Vanguard Various Artists 378430 Blues Vol.1 Chess Various Artists 378448 Blues Vol.2 Chess Various Artists 378455 Blues Vol.3 Chess Various Artists 378463 Best of Chess B Chess Various Artists 378471 Best of Chess B Chess Various Artists 421230 Great Blues Epic/Legacy Various Artists 421347 Legends of Columbia Various Artists 421362 Slide Guitar Columbia Various Artists 421370 News & the Blue Columbia Various Artists 421396 Raunchy Busines Epic/Legacy Various Artists 428557 Legends of the Columbia/Legacy Various Artists 442285 Roots of Rhythm Columbia Various Artists 446864 Drop down Mama Chess Various Artists 447151 Roots N' Blues Columbia/Legacy Various Artists 447243 Cajun: 1929-39 Columbia/Legacy Various Artists 453498 Chess Blues Box Chess Various Artists 458711 Slide Guitar Columbia/Legacy Various Artists 458828 Cobra Records Capricorn Various Artists 462028 Okeh R&B Story Epic/Legacy Various Artists 462127 Blues with a Vanguard Various Artists 472472 20th Ann. Coll. Alligator Various Artists 474577 Feelin' the Blu Grp Various Artists 475756 20th Ann. Tour Alligator Various Artists 477877 Stone Rock Blue Chess Various Artists 482109 Cajun Dance Columbia/Legacy Various Artists 486860 Swingtime Story Capricorn Joe Louis Walke 484915 Jlw (With Branf Verve T-Bone Walker 427815 Complete Imperi Emi T-Bone Walker 446856 T-Bone Blues Atlantic Walter "Wolfman 489740 Wolf at the Doo Rounder Muddy Waters 400481 London Muddy Chess Muddy Waters 402966 Chess Box Chess Muddy Waters 407932 Best of Muddy W Chess Muddy Waters 415760 Real Folk Blues Chess Muddy Waters 447169 Blue Sky Epic/Legacy Muddy Waters 461723 Complete Planta Chess Katie Webster 472456 the Swamp Boogi Alligator Junior Wells 462135 it's My Life Vanguard Bukka White 482083 the Complete Bu Columbia/Legacy Artie Blues Boy 486498 Different Shade Wald Sonny Boy Willi 415752 Real Folk Blues Chess Sonny Boy Willi 461715 Essential Sonny Chess Johnny Winter 472464 Guitar Slinger Alligator Sonny Boy Willi 446872 down and out Chess Jimmy Witherspo 485409 Evenin' Blues Fantasy O.v. Wright 472167 Soul of O.v. Wr Mca Buckwheat Zydec 100487 Waitin' for My Rounder Buckwheat Zydec 101204 5 Card Stud Island Bo Diddley 362475 Go Bo Diddley Chess Bo Diddley 379677 Bo Diddley Chess B.b. King 429134 Live "Now Appea Mca Denise La Salle 404020 Wher it Hurts Malaco Denise La Salle 412874 Still Trapped Malaco Leadbelly 379792 Leadbelly Columbia Bessie Smith 449561 Complete Record Columbia/Legacy Various Artists 363911 Best of Chess B Chess Various Artists 404079 Blues Is Alrig Malaco Various Artists 404087 Blues Is Alrig Malaco Various Artists 404129 Blues Is Alriv Malaco Various Artists 421248 Preachin' the Epic/Legacy Various Artists 428441 Good Time Blues Columbia/Legacy Various Artists 458695 White Country Columbia/Legacy Muddy Waters 379834 More Real Folk Chess Denny Freeman 433037 Blues Cruise Amazing Keri Leigh & Th 433052 Blue Devil Blue Amazing Gary Primich 433029 Gary Primich Amazing Stevie Ray Vaugha 446765 In the Beginning Epic Stevie Ray Vaugha 429258 The Sky Is Crying Epic Stevie Ray Vaugha 411306 Vaughn Bros. Family Epic Stevie Ray Vaugha 382374 In Step Epic Stevie Ray Vaugha 351148 Live Alive Epic Stevie Ray Vaugha 338483 Soul To Soul Epic Stevie Ray Vaugha 326694 Couldn't Stand The Epic Stevie Ray Vaugha 321158 Texas Flood Epic Elmore James 455758 King Of The Slide G Capricorn Elmore James 446898 Let's Cut It-The Be Flair Big Joe Turner 402305 Greatest Hits Atlantic/Jazz ***Thanks to Jim McGlynn for these 4 new additions*** Big Joe Turner 113100 I've Been To Kansas MCA Various 476440 The Gospel Sound Big Maybelle 489732 Okeh Sessions Legacy Meters 100362 Look-A-Py-Py Rounder ***More new ones***** Joe Turner 117408 The Trumpet Kings M Pablo Junior Wells 122655 Everybody's Gettin Telarc Jimmie Vaughan 466821 Strange Pleasure Epic -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 31 Aug 1995 11:37:11 GMT From: "DUTTWEILER.J" Subject: Re: Hip Linkchain Date: Thursday, 31 August 1995 11:36am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Hip Linkchain Thought the list might be interested in Mary Katherine's response (thank you very much, MK ). However, I did *not* purchase the CD as I really had no idea what to expect out of it. I assume from MK's response that his style would be similar to Muddy's, but perhaps not. Anyone who could shed additional light (Mr. Shurman?) on this matter, it would be greatly appreciated --------------------------( Forwarded letter 1 follows )--------------------- Date: Thursday, 31 August 1995 10:53am To: "DUTTWEILER.J" From: GO-MAIN.MKALDIN1@DOASMAIN.SNADS Subject: Re: Hip Linkchain Received: from IX3.IX.NETCOM.COM by DOASMAIN.DOAS.STATE.GA.US (Soft*Switch Central V4L400GA); 31 Aug 1995 10:53:18 GMT Received: from by ix3.ix.netcom.com (8.6.12/SMI-4.1/Netcom) id HAA00367; Thu, 31 Aug 1995 07:52:10 -0700 Date: Thu, 31 Aug 1995 07:52:10 -0700 Message-Id: <199508311452.HAA00367@ix3.ix.netcom.com> From: mkaldin@ix.netcom.com (Mary Katherine Aldin ) Subject: Re: Hip Linkchain To: "DUTTWEILER.J" You wrote: > >TO: Internet >FROM: DUTTWEILER.J@GOMAIL >SUBJECT: Hip Linkchain > > > Has anyone any information on Mr. Hip Linkchain? I ran across a CD > by him the other day and was curious, in that I had never heard of > him before. It was an Evidence re-issue, so I assume he has been > around for awhile. > > Can anyone provide details? > > Thanks. > Hip Linchain, whose real name was Willie Richard, was born in Jackson, MS November 10, 1936. He moved to Chicago in the early 50s, and was in a series of blues bands. He worked in the house band at the Silver Dollar, where he backed Wolf, Sonny Boy and Muddy. He recorded some, not much, but did a 45 with Eddie Taylor which I'd bet that Dick Shurman, who has every obscure Chicago blues record ever made, has a copy of. He did several (five or six I think) LPs in the 70s, for many idfferent labels, one of which is probably the reissue you have. He died of cancer in Chicago on Feb. 13, 1989. Mary Katherine ========================================================================= Date: Thu, 31 Aug 1995 11:39:55 -0400 From: Ross Whitwam Subject: Re: Yes, Anyone Can Dig Rap L W wrote: > >How did I stereotype it ..? How did I demean it.... You read soemthing that >wasn't there. Do not put in something that's just not there. I said I (as in I) >haven't heard any good rap...I haven't seen a good opera either....I did not >say there wasn't any good rap......Stereotyping...gimme a break > >LW How about: >>I don't know about rap, I haven't heard any good rap, only vulgar rap *************** >>in cars with BIG WOOFERS.... ********************* That's the totality of your experience, is it? Describes every single experience with rap you've ever had? Ross W. ========================================================================= Date: Thu, 31 Aug 1995 15:51:13 GMT From: "Daniel S. Lewart" Subject: 1995 St. Louis Blues Heritage Festival I have created a text-only version of the St. Louis Blues Society 1995 Blues Heritage Festival WWW page: http://www.prairienet.org/~dslewart/stlbhf.html If anyone sends me a schedule (soon), I will add it. Daniel Lewart d-lewart@uiuc.edu ========================================================================= Date: Thu, 31 Aug 1995 10:18:43 -0700 From: Ron Wack Subject: Re2: Singing.... - NO BLUES Item Subject: Message text *********WARNING - NO BLUES********** Mike Suffern wrote: > Something that I found out last winter was that I could be moved as >much singing sober as when I used to drink. Makes it easier to play the >guitar too! > I agree with you 100% on this one, Mike! I finished my share of the world's liquor supply one year and 10 days ago. I was just going to quit for a year to see how I felt. Feel great! I doubt if I'll start again. As far as music goes, I'm now up to singing at jams with friends and my guitar playing is much improved. A person tends to try a bit harder sober. You can concentrate on what you're doing better too. The worst thing about not drinking is to be around people who are uncomfortable with my decision. It's hard to convince them that I don't condemn them for drinking what-so-ever. In fact, I don't give a shit whether they drink or not. I still like to laugh and party and have a good time. Anyway, enough whining/bragging/babbling. Sorry, got carried away. %) RW P.S. To the Clash fans - I'll give them another try or 2 or 3 .... ========================================================================= Date: Thu, 31 Aug 1995 09:22:26 -0700 From: Joe Lempkowski Subject: Re: The harp questions Michael writes: >>2) Are there any tricks I should know about keeping the harp in good >>playing condition? I've seen/known harp players that soak their harps in >>water before playing them onstage. What, exactly does this do? Ruins them. Those players would be better off practicing more often or switching to a plastic bodied harmonica. The plastic bodies usually are more tightly constructed. I've never seen anyone who earns their living from a harmonica ever soak one. > >Soaking is useful only for wood body harps. Soak in a glass of water for 5 >to 15 minutes (check the condition and playability every so often). Soaking >swells the wood. For reasons I haven't comtemplated, you get easier bends >and more volume. The problem is that the wood swells out from the front >too. You will cut your lips on the holes (try 5 minutes first). Some >players cut that extra wood out or sand it (yuk, pwffft, don't inhale >that!). Most of the wooden comb harmonicas suffer from air leaks. Soaking causes the wood to swell making the harmonica more airtight. Which in turn makes notes easier to bend. It also causes the comb to warp out of shape and with enough warping you may have a problem with the comb hitting the reeds. Once this happens, you just destroyed a twenty dollar harmonica. Damn those things are expensive. A guitar might be cheaper in the long run. Strings cost a lot less than new reedplates. ;-) Joe ========================================================================= Date: Thu, 31 Aug 1995 11:16:25 PDT From: rjbauman@IQUEST.NET Subject: Re: Yank Rachell I called a BSI officer to check with. No answer at Yank's house. I was to call the BSI person right back. No answer. This would be an awful rumor to post if it's not true. I'll post more in a few minutes. My wife and I spent much of Saturday afternoon trying to make Yank more comfortable. He has severe adema in his feet and legs and has generally not been feeling the best lately. But he was in great spirits. His impromtpu performance with David Morgan at the Acoustic Stage in Indianapolis was tremendous. He can still do it. His voice is not as strong, but this performance was the best of the day. About 100 people saw this, as most of the crowd watched the last half of Eddie Shaw's act on the electric stage. I wish I would have taped it as I did his earlier electric set that day, but my mind other things. >Folks on Blues-L > > >Happy to be off the raod and back on-line. > >Heard a rumor from a club owner here in CA that Yank Rachell had passed away. > >Certainly hope it is just a rumor, but can anyone verify it? > >Knew Yank well when I lived in the MidWest, even worked together a few >times. He really inspired my music. > >Let me know what you know. > >Rich DelGrosso > ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 11:38:25 PDT From: rjbauman@IQUEST.NET Subject: Yank Rachell It's 12:30. Still can't verify Yank's condition. I'm going over to his house. I had promised to deliver a letter from a fan and some records. Keep your fingers crossed. If this is a rumor....... paybacks are HELL ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 11:15:41 -0500 From: Richard Shurman Subject: Re: Hip Linkchain Hip was a nice west side singer/guitarist with a wildness in his sound that I always enjoyed. His singles are collected along with some later studio stuff (including rhythm guitarist Dave Clark, who now leads the Blues Swingers as a tenor player) and a couple early '60s unissued sides. He went on to record as a leader and with Jimmy Rogers, with whom he played in the early '80s. (He turned down Muddy to go with Jimmy after Muddy fired Portnoy and the rest of his '70s band.) Their "Stickshift" LP on Teardrop is hard to find but very nice; so is Hip's own Teardrop LP Change My Blues. I "produced" his last session for Black Magic; Hip knew exactly what he wanted to do and all I really had to do was watch and listen. Oh, Hip also shared an LP on Rumble with his good friend Jimmy Dawkins. He was one of the last "journeyman" blues artists to work the small west side clubs till shortly before his death. I'd put him on a level with people like Buster Benton and Byther Smith, meaning a little below the top rung but enjoyable and noteworthy. ========================================================================= Date: Thu, 31 Aug 1995 11:40:27 -0500 From: David Silberberg Subject: Re: Food for Thought At 11:45 AM 8/31/95 +0000, Pat Hertel wrote: >The issue was more whether or not >Buddy was playing Buddy as opposed to SRVesque or Claptonesque stuff. > (snip / snit) > > The issue in a nutshell (it seems to me) is whether or not you can make >money playing the blues. You have guys like Clapton playing the >blues, FINALLY, because now they can afford to do it. You have guys like >Buddy altering their style to please a wider audience because they >can't afford NOT to or they see the bigger bucks there. > As others have said, I wasn't going to jump in on this, but.... Maybe Buddy, Bonnie, Eric (that's Raitt and Clapton, not Kalmbach and LeBlanc) aren't as mercenary as some of us are making them out to be: Why isn't it very possible (highly possible - maybe even highly probable) that Buddy likes the music he's playing, apart from its commercial acceptability)? Maybe he just plain old likes the SRV or Clapton sound. Maybe Bonnie Raitt likes taking bluesy sounds into more "modern" directions. Maybe their musical tastes have naturally developed into areas that are more lucrative commercially. I think we may be too cynical at times.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 31 Aug 1995 11:56:14 -0600 From: Don O Subject: Re: FOOD FOR THOUGHT > From: Pat Hertel > On one side you have the economics and on the other the music > and some law of supply and demand making the two almost > incompatible. You want your heroes to do well, you just don't > want the consequence to be on the downside, musically. > A rock and a hard place. You know who seems to have found an almost perfect answer to this problem? Kim Wilson. He has his blues band, and he has his "money band", the Fabulous Thunderbirds. There's only one track that I like on the new T-birds album, though they can put on a good live show. In contrast, I like most all of his blues band (solo) albums and when he tours as a solo he is fantastic. I hope they sell Millions of the new T-birds album so he can afford to put out another solo album! Don O. ========================================================================= Date: Thu, 31 Aug 1995 10:15:00 -0700 From: Ned Kraft Subject: LO harps Mike's on the money on LO harps. I have one in A (the Huangs I play had quality problems with A's a while back). I played it regularly for quite a while and there is no hint of it flatting out. Also, very easy to bend. I'm not a fan of the tone (a bit thin), but must admit it's good for starting out. If you like SRV and want to play along, you should put the Ab harp on your list (or if you want to sit in with bands that tune down 1/2 step) - lots of Eb tunes. Dirty Ned ========================================================================= Date: Thu, 31 Aug 1995 12:16:45 CDT From: L W Subject: Identify this tape !! I grabbed an unlabeled FUJI tape this morning and decided whatever is on it I'll just have to listen to it...(it's called music roulette) DID YOU SEND IT.....WHO IS IT....? It is a white band (only mentioning color to help you indentify it) and they sometimes have a Little Feat "groove"...There are two cuts with a female singer one of those cuts in the Lonnie Mack tune "Oreo Cookie" blues,this version is electric. There is a song about BarBQue (weak lyrics IMHO) there is a Robert Johnson tune (Traveling Riverside i think) decent slide playing on it. There is plenty of harmonica and one song had nice sax and jazzy SRVish playing with an occasinal taseful use of the the wang bar....??? It may one of those bands that didn't move me at first listen, but I like a whole lot of it this time.Anyone know who it is...My apologies if a blues-eller sent it (I've had it a while) and I've just got around to listening to it or something......I remember someone sending a tape of a local band in their area...could this be it.... Thanks LW ========================================================================= Date: Thu, 31 Aug 1995 12:28:12 CST From: William Shute Subject: Columbia House postscript(Milan label) From: Bill Shute Whether or not you do business with Columbia House is your business. However, to follow up on Barry's list of available releases, let me WARN you (caveat emptor, as they say) that the Milan label CDs (distr. in the US by BMG) are largely ripoffs. The Bill Broonzy one is actually dubs of available recordings (passed off as unreleased!) with brief spoken intros by Bill, whose use of dates is quite unreliable, claiming "I recorded this in l923" etc. I was floored by this when I first heard this album! Also, it says a lot about the blues knowledge of the people at this label that they would even put out these substandard "dubs" of released recordings without even knowing that they WERE released recordings. Imagine if I made a home recording of one of Elvis' Sun recordings which was playing on a record player across the room. It would sound a little different (with room tone and the like) and would be inferior in sound, but it ain't an "alternate recording." The Memphis Slim album is available on Stash CD with many more tracks and accurate personnel, recording info, etc. The Albert Ammons album duplicates in lesser sound sides that are available LEGALLY from an IN-PRINT Blue Note CD!!! Looks like there's a lot of fine stuff available from Columbia House, but AVOID this rip-off Milan label. Even if some of them are OK (for instance, I don't know enough about Ethel Waters' discography to know about what's on her CD), I'd boycott this label on principle. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 31 Aug 1995 13:37:29 EDT From: qquit Subject: St. Louis Blues Please, please can someone give me the details of the Blues Fest in St. Louis this weekend. I just heard about it, but have no details such as place, time, ticket inf., hotels. Help. I want to go. Thanks. JWP ========================================================================= Date: Thu, 31 Aug 1995 13:49:38 -0500 From: Erica Wissolik Subject: John Lee Hooker Stamp I think I remember awhile back someone's wishes for a John Lee Hooker postage stamp and then the response that there won't be a US stamp for awhile - you have to be dead for 10 years before a stamp can be issued (one obvious exception was made recently). Anyway, in honor of his 75th birthday, TANZANIA (had Elvis stamps before we did) has issued an oversized (4 ? inches), limited issue stamp. They are available stateside for $4 from stamp collector stores. If you really want one and can't find it, I can give you my little brother's address in Tanzania. If you write to him and entertain him with baseball stats, I'm sure he'll send a few your way. ========================================================================= Date: Thu, 31 Aug 1995 13:54:54 -0400 From: Marcia Grodsky Subject: Blues-L in the News A couple of weeks ago Cat Bauer told me to call a reporter from the Delta Gazette who was doing a story on the Blues-L contribution to the Delta Blues Museum. The article came out in last week's issue (it's a bi-weekly paper) and I just received a copy. I forgot to bring it in to work today, but there's a nice picture of LW presenting the check to John Ruskey of the Blues Museum. If you live in the Delta area you might want to try to pick up a copy. I'll try to remember to bring it in tomorrow and post from it. ---Marcia ========================================================================= Date: Thu, 31 Aug 1995 18:09:52 +0000 From: Pat Hertel Subject: Re: Food for Thought On Thu, 31 Aug 1995, David Silberberg wrote: > > Maybe Buddy, Bonnie, Eric (that's Raitt and Clapton, not Kalmbach and > LeBlanc) aren't as mercenary as some of us are making them out to be: > > Why isn't it very possible (highly possible - maybe even highly probable) > that Buddy likes the music he's playing, apart from its commercial > acceptability)? Maybe he just plain old likes the SRV or Clapton sound. > Maybe Bonnie Raitt likes taking bluesy sounds into more "modern" directions. > Maybe their musical tastes have naturally developed into areas that are more > lucrative commercially. This may well be true and if they truly like what/how they are playing then more power to 'em on a personal level. I reserve the right to be disappointed in the result. No value judgement on them per se. > > I think we may be too cynical at times.... > In my case I think it's genetic :):) And speaking of cynicism (and I am definitely NOT referring to David Silberberg here) I find too often that some 'zellers assume the worst interpretation of the statements made in some posts. It is almost as if there are people lying in wait out there. Blues-L has become downright unfriendly at times. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/8/95 13:43 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 31 Aug 1995 13:12:33 -0600 From: Ranko Vujosevic Subject: Saint Louis anybody? I'm gonna be in Saint Louis on Sunday at the Fest (can't make it on Saturday - Satan and Adam are in town) and wonder whether anybody is willing to meet... Ranko ========================================================================= Date: Thu, 31 Aug 1995 11:13:56 -0700 From: Mary Katherine Aldin Subject: Re: Blues Chart You wrote: > >Mary >Thanks for posting the B. Chart. I think it is interesting to see what the >mass public likes/buys in the way of new issue blues. I don't normally read >Billboard so your post was great info that I might have missed. >Thankx >erniee3685@aol.com > You're welcome, and my name's not Mary, it's Mary Katherine. Everyone should note that the blues chart, like other Billboard specialist charts, is *not* in every single issue of the magazine. It is a bi-weekly chart, so it won't be around again till mid-September sometime. How interesting *is* this chart to the list in general? Should I post it regularly? I don't known how many of the listers already subscribe to or purchase Billboard. (Mind you, we don't re-post things like the Living Blues charts....I guess because the assumption is that more of us read Living Blues than Billboard!) You folks call it. If there's a lot of interest I'll continue to post it. Mary Katherine Mary Katherine ========================================================================= Date: Thu, 31 Aug 1995 12:16:13 -0600 From: Gary Constantine Subject: Re: Hip Linkchain >Hip was a nice west side singer/guitarist with a wildness in his sound >that I always enjoyed. His singles are collected along with some later >studio stuff (including rhythm guitarist Dave Clark, who now leads the >Blues Swingers as a tenor player) and a couple early '60s unissued >sides. He went on to record as a leader and with Jimmy Rogers, with whom >he played in the early '80s. (He turned down Muddy to go with Jimmy >after Muddy fired Portnoy and the rest of his '70s band.) (TEXT DELETED) First time that I have heard Hip Linkchain mentioned in years. Had the pleasure of meeting and talking to the man in the the early 80's when he played this part of Northern Alberta. Somewhere I have an autographed 45 that I bought at the show. Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Thu, 31 Aug 1995 13:00:06 -0500 From: Richard Shurman Subject: Re: Food for Thought For what it's worth (not too much because my details are vague), I was reading a guitar magazine this week and some British hotshot (I think Mick Ronson) was talking about the British blues scene in the early '60s. He commented on how much he enjoyed meeting Buddy (with the '65 American Folk Blues Festival, I assume) because Buddy was the first American bluesman he met who was so open-minded (and broad-minded) in his musical tastes and awareness. Long after the fact, it's easy to categorize people as "pure" blues, jazz, bluegrass, western swing or whatever, but at the time, almost all those performers are making a living by mixing it up to some extent and throwing in some of what's popular. Their music is to some extent an amalgam of the music that's around. But all this boundary-drawing is a lot easier in retrospect. ========================================================================= Date: Thu, 31 Aug 1995 13:29:00 CDT From: Bonnie Kalmbach Subject: Re: Hip Linkchain on a level with people like Buster Benton and Byther Smith, meaning a >little below the top rung but enjoyable and noteworthy. I'd put Byther up several rungs above Hip and Buster - given his recent performance in Madison and his Bullseye album. Byther packs a rather more powerful punch than Buster and Hip, IMHO - but then again Dick Shurman has probably seen them much more often than I. But - again - Does anyone know if Hip's JSP album is available on CD?? -Bonnie ========================================================================= Date: Thu, 31 Aug 1995 13:08:03 -0500 From: Richard Shurman Subject: Re: Hip Linkchain Don O. can probably answer this with 100% certainty, but I'll go with 95% confidence that Hip's JSP LP hasn't found its way to CD. ========================================================================= Date: Thu, 31 Aug 1995 13:36:00 CDT From: Bonnie Kalmbach Subject: Re: Food for Thought >Why isn't it very possible (highly possible - maybe even highly probable) >that Buddy likes the music he's playing, apart from its commercial >acceptability)? Maybe he just plain old likes the SRV or Clapton sound. >Maybe Bonnie Raitt likes taking bluesy sounds into more "modern" directions. >Maybe their musical tastes have naturally developed into areas that are more >lucrative commercially. It's highly likely that Buddy enjoy what his current style - he always was given at times to freneticism. I can remember in the 70's some pejorative references to him being a "shirt-shredder". But I also believe he has a firm eye on pleasing the type of audience that will most benefit him. -Bonnie ========================================================================= Date: Thu, 31 Aug 1995 18:39:46 +0000 From: Pat Hertel Subject: Re: Columbia House postscript(Milan label) On Thu, 31 Aug 1995, William Shute wrote: > From: Bill Shute > > Whether or not you do business with Columbia House is your business. > However, to follow up on Barry's list of available releases, let > me WARN you (caveat emptor, as they say) that the Milan label > CDs (distr. in the US by BMG) are largely ripoffs. For my edification. Columbia House is selling bootlegs? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/8/95 14:23 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 31 Aug 1995 11:43:00 CDT From: Bonnie Kalmbach Subject: Re: Hip Linkchain Hip was a very fine guitarist based in Chicago. He used to come up to Madison regularly. He died of lung cancer about 5 or more years ago. Hip Linkchain wasn't his real name.His real first name was Willie; I don't remember his last name. Actually I was about to post a question about him too - does anyone know if his JSP album is available on CD? My vinyl copy is about worn out? -Bonnie > Has anyone any information on Mr. Hip Linkchain? I ran across a CD > by him the other day and was curious, in that I had never heard of > him before. It was an Evidence re-issue, so I assume he has been > around for awhile. > > Can anyone provide details? > > Thanks. ========================================================================= Date: Thu, 31 Aug 1995 14:22:00 EDT From: "(Brent M. Smith)" Subject: SAXOPHONE AND THE BLUES Can y'all clue me into some blues that is heavy on the sax. A friend and I can't think of too much that has it. Thanks in advance for your help. Your brother in the blues, Brent ========================================================================= Date: Thu, 31 Aug 1995 15:14:37 -0400 From: Jim McGlynn Subject: Larry Garner I'm pretty sure Larry Garner has been mentioned positively by at least one of you in the past week or so but can't remember the details. Anyway, he's playing Amsterdam's (not a usual blues venue) in Providence on Sunday night and I'm wondering if I'd better be there. Any opinions? Thanks, Jim -- ========================================================================= Date: Thu, 31 Aug 1995 19:34:28 +0000 From: Pat Hertel Subject: Re: Blues-L in the News On Thu, 31 Aug 1995, Marcia Grodsky wrote: > A couple of weeks ago Cat Bauer told me to call a reporter from the > Delta Gazette who was doing a story on the Blues-L contribution to > the Delta Blues Museum. The article came out in last week's issue > (it's a bi-weekly paper) and I just received a copy. I forgot to bring > it in to work today, but there's a nice picture of LW presenting the > check to John Ruskey of the Blues Museum. If you live in the Delta > area you might want to try to pick up a copy. I'll try to remember to > bring it in tomorrow and post from it. > ---Marcia > Isn't there supposed to be a pic in the next Living Blues or did I get that one wrong? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/8/95 15:29 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 31 Aug 1995 15:36:53 -0400 From: Barry Silverberg Subject: Re: Food for Thought David Silberberg (davidis@INTERACCESS.COM) wrote: : At 11:45 AM 8/31/95 +0000, Pat Hertel wrote: : > The issue in a nutshell (it seems to me) is whether or not you can make : >money playing the blues. You have guys like Clapton playing the : >blues, FINALLY, because now they can afford to do it. You have guys like : >Buddy altering their style to please a wider audience because they : >can't afford NOT to or they see the bigger bucks there. : > : Maybe Buddy, Bonnie, Eric (that's Raitt and Clapton, not Kalmbach and : LeBlanc) aren't as mercenary as some of us are making them out to be: : Why isn't it very possible (highly possible - maybe even highly probable) : that Buddy likes the music he's playing, apart from its commercial : acceptability)? Maybe he just plain old likes the SRV or Clapton sound. : Maybe Bonnie Raitt likes taking bluesy sounds into more "modern" directions. : Maybe their musical tastes have naturally developed into areas that are more : lucrative commercially. Nicely put David ... I have lately been reevaluating the blues people I listen to as musicians rather than as blues(wo)men. I find that in particular pieces when they crossover to jazzisms or country or whatever it now fits and actually makes them all the more interesting as musicians and artists (not necessarily as just blues(wo)men. The size and scope of their music is in part the importance of them and the blues they play may rather be a direction they took rather than the defining characteris- tic of them. Although we will do with them what we please - whether they like it or not :):). -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 31 Aug 1995 14:47:10 PDT From: rjbauman@IQUEST.NET Subject: Re: SAXOPHONE AND THE BLUES >Can y'all clue me into some blues that is heavy on the sax. A friend >and I can't think of too much that has it. Thanks in advance for your >help. > Your brother in the blues, > Brent > I would recommend anything by Eddie Shaw and the Wolf Gang. You should also check out A.C. Reed's "I'm in The Wrong Business." A.C. also worked on Son Seals' "Live And Burning" album and Buddy Guy's "This is Buddy Guy" live album. Both sets are excellent. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 13:15:23 -0700 From: Mary Katherine Aldin Subject: Re: Blues-L in the News You wrote: >> > > Isn't there supposed to be a pic in the next Living Blues >or did I get that one wrong? > >phertel@cmc.doe.ca > OR bv808@freenet.carleton.ca >Local Time [31/8/95 15:29 PM] >"Thursday's always sad..." > Yes, there will be a photo of LW presenting the check (photo taken by blueslister Dick Waterman) in the news column of the next issue of Living Blues. Mary Katherine (who just happens to be the news editor of LB....wotta coincidence!) ========================================================================= Date: Thu, 31 Aug 1995 16:26:20 -0400 From: Barry Silverberg Subject: Re: SAXOPHONE AND THE BLUES (Brent M. Smith) (BRENTS@CLEMSON.EDU) wrote: : Can y'all clue me into some blues that is heavy on the sax. A friend : and I can't think of too much that has it. Thanks in advance for your : help. Give a try Eddie Cleanhead Vinson - Meats Too High JSP253 Wonderful wonderful CD + the new revision has 4 tracks of ECV's Fun In London session. Plenty of big blues sax and some nice blues-to-jazz crossover stuff. If you'd like a review of this CD e-mail me and I'll send it on. I post- ed it some time ago and you may have missed it. Also Percy Mayfield - Live WINNER #445 has plenty of sax- work on it by Dr Wild Willie Moore, Julien Vaught as well Bobbie Webb. I don't recall how much sax runs through it but heck you shouldn't be without this CD anyway. A beau- tiful live session by the poet of the blues. Will have a review on this in about 2 weeks - but I wouldn't wait for the review. Definitely one of my play-all-the-time-ones. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 31 Aug 1995 16:32:35 -0400 From: Barry Silverberg Subject: Re: Larry Garner Jim McGlynn (ac928@OSFN.RHILINET.GOV) wrote: : I'm pretty sure Larry Garner has been mentioned positively by : at least one of you in the past week or so but can't remember the : details. Anyway, he's playing Amsterdam's (not a usual blues venue) : in Providence on Sunday night and I'm wondering if I'd better be there. : Any opinions? Lots of talk here lately Jim about LG's new CD. My only run in with him is on an earlier CD Double Dues on JSP which was a blaster. From what I have heard - better be there is just way to gentle to put it. His vocals can be deep and dark and broody and full of blues or he can cut some solid soul/R&B. If you do go it would be nice to see your take on him here. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Thu, 31 Aug 1995 15:44:18 -0600 From: Don O Subject: Re: HIP LINKCHAIN > From: Richard Shurman > > Don O. can probably answer this with 100% certainty, but I'll go > with 95% > confidence that Hip's JSP LP hasn't found its way to CD. Raise that confidence level by another 5%, at least as of today. I think Stedman is too busy looking for more new artists like Larry Garner, the Butler Twins, and Tutu Jones. His recent re-issues have been the obvious sellers or tied in with European tours. JSP's next one will be a new CD from Charlie Sayles that was produced by Bobby Parker. Pretty good, too. U.P. Wilson has been in the studio in Fort Worth cutting his second one for JSP. There's also a recent re-issue of some of JSP's Phil Guy stuff, taken from several previous albums that are still in print on CD. There's another Dallas bluesman currently in negotiations with JSP. BTW I have it from a reliable source that Bullseye is very interested in signing U.P. Wilson. I passed on his phone number. We'll see what happens. Bullseye has also been talking to Tutu for months but nothing is signed yet. Don O ========================================================================= Date: Thu, 31 Aug 1995 14:03:00 PDT From: Gary Joneson Subject: Re: SAXOPHONE AND THE BLUES >(Brent M. Smith) (BRENTS@CLEMSON.EDU) wrote: >: Can y'all clue me into some blues that is heavy on the sax. A friend >: and I can't think of too much that has it. Thanks in advance for your >: help. > Also Percy Mayfield - Live WINNER #445 has plenty of sax- > work on it by Dr Wild Willie Moore, Julien Vaught as well > Bobbie Webb. I don't recall how much sax runs through it Dr. Wild Willie Moore .... cuts 2,5 Julien Vaught ............ cuts 3,4,8,9,11 Bobbie Webb................cuts 3,4,7-11 WINNER Home Page http://www.island.net/~blues/winner.html Percy Mayfield Page http://www.island.net/~blues/percy.html ========================================================================= Date: Thu, 31 Aug 1995 15:55:31 -0500 From: Richard Shurman Subject: Buddy Guy contd. (ad infinitum) Soon we can debate whether Buddy really WANTED to be on "Baywatch;" he's supposed to film an episode in a couple months. If nothing else, this will give men a good alibi: "Honest, honey, I'm just watching it for Buddy Guy!" ========================================================================= Date: Thu, 31 Aug 1995 16:43:32 PDT From: rjbauman@IQUEST.NET Subject: Yank's ok YANK RACHELL IS ALIVE AND WELL...............MOSTLY. He went to the eye doctor today, though. Boy, that grape vine is something else!!! RJ Bauman (nearly scared me out of my wits) ========================================================================= Date: Thu, 31 Aug 1995 17:50:53 -0400 From: Tom Freeland Subject: Re: Norwegian Blues In a message dated 95-08-29 15:30:32 EDT, you write: >Some time ago, we got postings from a group of Norwegians who were planning >a trip to Dallas, New Orleans, then a drive through the Delta to Memphis. >Reports of their presence appeared from Dick Waterman in Oxford, who ended >up going to Junior Kimbrough's with them. > > I met the Norwegians online, and then met them in person here in Oxford the weekend after Sunflower. We met at the local art gallery, where, connected with the Elvis conference, the house band from BB King's club was performing and gospel singer / former blues shouter Gatemouth Moore sang a quite secular set. Later, we drove out to Junior's, where we heard David Malone, Dwayne Burnside, and Junior Kimbrough perform in the most hot and humid room I have ever entered. They were completely ecstatic, standing in a group in the middle of the crowd at Junior's completely caught up in the music. At least 2 had on Hound Dog Taylor t-shirts. They were quite knowledgable-- I lent them a Memphis Jug Band tape and one of them talked about the lineups of the MJB. At this point in the trip, they had seen Snooks Eaglin in New Orleans, and been to Austin and Clarksdale. They got a front porch concert from Jack Owens in Bentonia, and were headed to Memphis, Helena, and then Chicago and home. They seemed in complete blues heaven, and were the perfect folks to take to Juniors. Tom Freeland ========================================================================= Date: Thu, 31 Aug 1995 18:10:20 -0400 From: Tom Freeland Subject: Re: future of the blues In a message dated 95-08-28 22:58:32 EDT, Bonnie Kalmbach wrote: >when some people >say the blues has to change, as all art forms do, to stay viable, they >mean that it has to move exclusively toward rock music. I happen to >think that Big Jack Johnson is one of the most creative blues artists working >today - but he incorporates a lot of country music into his style of >playing - I agree with the post-- I don't see the mainstream, particularly a mainstream that has blues as a primary source-- as a particularly fertile place to make the blues stay viable. Its the unexpected connections that make things new, although a connection between blues and country is as old as recordings of either (Jimmie Rodgers from blues, the Mississippi Shieks from Jimmie Rodgers, not to mention Howlin' Wolf learning to howl from a failed attempt at yodeling, and then the Mississippi Shieks to Bob Wills, and country and soul (Ray Charles, Solomon Burke) or swamp blues and country (Slim Harpo songs covered by country singers)). And I'm glad to see the way Jack Johnson is getting his due. I think he always felt in the shadow of Frank Frost in the Jelly Roll Kings, which is really sad because at least to me it didn't seem that way to see them on stage. For some time he has been my favorite bluesman of the North Delta. Tom Freeland ========================================================================= Date: Thu, 31 Aug 1995 18:22:21 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: Music in Kansas City? I wish I had made a copy of a guide they have in Kansas City that discusses all the places that have live music (or had it)... there is a free weekly thazt should list who's playing where that's available all over the place. Most weekends NightMoves up on the north side usually has something good. There are some absolute holes-in-the-wall that have listenable music, chiefly on the south side (55th on down). Also, there's the old Musician's Hall, where a jazz jam opens up around 1:00am most weekends and goes well into the night. It's damn near impossible to find without incredibly accurate directions, but it's a unique and sublime experience being in that hall where all the jazz legends played or hung out. And do not fail to go and get a mixed grill at Gates' Barbecue on 12th Street (near Vine). Scott _____ Reply Separator _____ Author: INTERNET:MARCIAG @ VMS.CIS.PITT.EDU@CISHUB Received: 08/30/95 09:31:00 AM Subject: Music in Kansas City? I'm going to be in Kansas City for about two weeks on business. Sept.4 - 17. I'd appreciate any guidance --- who's playing, where, what papers should I pick up when, etc. Thanks in advance. ---Marcia ========================================================================= Date: Thu, 31 Aug 1995 22:50:21 +0000 From: Pat Hertel Subject: Re: Larry Garner On Thu, 31 Aug 1995, Jim McGlynn wrote: > I'm pretty sure Larry Garner has been mentioned positively by > at least one of you in the past week or so but can't remember the > details. Anyway, he's playing Amsterdam's (not a usual blues venue) > in Providence on Sunday night and I'm wondering if I'd better be there. > Any opinions? > It wasn't me but I have been listening to his (latest?) CD ....... VERY nice. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [31/8/95 18:46 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 31 Aug 1995 18:10:10 -0500 From: T-Bone Subject: Re: future of the blues On Thu, 31 Aug 1995, Tom Freeland wrote: > Its the unexpected connections that make > things new, although a connection between blues and country is as old as > recordings of either Probably much older, but good point. A great example of this would be the former band Treat Her Right. I loved this group, with their nice "Howlin' Wolf sings with The Velvet Underground" sound. "Punk blues" doesn't sound like it would work, but damned if it didn't work for them. And that is how and why the blues will survive. Aside from being great music in and of itself, it is very adaptable to fit with other genres, so someone will always come up with a fresh take on it, and that will lead people back to the source. Not that I think that blues will ever be the most popular music in the country, but there will always be someone looking for where Elvis/The Stones/Led Zeppelin/SRV/etc etc etc fot their inspiration. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 31 Aug 1995 19:11:16 -0400 From: James Leftwich Subject: Re: Clash closet (Re: Can everybody dig the blues?) On Thu, 31 Aug 1995, Tom Rossen wrote: > [..] > > > >Keep working on your R&R friend. :) Many of us got here through rock. > > > >By the way, the song "Lost In A Supermarket" is done by The Clash, one of MY > >OWN personal all-time fave-o-rite punk-rock-ish bands. :) I know there are > >other Clash and punk fans out there in the closets of Blues-L. :) :) > > > >Riffin Rick > > Count me out (of the closet) :-) > count me too! Before blues it was (and still is) the Clash, the Ramones, the Replacements, R.E.M., the Smiths and others... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" ========================================================================= Date: Thu, 31 Aug 1995 13:19:58 PDT From: rjbauman@IQUEST.NET Subject: Re: Yank Rachell Nobody's home at Yank's house but the A/C is running in the front room. Yank has been known to slip in and out of the hospital without many people knowing. His family isn't the best with keeping us informed. ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 13:28:30 PDT From: rjbauman@IQUEST.NET Subject: Re: Yank Rachell Mr. DelGrosso, WHEN did you hear the rumor about Yank? This is critical information. (I lost his personal e-mail address. Sorry) ------------------------------------- Name: R. J. Bauman E-mail: rjbauman@pop.iquest.net (R. J. Bauman) Date: 08/03/95 Time: 14:17:21 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 19:26:37 -0400 From: B CHICAGO Subject: Re: Willie Kent - Aug 31 blue chicago at 736 n. clark st. tel. #312-642-6261 ========================================================================= Date: Thu, 31 Aug 1995 23:36:40 GMT From: David Goldstein Subject: Buddy/Future of the Blues Bonnie Kalmbach wrote: > Buddy Guy has already headlined the Helena King Biscuit Festival; >it was about 4 or 5 years ago. I admit to getting kind of bored when he went >into his Hendrix thing. > > I wandered around looking at the crowd. Many of the >younger white audience members, especially the guys, were enjoying the >set immensely. Most of the black audience members, mostly over thirty, >after an initial warm reception were just standing there, watching - >but kind of apathetically, some looked bored, and others were >talking to each other. > > Gone was the animation, enthusiasm, and obvious enjoyment that >greeted little Little Milton, Anson and Sam, and other more traditional >artists. > > *** > > I get the impression sometimes, that when some people >say the blues has to change, as all art forms do, to stay viable, they >mean that it has to move exclusively toward rock music. I happen to >think that Big Jack Johnson is one of the most creative blues artists working >today - but he incorporates a lot of country music into his style of >playing - which he did brilliantly at the Mississippi Valley Blues >Festival in Moline this year - and - at the Chicago Fest he did a lot >of jazz when he played with the New Africa String Quartet. Many other >contemporary blues artists also use a lot jazz in their style. >So the future of the blues is not quite a steady progression toward >rock and rock alone...My .02 cents worth this evening. > > > -Bonnie Guys like Lonnie Pitchford and Keb Mo and women like Rory Block show me that there is plenty to keep everyone happy. Change is inevitable, and some branches of evolution eventually fall off the tree. ========================================================================= Date: Thu, 31 Aug 1995 18:56:42 -0500 From: "Pat Seger (Pat Seger)" Subject: Re: seger > At least >its not Bob Seger doing his cover of Come To Mama(PaPa) as a duet with KOKO. > :-D) ******* >Garry Garry, Don't go dissin Bob. I happen to be real fond of his music ;) Red ========================================================================= Date: Thu, 31 Aug 1995 20:20:26 -0400 From: Your Name Subject: blues cruse Could anybody out there recomend any west coast blues cruses? thanx in advance A.D. ========================================================================= Date: Thu, 31 Aug 1995 17:34:54 PDT From: Michael Suffern Subject: Re: learning the blues On Thu, 24 Aug 1995 07:56:16 +0000 P.W. Fenton wrote: >On 23 Aug 95, Philip & Rebecca Brownell had this to say: > >> Hello, >> I want to learn how to play blues. I've begun learning scales and chords; >> is there anything you would suggest I do, tapes to listen to, Net sources, >> etc? >> Thanks, >> Zac (brownell@europa.com) > . . . >Another bit of advice that applies to either instrument is to >"listen". Listen to every bit of Blues you can get your hands on, and >listen hard. Don't just enjoy it, pick it apart in your brain. >Learn WHY things move you. When your fingers finally catch up to ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >your brain they will form a mighty potent combination, and you will ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >be playing music that you FEEL instead of music that you learned. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > >Take chances, and never give up. > >P.W. Fenton >Tampa, Florida >email - pwfenton@gate.net >WWW - http://www.gate.net/~pwfenton/ Paul points out something that is very important. Blues gives you the oppourtunity to really express feeling. The vocabulary initially seems limited, but the nuances are as numerous as the stars in the sky. It would take forever to learn them all. What you can do is learn the Blues scale, playing techniques and riffs to give you a vocabulary to speak with. But without feeling, it will sound as empty as a congressman addressing an empty house on CSPAN. By absorbing the Blues through listening, you'll have the chance to become emotionally attached to the music. The riffs that you've learned will have meaning to your soul and not just your intellect. Then, when you play, those feelings will direct your fingers what to play next. It will be *your* music coming out. It takes time, but if the Blues makes your heart soar, you couldn't have a better chance. What's great about this, as compared to expending *all* of you effort learning technique, is that you'll be speaking the 'truth' from your heart and soul when you play, and that connects with people. Another tip: find other players to jam with. Better players, of course, will teach you more (and you may be more embarrassed about your skills when playing with them, but they were where you are at one time). Less capable players deserve to have your help, though, so don't dismiss them as you progress. The interaction of playing with other musicians can be magical, when you really click together it can rise above mere fun and become a spiritual experience. Put notes on the bulletin board at school or the music store. If you have an entertainment monthly in town, they usually offer free ads to musicians seeking the same. Something that I had fun with recently was Jam Trax tapes. They have a so-so band playing tunes without (usually) any leads so that you can play along. You can also play rythym with the tapes. Which brings up something that I feel very strongly about - learn to play rythym. It is essential (though some famous players didn't). It's impossible to jam with someone when all either of you can do is play leads. Learning to play lead only is for 'wankers' and is only useful in the music store when you want to embarrass yourself by how bad you sound through a *really* loud amp (don't anyone flame me on this unless you *do* go and embarrass yourself with a really loud amp :-) in which case...). You need to learn the fingerings for 9th chords. I learned all of my barre chord major and minor and 7th variations but it wasn't until I quit playing Rock and Roll that someone showed me a ninth and all of a sudden the Blues was in my grasp. [As a matter of fact, last year a pro showed me another position for the 9th that I had only partially constructed myself through frantic experimentation while jamming with his band and trying to stay out of the register that he was playing in]. And if you want to learn a thing or two about playing with time, listen to Keith Richards (Rolling Stones of course). Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 08/31/95 Time: 17:34:54 ------------------------------------------------------- ========================================================================= Date: Thu, 31 Aug 1995 19:00:46 -0700 From: Joe Lempkowski Subject: Re: Future of the Blues Tom Rossen writes: >I have seen the future and it sizzles: blues incorporating free jazz. >Little Joe on trombone and Michael Peavy on alto sax sitting in with (who >else) the SOBs, going into free changes in the middle of their solos and >coming back out into funky blues. Even Carl was doing it.... Right on... The SOBs smoke. They are very versatile. They incorporate quite a bit of jazz, R & B and funk material in with the blues. Periodically, they throw in some pop. They not only make it sound great, but manage to make it sound cohesive. If you get a chance to see these guys, they are worth the effort and cost. I spent last weekend in Chicago and they reminded me of what I am missing sitting out here on the left coast of the U.S. Fortunately, we have a club owner with good sense that has been bringing them out here regularly. Not only are they great musicians, they are all fantastic people. Gentlemen in every sense of the word. These guys are deserving of a lot more airplay than they get. Out here there are 37 radio shows that feature blues. Many of them feature older artists (which I like) a few of them are oriented toward the Stevie Ray Vaughan crowd (a club which I am proud to say that I am not a member of, I'd rather listen to Albert King). Only one guy plays their stuff regularly. They were in California for two weeks and played to packed clubs every time. I know I was there damn near every night. They are the hottest and tightest band going today. Cheers, Joe Lempkowski ========================================================================= Date: Thu, 31 Aug 1995 22:43:57 -0400 From: Boyd Small Subject: NEW MEMBER ON MAILING LIST HELLO, My name is Boyd Small. I am a Blues Musician from Portland, Oregon. I am a Drummer and a Vocalist. If you have ever been to The Waterfront Blues Festival here in Portland you have probably seen me perform. I most recently performed there with my own band "The Boyd Small Big Blues Band" in 1995. Previously my band was "The Terraplanes". We performed with many Blues greats such as Screamin' J. Hawkins (we toured the West Coast and Europe as his band in 1987), Jimmy Rogers, Pinetop Perkins, Hubert Sumlin, Joe Houston, Guitar Shorty (we were his band for nearly a year in @1992-3) Long John Baldry and many others. Here in Portland we have The Cascade Blues Association, an organization dedicated to the preservation of this art form. For the sake of giving you a little more background on myself (and not just to 'toot my own horn') I was given The Cascade Blues Ass.'s Blues Hall of Fame Award in 1993 for recieving The Best Blues Drummer Award 3 years in a row. I have also been nominated for Best Male Vocalist several times but never recieved the award (you may have heard of the consistant and deserving winner of that award my good friend Curtis Salgado). I am very dedicated to my art form and welcome any response to this letter and would like to learn more about what is going on around the world in Blues Music. As a new user of the internet I hope this letter is proper and sent to the correct addresses. Please correct me if I've made any mistakes. Thank you very much for your time, and I hope to hear from you soon. ========================================================================= Date: Fri, 1 Sep 1995 03:01:53 +0000 From: James Berriman Subject: Re: One Hour Mama >From: edward c liu >Subject: ID this song... [snip] >> A question for you. Can you identify the singer of the following words? >> >> "I'm a one hour mama, can't stand no five-minute man ..." FWIW, Ann Rabson has covered this with Saffire. Writer credit is Grainger, Handy Bros Music, ASCAP. ========================================================================= Date: Thu, 31 Aug 1995 23:46:43 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: sax speaking of JSP, there is a nice Phil Guy with some excellent sax by Maurice Vaughan on CD. Don't know the name, but Phil is quite underated and the album doesn't go to excess. Our JSP expert can porbably give us the name. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Thu, 31 Aug 1995 21:50:44 -0700 From: Garry Segal Subject: Blues Chart Sure Mary Katherine ! I'd like to see the Billboard Blues Chart posted once in a while, Thanks. Garry new email BlueSngr@ix.netcom.com Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Thu, 31 Aug 1995 22:13:31 -0700 From: Garry Segal Subject: Re: Food for Thought that wish they didnt have to live up to that label (blues) and are tired of people saying" wow you mean you can play other stuff too ?" when they dare stray outside a bit to country, jazz. rock etc. Barry and Dave Silverberg make good points about being a fulltime pro musician adapting and even enjoying different genres of music, not because they are selling out, its all part of the biz. Garry BlueSngr@ix.netcom.com ========================================================================= Date: Fri, 1 Sep 1995 01:36:36 -0400 From: "Terry L. Odor" Subject: Re: Blues Chart I would love to see this posted since it is short and infrequent and I don't always get Billboard. Thanks Mary Katherine. Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Thu, 31 Aug 1995 22:53:08 -0700 From: Chris Adams Subject: Re: NEW MEMBER ON MAILING LIST Hi Boyd- Just want to let you know that there is a fan down the valley in Salem who has seen you on many occasion both in the small clubs and at the outdoor festivals. Welcome to Blues-L. It is always great to get some new blood, especially musicians from a hot bed of blues like PDX. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 31 Aug 1995, Boyd Small wrote: > HELLO, > My name is Boyd Small. I am a Blues Musician from Portland, Oregon. I am a > Drummer and a Vocalist. If you have ever been to The Waterfront Blues > Festival here in Portland you have probably seen me perform. I most recently > performed there with my own band "The Boyd Small Big Blues Band" in 1995. > Previously my band was "The Terraplanes". We performed with many Blues greats > such as Screamin' J. Hawkins (we toured the West Coast and Europe as his band > in 1987), Jimmy Rogers, Pinetop Perkins, Hubert Sumlin, Joe Houston, Guitar > Shorty (we were his band for nearly a year in @1992-3) Long John Baldry and > many others. Here in Portland we have The Cascade Blues Association, an > organization dedicated to the preservation of this art form. For the sake of > giving you a little more background on myself (and not just to 'toot my own > horn') I was given The Cascade Blues Ass.'s Blues Hall of Fame Award in 1993 > for recieving The Best Blues Drummer Award 3 years in a row. I have also been > nominated for Best Male Vocalist several times but never recieved the award > (you may have heard of the consistant and deserving winner of that award my > good friend Curtis Salgado). > I am very dedicated to my art form and welcome any response to this letter > and would like to learn more about what is going on around the world in Blues > Music. As a new user of the internet I hope this letter is proper and sent to > the correct addresses. Please correct me if I've made any mistakes. > Thank you very much for your time, and I hope to hear from you soon. > ========================================================================= Date: Fri, 1 Sep 1995 02:09:54 -0400 From: Curtis Hewston Subject: WebChat on The Blue Highway! Okay, it's up and running. We'd like to invite you to try to break it. Come on by The *new* Blue Highway at http://www.vivanet.com/~blues/ then go to Muddy's Cabin and take it from there. You'll need a forms-capable browser, that's all. If all goes well, next Wednesday evening (EST), we'll be featuring OKeh artists Keb' Mo', Popa Chubby, Anders Osborne, and G. Love. Then, the following Wednesday, we'll have Justice artist Tab Benoit. Just the beginning folks, but I ain't talkin'. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 1 Sep 1995 07:09:03 GMT From: Tony Burke Subject: Hip Linkchain Nope, the JSP Linkchain album definately ain't been reissued on CD. btw The Butler Twins album on JSP was the No1 selling blues album on Red Lick's list last month - its number 3 this month. Betcha Billboard won't list it!! ========================================================================= Date: Fri, 1 Sep 1995 07:42:16 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Yes, Anyone Can Dig Rap but why? It is interesting to read about the diversity of rap. To open a barrel of dead worms, my premise is that all modern rap encompasses negativity. Initially, my exposure to rap was when my ears were raped by dopers or dopers wannabes in thumpping cars. However two of my friends here are rap artists, I was shocked. They twisted my arms until I promised to rot my brain with some selected cuts. There was a degree of positivity in some of it. However the emergence of so-called positive rap only came about when the industry was about to face sanctions and censorship. So this smokescreen of using the same music and putting positive words in the place of negative words developed to shortcircuit the legal sanctions. (Something like putting religious words in a popular song and using it in church, you are stilled linked to the original message) Gill Scott Heron said it best in "Message To The Messagers", "About the women folk, on one song she's your African Queen, on the other, she's a joke", "To the gun toting brothers,(I may be paraphasing, excuse me Gill) a 45 or 9 doesn't make you a man, realize, you're just pulling contracts for the Klan" The Original Godfathers of Spoken Words,(Rap denigerates them) The Last Poets in an interview on their CD, Oh My People, 1st track, discusses the formation and development of rap, very enlightening. In closing, there is so-called positive rap. But as long as listening to it brings to mind the negative rap, it begs the question; how positive can it be. One Heart Moses ========================================================================= Date: Fri, 1 Sep 1995 07:42:58 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: Re: Food for Thought/Blues Support We have a Blues Society called Music City Blues, (Nashville, TN) A related issue came up, i.e. certain blues clubs including other formats or dropping blues altogether. Also certain big names not coming as often. The answer here was, Put your money where you ears are. Now we can get National big name artists and we have more clubs specializing in blues. Support the Blues, Moses ========================================================================= Date: Fri, 1 Sep 1995 07:49:28 -0400 From: Barry Silverberg Subject: One Man's Opinion-Butler Twins re: Tony Burkes comment on the Butler Twins #1 and now #3 ... Here's a little look see why ...... BUTLER TWINS / NOT GONNA WORRY ABOUT TOMORROW (JSP #257) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND This is Detroit Blues. It is a huge and hard working set from the Butler Twins, Clarence and Curtis. Every cut is over 5 minutes long and this is when bluesmen can push the limits. You'll particularly like how every note, every instrumental run and every vocal in this set mixes so well. Nothing fights with anything else and every sound is in place. Noone overplays anyone else yet everyone is featured. This is a tight, well produced CD. I Finally Found My Girl / My Baby's Coming Home / Not Gonna Worry About Tomorrow / I Know You Don't Love Me Baby / 1-900 / You Don't Need Me / Going Down A Long Country Road / Crack House Baby / That Old Devil (Crossroads) / Bring It On Back To Me / Travellin' Down South NYCD-Takes I Finally Found My Girl: Here we get a nice slow set of opening bars and then a highly charged rocking up tempo cut. Clarence Butler has a big solid voice much in the style of Otis Rush. This tune is hard driving but carries some soulful R&B overtones. Jeff Grand offers some solid licks on his guitar and Martin Gross keeps the beat on drums. This is a high energy sound from start to finish. My Baby's Coming Home: Clarence Butler opens here with a solid harp intro and then cuts in with some stretching vocals. He certainly can wail and on his harp he's mean and soulful. Their Delta roots are here but this tune is very much an urban cut. Not Gonna Worry About Tomorrow: This side is 8+ minutes of grit and grind. Everyone takes a part in opening up here - from the harmonica of Clarence Butler to the fine guitar of Kenny Parker and the exquisite piano of Eddie Harsch. This is an all around and all out solid piece. Clarence Butler might steal this one with his room filling vocals but close on his trail is Eddie Harsch's flying finger piano work and Kenny Parker's major guitar riffs. This is an outstanding cut on a must have CD. I Know You Don't Love Me Baby: Here is a an eerie, mystery laden guitar run that along with the vocals of Clarence Butler offers a new side to this combo. This cut is very personal and heartfelt and it comes across. This band is ready and able to take on all comers and this cut is the closest yet to the Delta roots of the Butler Twins - yet it never faults on it's north country ties. 1-900: Clarence Butler's big harp follows a very rural opening and then into his enormous vocal abilities. This side is excellent listening, very well presented and finely produced. As you listen to the Butler Twins you'll come to want more - a lot more. You Don't Need Me: Here's another Delta opening tune followed with the sweet harp of Brother Clarence Butler. As on many other sides the vocals and harpwork of Clarence Butler and the piano of Eddie Harsch make a set of magic duets. On this side Eddie Harsch is the mainstaple and the tune is consistently fine sounding. This is his best featured cut yet. Going Down A Long Country Road: This side took me back to dreaming of a country road and a harpman and his band strolling down at a loping dreamy pace. I was reminiscing of the great Mississippi Shieks, set with a different group of instruments and a new cut to their music. The quality is there, as is the sound, and this is an important track. Crack House Baby: Piercing. Listen to that sad brooding guitar by Kenny Parker and the big Hammond B3 by Eddie Harsch. This side is also beautifully sung and may be the best vocals on this entire CD. Clarence Butler is simply astounding. The topic here is frightening and the singing does it justice - masterful and heartfelt. This is a touching love song pointing through the horrors of modern day drug addiction. That Old Devil (Crossroads): LOOK OUT - the Butler Twins head home, down home, down south and back to the Delta. This is a cover of covers and the Butler Twins take the gutsy road of turning it into a jook joint rock. Jeff Grand is chilling on the slide here. He makes this cut whistle as does the gritty harp and the piano riffs. Clarence Butler brings in some rough and swinging vocals and the finale is here is the best one of any cut on this CD. This is a great tribute to a great song. Bring It On Back To Me: Here again Clarence Butler struts his soulful mellow side. This is REAL GOOD BLUES with plenty of fine instrumentation and Clarence Butler at his vocal peak. Travellin' Down South: As a close Clarence Butler gives us some of the richest harpwork on this overall killer set. This cut is perfect as a finale and made me a solid believer in the skills and gifts of the Butler Twins. I will be looking for lots more from these twins and their wonderful selection of accompanying musicians. Don't pass this one by - it's a real full hour plus of Detroit's best. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 1 Sep 1995 08:00:29 -0400 From: Barry Silverberg Subject: Re: Columbia House postscript(Milan label) Pat Hertel (phertel@CMC.DOE.CA) wrote: : On Thu, 31 Aug 1995, William Shute wrote: : > From: Bill Shute : > Whether or not you do business with Columbia House is your business. : > However, to follow up on Barry's list of available releases, let : > me WARN you (caveat emptor, as they say) that the Milan label : > CDs (distr. in the US by BMG) are largely ripoffs. : For my edification. Columbia House is selling bootlegs? If anyone can mail me information on those CD's that Columbia House is selling illegitimately I will incorporate it in each of my future posts. I can leave out those boots etc. or I can make note of the boots etc and certainly I will check with CH and make note to them of the status of those CD's. Would like to know (mail please) whether to note the boots on my posts or omit them from my posts. Will be glad to do what- ever the list wants. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 1 Sep 1995 06:21:48 -0600 From: Gary Constantine Subject: Memphis Minnie, Tampa Red etc. The September 1995 issue of ACOUSTIC GUITAR has articles on the acoustic abilities of Memphis Minnie, Blind Lemon Jefferson and Tampa Red. The articles are interesting enough even if you don't play guitar. Gary ........... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Fri, 1 Sep 1995 15:28:37 +0300 From: Jouni Ilari Hyyti{inen Subject: A tribute to Hessu Heinonen Hessu Heinonen is one of the leading figures in the Finnish blues. He is a blues musician, chairman of the blues live ! society and a owner of a huge record collection. He is awarded by the city of Jyvaskyla and Finnish Blues society. He has been a great godfather of numerous newbie blues players and bands. He bought his first blues album back in 1965. It was Howlin Wolf. That man is still his all time favorite blues artist. Hessu's recent band is called " The Back door men" after one of Wolf's songs. Hessu has played blues music (harmonica) over 25 years. Hessu's dearest idea was to have a blues society concentraining on living blues. The Blues Live ! society organized it's first festival back in 1981. Besides the yearly festival, there have been gigs also all around the year. During 15 years an enormous amount (at least 100) of blues musicians have been performing in our town, Jyvaskyla. Just a few names: Otis Rush, Buddy Guy, Junior Wells, Eddie Boyd, Lovell Fulsom, Booba Barnes, Carey Bell, Billy Branch, Sonny Terry & Brownie McGhee, John Hammond, Duke Robillard, Champion Jack Dupree, Louisiana Red, Jimmy Johnson, Joe Louis Walker, Jessie Mae Hemphill, Magic Slim and the best of Swedish and Finnish blues people. (I may have forgotten some great names, but I'm just heading for the party...) Nowadays the situation is not so good as back in 1980's but a Blues Live ! festival 1995 will be held in October. But tonight his 50th birthday PARTY will be held with "who is who" in the Finnish Blues. Regards, Jouni ========================================================================= Date: Fri, 1 Sep 1995 08:48:49 -0400 From: Willy Evans Subject: Re: Larry Garner On Thu, 31 Aug 1995, Jim McGlynn wrote: > I'm pretty sure Larry Garner has been mentioned positively by > at least one of you in the past week or so but can't remember the > details. Anyway, he's playing Amsterdam's (not a usual blues venue) > in Providence on Sunday night and I'm wondering if I'd better be there. > Any opinions? > > Thanks, > Jim > I saw Larry Garner at the Temple Bar Blues Festival in Dublin with a Dublin pick-up band. He was very good! Very soulful vocals, good solid guitar playing, great material and he is a good entertainer. Really connects with the crowd. I'd go! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 1 Sep 1995 08:32:20 CDT From: L W Subject: Fact/Fiction - Contenders I got the CD version of Tab Benoits newest effort along with his intenary (sp) and his 'BIO'.... In the bio it is stated "Nice and Warm was has sold more than any blues debut in history".........Is this a FACT, does anyone know for sure....I don't doubt it cause I can only think of a couple of "blues" artists who recieved that type of marketing.....Keb Mo and didn't SRV get marketed pretty heavy....? I heard that when Nice and Warm was out, Justice only had two artists on the label one was Tab and the other a Rapper (i think)...So they only had two artists to push..... What other "blues debuts" could be contenders to the "most sold".....? It also mentions that Tab's music has been on Nothern Exposure, Melrose Place, & Party Of Five.....The most watched show in the world, Baywatch, chose Tab to perform on camera during their premier season of Baywatch Nights. The show centers around private investigators whose office is above a BLUES club, and the producers will feature a different blues artist each week...An episode with BB King has already been shot Tab's episode will air in October of 95..... I will be interviewing Tab (I owe a favor) and he will do TWO nights in a local club in October. I don't mind interviewing him, cause he's nice and genuine. I probally won't make either of his shows, though. I do like some of his new CD I thought you might be interested.. Who are the contenders for the "debut" Thanks LW (who has seriously considered changing his name to Lightin' NO SMILEY) ========================================================================= Date: Fri, 1 Sep 1995 09:13:24 CDT From: L W Subject: Little Whitt Benefit FYI: The Great Burnout Benefit II will be next Staurday Sept 9th at the Old Train Station in Tuscaloosa AL. It starts at 6:00 PM....Scheduled perfomers are Jerry McCain Microwave Dave & The Nukes Candy Martin Shines (Johnny's widow) Debbie Bonds & Kokomo Blues Band festuring BIG Bo McGee ('eller Mike McCracken on guitar, outstanding tasteful player) The Persuaders Salty Papa The Turner Brother (featuring 'eller John "Boogie Daddy" Wells) Robyn and the Geezers LW ( public singing & puking debut.:-)) All proceeds go to Little Whitt in a effort to help him get his life back together after his house burnt down while he was doing the Eruope tour LW ========================================================================= Date: Fri, 1 Sep 1995 10:23:29 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - Sept 1st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, ARCHIE (of ARCHIE BELL & DRELLS) b. 1944-0901, HENDERSON, TX DAVIS, LILLY MARIE"BABY"(v/T-BONE WALKER) d. 1960-0901, HOLLYWOOD, CA 34 DUPREE, FRANK (song title/WILLIE BAKER) d. 1922-0901, GA -- ERRICO, GREGORY(of SLY & THE FAMILY STONE)b. 1948-0901, SAN FRANCISCO, CA EVANS, TOMMY (of THE DRIFTERS/THE CAROLS) b. 1927-0901, NEW YORK CITY, NY FLANAGAN,WILLIAM(of Death of Bessie Smith d. 1969-0901, NEW YORK CITY, NY 46 HARRIS, GENE (p/THREE SOUNDS) b. 1933-0901, BENTON HARBOR, MI HEAD, ROY KENT (v/TREAT HER RIGHT) b. 1941-0901, THREE RIVERS, TX HERZOG, ARTHUR JR. (songw/HOLIDAY) d. 1983-0901, DETROIT, MI 82 HUNT, VAN ZULA CARTER (v/NOAH LEWIS) b. 1901-0901, SOMERVILLE, TN HUTCHINSON, JOSEPH (arr/THE EMOTIONS) d. 1985-0901, CHICAGO, IL 54 MELROSE, FRANK (KANSAS CITY FRANK) (p) d. 1941-0901, HAMMOND, IN 33 MIDDLETON, VELMA (v) b. 1917-0901, ST. LOUIS, MO MOORE, JOHNNY (v) b. 1940-0901, WEST POINT, MS PATT, FRANK "HONEYBOY" (g/SPECIALTY REC) b. 1928-0901, FOSTORIA, AL PEPPER, ART (asax) b. 1925-0901, GARDENA, CA SANDERS, MOZEL REV. (of SALEM TRAVELERS) d. 1988-0901, INDIANAPOLIS, MN 64 STRONG, HENRY (hca) b. 1928-0901, WEST MEMPHIS, AR TWITTY, CONWAY [HAROLD LLOYD JENKINS] (v) b. 1933-0901, FRIARS POINT, MS WATERS, ETHEL (v) d. 1977-0901, CHATSWORTH, CA 80 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 1 Sep 1995 09:32:12 CST From: William Shute Subject: Clifford Scott's last two albums From: Bill Shute In the early 90's, the late great San Antonio-based tenor sax legend Clifford Scott made two albums with a core group of Austin musicians called The Rhythm Rats (led by gtrist Will Indian) and various guests from San Antonio and Austin. They were released in France on New Rose: CLIFFORD SCOTT "Mr. Honky Tonk is Back In Town" New Rose/Fan Club rose CD 286/NR770 recorded l991 released l992 CLIFFORD SCOTT "Texas Tenor" New Rose 422424 Recorded July l992 released early l993 I believe these were Mr. Scott's last two albums. I've had 'em since they came out, but I mention them because I met a week or two ago a local jazz trumpeter, the kind of guy who seems to have played with everyone who's anyone in SA, and I asked him about Clifford Scott and yes, he had worked with "scotty" also, so we talked about this great man for awhile. Scott is probably best-known as the tenor sax player in the Bill Doggett group that recorded the classic "Honky Tonk," which Scott co-composed. He also has a distinguished background of his own, having played with Lionel Hampton (where I first saw his name way back when), T-Bone Walker, Gatemouth Brown, Duke Ellington, Basie, et al. He is also featured on a beautiful Jimmy Witherspoon album called "Evenin' Blues" which is presently available on CD from Fantasy as OBC-511 (T-Bone Walker is on this album too). He did some solo recording for King after the success of "Honky Tonk," which was in no small part successful because of Scott's fine Tenor solo, which is imitated in most all covers of the song. Two king singles (4 songs) and one unreleased song are on a Charly R&B CD: LYNN HOPE/CLIFFORD SCOTT "Juicy" Charly R&B 280 Scott tracks recorded for King in l960 and feature Hank Marr on organ and Charles Brown on piano. The two New Rose albums are basically in an R&B/Texas Blues vein, and feature Scott's rich, sometimes gutteral, sometimes blurred (some nice Ayler-esque (or if you want to go back to the 20s, Cecil Scott-esque) smears here and there) Texas tenor sax, as well as his ingratiating vocalizing and on a few tracks his piano too (a beautiful version of Nobody Wants You When You're Down and Out he sings and plays piano on). Covers include Eddie Cleanhead Vinson, Joe Turner, Louis Jordan, Billie Holiday, Lucky Millinder, Fats Domino, Ivory Joe Hunter, plus some of Scott's own originals from the past, and a number of fine new tunes from Will Indian. Both albums are solid Texas R&B, altho the second one is more jazz- oriented, both in structure and because San Antonio's Jon Blondell is added on slide trombone. Blondell plays jazz trombone as well as being a dynamite blues bassist and member of Chris Holzhaus' blues band, where his interplay with Chris is almost telepathic. Here his buttery yet elliptical tone on the trombone is a perfect foil or complement for Scott's tenor sax. Mr. Scott passed away about two years ago, I think. It was a great loss to the San Antonio music scene as everyone could look up to Clifford Scott as the "elder statesman" of the SA scene, but a guy who was still an exciting player and a vibrant and positive personality. As for the Rhythm Rats, they still play in Austin on most weekends, and I see them listed as playing at the legendary Gruene Hall in Gruene, Texas from time to time. They've been on my "got to get over and see that band" list for a year or more--and I hope to soon. It would be nice to chat with the band about these albums and working with Clifford Scott. New Rose records is now defunct, thus all items are "out of print," so any remaining stock in record store racks or in distributor warehouses are all you're gonna see. Thus, if you are at all interested in these, you'd better pick up the first copies you see. I don't even see these in Texas anymore. In memory of a great musician and an important part of San Antonio music history...CLIFFORD "Honky Tonk" SCOTT...or "Scotty" as his friends called him. Bill Shute San Antonio, TX ========================================================================= Date: Fri, 1 Sep 1995 10:53:58 -0400 From: Barry Silverberg Subject: Columbia House Clarification followup on posts re: boots from CH. The original info was misread. CH is not selling boots. The CD's advertising may be off target but the CD's are legit. I post this so that anyone wishing to buy CH CD's not be turn- ed off by not wanting to do business with a ripoff co. What ever you decide re: BMG/Milan is personal, but I still think CH is a decent way to pick up some CD's legit and cheap. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 1 Sep 1995 11:12:03 -0400 From: Ed Mezynski Subject: info: Bull Durham Blues Festival For those of you within travelin' distance of Durham, NC. The 8th Annual Bull Durham Blues Festival is coming up soon. Here's the lineup: September 22, 1995 Friday Bobby Hinton and Shades of Blue Big Boy Henry and Lightnin' Wells Deborah Coleman Dr. John and the New Island Social and Pleasure Club September 23, 1995 Saturday Misdemeanors Guitar Gabriel and Tim Duffy Chubby Carrier and the Bayou Swamp Band The Fabulous Thunderbirds Bobby "Blue" Bland St Joseph's Historical Society PO Box 543 Durham, NC 27702 919.683.1709 or 1.800.772.BULL Tickets are $15 for 1 nite & $25 for both nites! My only affiliation with the fest is that they are renting my drums for the drummers of Dr. John's band and The Fab T-birds. No I'm not too excited. ;^) I may have to have my set bronzed after this. ========================================================================= Date: Fri, 1 Sep 1995 09:56:11 -0500 From: Richard Shurman Subject: Re: Clifford Scott's last two albums Amen to Bill Shute's nice posting about Clifford Scott. (Good timing; I've been listening to a Bill Doggett tape in my car the last couple days.) Among many other recordings besides the ones Bill mentioned, Clifford can be heard on some of the best early Freddie King songs (See See Baby, for one) and with Ray Charles and the Raelets from the '60s, when he was Ray's bandleader for awhile-- I've always liked his solo on the Raelets' "Into Something Fine" on Tangerine, which has a "Honky Tonk" reference in it in case you weren't sure it's him! ========================================================================= Date: Fri, 1 Sep 1995 11:10:38 -0500 From: Dave Daubard Subject: Re: Music in Kansas City? Go to Nightmoves. It's easy to find. So is the Grand Emporium where lots of people record live shows. There is no telling who might just drop in. Also you need to go to B.B.'s Lawnside Barb-b-que. B.B.'s features lots of acoustic duo's, etc. The owner, Linsey Shannon, has a local blues radio show. He has a mural on his wall that is a must see. If you real lucky, Lee McBee might be playing there while your in town. There are lots of jams all over the city. If you need some directions, let me know where you're staying so we can steer you in the right direction. I have a K.C. Blues Society newsletter around here someplace. Also, they have an all weekend festival that might still be going on Mon.-Swingin' Dave ========================================================================= Date: Fri, 1 Sep 1995 10:28:54 -0600 From: Watterworth Jay Subject: Re: WebChat on The Blue Highway! Here is another idea from someone who doesn't have the time to implement it: How about a directory of blues oriented sites on the WEB? It could provide us with an up to date reference for everyone. Jay Watterworth CU Boulder On Fri, 1 Sep 1995, Curtis Hewston wrote: > Okay, it's up and running. We'd like to invite you to try to break it. Come > on by The *new* Blue Highway at > > http://www.vivanet.com/~blues/ > > then go to Muddy's Cabin and take it from there. You'll need a > forms-capable browser, that's all. > > If all goes well, next Wednesday evening (EST), we'll be featuring OKeh > artists Keb' Mo', Popa Chubby, Anders Osborne, and G. Love. > > Then, the following Wednesday, we'll have Justice artist Tab Benoit. Just > the beginning folks, but I ain't talkin'. > > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson > > curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ > *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* > ========================================================================= Date: Fri, 1 Sep 1995 09:37:24 -0700 From: Jennifer Meserve Subject: Re: NEW MEMBER ON MAILING LIST Welcome to the list! Being from Portland, I can attest that Boyd is a very accomplished musician, and I'm glad to see more Portland artists on the list. Just last night my boyfriend played at Cafe Lena and a patron was really digging the music, but for some reason he thought he was listening to Boyd Small! I'm not sure where he got that idea, but it's a small world out there! Jennifer On Thu, 31 Aug 1995, Boyd Small wrote: > HELLO, > My name is Boyd Small. I am a Blues Musician from Portland, Oregon. I am a > Drummer and a Vocalist. If you have ever been to The Waterfront Blues > Festival here in Portland you have probably seen me perform. I most recently > performed there with my own band "The Boyd Small Big Blues Band" in 1995. > Previously my band was "The Terraplanes". We performed with many Blues greats > such as Screamin' J. Hawkins (we toured the West Coast and Europe as his band > in 1987), Jimmy Rogers, Pinetop Perkins, Hubert Sumlin, Joe Houston, Guitar > Shorty (we were his band for nearly a year in @1992-3) Long John Baldry and > many others. Here in Portland we have The Cascade Blues Association, an > organization dedicated to the preservation of this art form. For the sake of > giving you a little more background on myself (and not just to 'toot my own > horn') I was given The Cascade Blues Ass.'s Blues Hall of Fame Award in 1993 > for recieving The Best Blues Drummer Award 3 years in a row. I have also been > nominated for Best Male Vocalist several times but never recieved the award > (you may have heard of the consistant and deserving winner of that award my > good friend Curtis Salgado). > I am very dedicated to my art form and welcome any response to this letter > and would like to learn more about what is going on around the world in Blues > Music. As a new user of the internet I hope this letter is proper and sent to > the correct addresses. Please correct me if I've made any mistakes. > Thank you very much for your time, and I hope to hear from you soon. > ========================================================================= Date: Fri, 1 Sep 1995 18:53:00 +0200 From: Rudi Vandermeiren Subject: Re: Margolin Question & lyric help I saw him play 2 weeks ago and he did most of the singing himself.In the second part of the show he had Billy Boy Arnold do the vocals.Both were very good. Rudi Vdm. e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping0935 >Steady Rollin Bob will be in town this Sunday, I have no doubts about the band >or the guitarist...WHAT ABOUT THE VOCALS...I know he'll cover some Muddy tunes >and Muddy's tunes have VOCALS which sometimes carry the tune.....Who does the >vocaling with BM....Is it Bob himself....How are they... > >Can anyone supply me with the lyrics to Gimme Back My Wig.... > >LW 'couldn't stay gone' > > ========================================================================= Date: Fri, 1 Sep 1995 09:56:46 -0700 From: Eric LeBlanc-CISTI Subject: FANTASY OBCCD 511 : JIMMY WITHERSPOON - EVENIN' BLUES Since everyone is talkin' about 'LE SWEEPER' as the people in France called him, I'll post this review I've had for sometime - part of FANTASY/BLUESVILLE'S ORIGINAL BLUES CLASSICS CD series. Another great set by 'LE SWEEPER' is the wonderful World Pacific album, which maybe EMI will reissue one day. I'd like to dedicate this posting to tenor sax player & longtime SUN RA bandmember, John Gilmore (1931-1995) FANTASY OBCCD 511 : JIMMY WITHERSPOON EVENIN' BLUES ========================================================================= JAMES WITHERSPOON b. 1923/AUG/08, GURDON, AR Featuring : Jimmy Witherspoon (v); Clifford Scott (tsax, asax. flute); Bert Hendrix (organ,p); T-Bone Walker (g); Clarence Jones (b); Wayne Robertson (d) "One of the great blues singers of the post-WWII period, Witherspoon began recording with Jay McShann for Philo and Mercury in 1945 and 1946. His own first recordings, using McShann's band, resulted in a #1 R&B hit in 1949 with "Ain't Nobody's Business Parts 1 & 2" on Supreme Records. Live performances of "No Rollin' Blues" and "Big Fine Girl" provided Spoon with two more hits in 1950. Later singles were tried for Federal, Chess, Atco, Vee Jay, and others with little success. His album LIVE AT THE MONTEREY JAZZ FESTIVAL (HiFi Jazz) from 1959 lifted him back into the limelight. Partnerships with Ben Webster (tenor sax) or Groove Holmes (organ) were recorded, and some memorable music resulted, but Jimmy's best 60s album is EVENING BLUES (Prestige), which features T-Bone Walker on guitar and Clifford Scott on saxophone. Inactive for a time in the 70s due to throat cancer, Witherspoon has made a complete recovery and made one of his most memorable albums for Muse Records (MIDNIGHT LADY CALLED THE BLUES). Muse also released an album recorded in France, featuring Witherspoon with the Savoy Sultans. His newer records lack the spark of some of his earlier work, but given the proper circumstances Jimmy Witherspoon always delivers." ~ Bob Porter, ALL-MUSIC GUIDE "This informal 1963 session for Prestige is one of singer Jimmy Witherspoon's rarest. It was the only time he ever recorded with T-Bone Walker, who contributed his trademark electric blues guitar to a set of tunes including "Money's Getting Cheaper" and "Good Rockin' Tonight." ~ Roundup Newsletter Not to take away from 'Spoon, but sometimes a CD is worth the price just because the accompanists are stellar players. Here we have 2 Texas-born players, Aaron "T-Bone" Walker and Clifford Scott that take this set to the next level. Everyone on BLUES-L knows T-Bone, so I'll just comment on Clifford "The Sweeper" Scott - "The Sweeper" because of how he physically played his tenor sax. Clifford D. Scott was born June 21, 1928, San Antonio, TX. He was 20 years old when he joined Lionel Hampton for the first time, then he worked the road with Roy Milton and Roy Brown, rejoining Hampton in 1953, in an all-star group featuring Quincy Jones & Clifford Brown. But it was 1956 that he really hit the big time with Bill Boggett, co-writing & recording the #1 R&B million seller "Honky Tonk". He was only 64 when he died in San Antonio, TX., on April 19, 1993. On this set, he mostly plays tenor sax, with alto sax on "Grab Me a Freight" and flute on "Evenin'", a song first recorded by 'Spoon's mentor Jimmy Rushing (Vocalion Records,'36, w/Count Basie) and then by T-Bone Walker (Rhumboogie,'45 & Atlantic,'57). Contents : Money's Gettin' Cheaper ; Grab Me a Freight ; Don't Let Go ; I've Been Treated Wrong ; Evenin' ; Cane River ; Baby, How Long ; Good Rockin' Man ; Kansas City ; Drinking Beer ; Don't Let Go (alt tk); I've Been Treated Wrong (alt tk); Evenin' (alt tk); Cane River (alt tk) Producer : Dave Axelrod Recorded : August 15, 1963, Los Angeles, CA. ========================================================================= Date: Fri, 1 Sep 1995 17:01:07 GMT From: George Myers Subject: Re: Lee McBee and the Passions CD Lee's formal Release Party will be at the Grand Emporium in Kansas City October 7. ========================================================================= Date: Fri, 1 Sep 1995 17:05:47 GMT From: George Myers Subject: Re: Music in Kansas City? Marsha, the Grand Emporium schedule (that you would care about) is as follows: 9/5: Terry Allen 9/8: Bel Airs 9/9: Bel Airs 9/11: Southern Culture on the Skids 9/13: Boukman Eskperyans 9/13: Monthly Blues Society Jam Session Roger will be gone 9/8-9/9 Hope to see you. George ========================================================================= Date: Fri, 1 Sep 1995 17:09:55 GMT From: George Myers Subject: Re: the R&B organ of Hank Marr In the olden days when I did blues radio I used to love to use "The Greasy Spoon" as an undertheme. It had that perfect sleazy groove like Brother Jack's "A Real Good 'Un! ========================================================================= Date: Fri, 1 Sep 1995 12:12:10 CDT From: L W Subject: Verve Phone Number ASAP !!! I need the phone number to Verve records is someone has it. THANKS LW ========================================================================= Date: Fri, 1 Sep 1995 10:35:27 -0700 From: Chris Adams Subject: Re: Clifford Scott's last two albums Thanks for the great summary of Clifford Scott. The two mentioned New Rose CDs are listed in CDconnection for $19+. I don't know if they are actually still available. I was just thinking about Clifford Scott the other day when I was listening to Doug Sahm's Last Real Texas Blues Band doing "Honky Tonk" with Louis Bustos on Tenor, Mark "Kaz" Kazanoff on Baritone, and the GREAT Rocky Morales on Tenor. It also sent me back to listen to the original "Honky Tonk", which features Billy Butler on guitar, then on to Charles Brown's "One For the Road", which features Billy Butler, then......... Bill, you've got a good musical thang happening down there in Texas! Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 1 Sep 1995, William Shute wrote: > From: Bill Shute > > In the early 90's, the late great San Antonio-based tenor sax legend > Clifford Scott made two albums with a core group of Austin musicians > called The Rhythm Rats (led by gtrist Will Indian) and various guests > from San Antonio and Austin. They were released in France on New Rose: > > CLIFFORD SCOTT > "Mr. Honky Tonk is Back In Town" > New Rose/Fan Club rose CD 286/NR770 > recorded l991 > released l992 > > CLIFFORD SCOTT > "Texas Tenor" > New Rose 422424 > Recorded July l992 > released early l993 > > I believe these were Mr. Scott's last two albums. I've had 'em since > they came out, but I mention them because I met a week or two ago > a local jazz trumpeter, the kind of guy who seems to have played with > everyone who's anyone in SA, and I asked him about Clifford Scott > and yes, he had worked with "scotty" also, so we talked about this > great man for awhile. > > Scott is probably best-known as the tenor sax player in the Bill Doggett > group that recorded the classic "Honky Tonk," which Scott co-composed. > He also has a distinguished background of his own, having played with > Lionel Hampton (where I first saw his name way back when), T-Bone Walker, > Gatemouth Brown, Duke Ellington, Basie, et al. > He is also featured on a beautiful Jimmy Witherspoon album called > "Evenin' Blues" which is presently available on CD from Fantasy > as OBC-511 (T-Bone Walker is on this album too). > > He did some solo recording for King after the success of "Honky Tonk," > which was in no small part successful because of Scott's fine Tenor > solo, which is imitated in most all covers of the song. Two king singles > (4 songs) and one unreleased song are on a Charly R&B CD: > > LYNN HOPE/CLIFFORD SCOTT > "Juicy" > Charly R&B 280 > Scott tracks recorded for King in l960 and feature Hank Marr on organ > and Charles Brown on piano. > > The two New Rose albums are basically in an R&B/Texas Blues vein, > and feature Scott's rich, sometimes gutteral, sometimes blurred > (some nice Ayler-esque (or if you want to go back to the 20s, > Cecil Scott-esque) smears here and there) Texas tenor sax, as well > as his ingratiating vocalizing and on a few tracks his piano too > (a beautiful version of Nobody Wants You When You're Down and Out > he sings and plays piano on). Covers include Eddie Cleanhead Vinson, > Joe Turner, Louis Jordan, Billie Holiday, Lucky Millinder, Fats Domino, > Ivory Joe Hunter, plus some of Scott's own originals from the past, > and a number of fine new tunes from Will Indian. > Both albums are solid Texas R&B, altho the second one is more jazz- > oriented, both in structure and because San Antonio's Jon Blondell > is added on slide trombone. Blondell plays jazz trombone as well > as being a dynamite blues bassist and member of Chris Holzhaus' blues > band, where his interplay with Chris is almost telepathic. Here > his buttery yet elliptical tone on the trombone is a perfect foil > or complement for Scott's tenor sax. > > Mr. Scott passed away about two years ago, I think. It was a great > loss to the San Antonio music scene as everyone could look up to > Clifford Scott as the "elder statesman" of the SA scene, but a guy > who was still an exciting player and a vibrant and positive personality. > > As for the Rhythm Rats, they still play in Austin on most weekends, > and I see them listed as playing at the legendary Gruene Hall in > Gruene, Texas from time to time. They've been on my "got to get over > and see that band" list for a year or more--and I hope to soon. > It would be nice to chat with the band about these albums and > working with Clifford Scott. > > New Rose records is now defunct, thus all items are "out of print," > so any remaining stock in record store racks or in distributor > warehouses are all you're gonna see. Thus, if you are at all interested > in these, you'd better pick up the first copies you see. I don't even > see these in Texas anymore. > > In memory of a great musician and an important part of San Antonio > music history...CLIFFORD "Honky Tonk" SCOTT...or "Scotty" as his > friends called him. > > > Bill Shute > San Antonio, TX > ========================================================================= Date: Fri, 1 Sep 1995 13:30:25 -0400 From: Curtis Hewston Subject: Re: WebChat on The Blue Highway! >How about a directory of blues oriented sites on the WEB? I call 'em links, which I list on something completely arbitrarily called The Blues Links. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 1 Sep 1995 17:26:05 GMT From: Tony Burke Subject: Re: Larry Garner Yep, go and see him. Larry is a fine talent, a good songwriter with original material and he also like the occasional pint of Guiness. Ask him to play Dog House Blues, it's one of his best numbers. Tony ========================================================================= Date: Fri, 1 Sep 1995 12:50:05 -0500 From: T-Bone Subject: Re: WebChat on The Blue Highway! On Fri, 1 Sep 1995, Watterworth Jay wrote: > Here is another idea from someone who doesn't have the time to implement it: > How about a directory of blues oriented sites on the WEB? It could > provide us with an up to date reference for everyone. I'm on it like ugly on a New York Knicks fan. Send me, T-Bone, a list of every blues and blues-related web site (WITH THE URL!!!!!!) that you know of, and I'll create a canonical blues link page. Unless too many of y'all object, of course. Also, if I do this, I reserve the right to list my own blues page first as a "reward" for my time and effort. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Fri, 1 Sep 1995 13:53:41 -0400 From: Barry Silverberg Subject: Adding to Eric's JW review. Here's a little extra take to Eric's excellent info review on Jimmy Witherspoon's - Evenin' Blues CD. JIMMY WITHERSPOON / EVENIN' BLUES (FANTASY #511) FANTASY RECORDS, 2600 10TH ST., BERKELEY, CA. 94710-9887 This is a truly beautiful CD to listen to. It captures Jimmy Witherspoon amid a serious set of musicians playing very laid back, personal and deep hearted blues. Sitting in for this session we have Clifford Scott on Saxophone, Bert Kendrix on organ, T-Bone Walker on guitar, Clarence Jones on Bass and Wayne Robertson on drums. I must say that T-Bone Walker and Clifford Scott are stealers here. T-Bone Walker brings this whole sound out into the fields of Texas with plenty of his upfront guitar and Mr. Scott consistently moves the moment with his big, bright and wonderful saxwork. Jimmy Witherspoon sings these sides with a little bit of Charles Brown, a little bit of Johnny Copeland and plenty of his own brand of soft, slow and heartfelt vocals. Every side deserves a good listen to and several sides are offered up twice over in alternate takes. What is nice here is that Mr. Witherspoon takes each of these songs and makes them his own. Just listen to his version of Kansas City - quite unique for this all time classic. You might want to consider putting this CD on your player and starting out with Cane River. Believe me it will set you in motion for relistening to this stellar CD from start to finish - maybe more than once. I wholeheartedly recommend getting this CD and giving a good listen to a very special side of the great Jimmy Witherspoon. Money's Gettin' Cheaper / Grab Me A Freight / Don't Let Go / I've Been Treated Wrong / Evenin' / Cane River / Baby, How Long / Good Rockin' Man / Kansas City / Drinking Beer / Don't Let Go / I've Been Treated Wrong / Evenin' / Cane River NY CD Takes MONEY'S GETTIN' CHEAPER: A nice riffy swing opener and Jimmy Witherspoon hits the notes very jazzy. His voice of course is smooth and this side shows it off nicely, although the deep blues that the rest of this CD holds are pure pleasure. Listen to T- Bone Walker Strum and Clifford Scott blow - just as I said they are stealers and make a super set trio with Mr. Witherspoon. The beat here is sensational and borders right at the edge of where the blues and jazz meld. GRAB ME A FREIGHT: Now the beat slows way down and Jimmy Witherspoon bellows a deep, brooding, gritty voiced set of vocals. His voice here is miles deep and the sophistication of his abilities shines through. Jimmy Witherspoon is just plain and simple a joy to listen to. This side also plays right at the cusp of jazz and the blues and when Clifford Scott blows his sax the line is crossed over, back and forth, many times over. DON'T LET GO: Here's a dance tune - and lots of fun. Mr Witherspoon takes this side for all it was originally written for. Very big band and very musical. His timing is exceptional and the backup vocals are an added plus. I'VE BEEN TREATED WRONG: T-Bone Walker strums this opener and Mr. Witherspoon moans the lyrics. This is solid blues, with a nice driving beat, laid down by the backup instruments. A pleasing side worth listening to, many times over. EVENIN': This is Jimmy Witherspoon really winding out. Very slow and drawing. His vocals here are rich and muted, although his style adds many nuances to this basic straightforward cut. Listen as he pulls each word as far as it will stretch. Very nice timing and very nice arrangement here. This is one of several Charles Brown type cuts that Mr. Witherspoon sings. But don't be mislead. You will not think you're listening to a Charles Brown imitator - Mr. Witherspoon is far too accomplished for that. His pace and mastery are similar to the great Charles Brown, but Jimmy Witherspoon here and on every cut is his own performer. CANE RIVER: This is a whooping version of Cane River. Very jump and jive and very fun. You might detect here a little resemblance to Johnny Copeland. I think the song and the voice inflections bring that across very nicely. This certainly is a Louisiana-Texas tune and nicely done. Give a good listen to - you will thoroughly enjoy it. BABY, HOW LONG: This side will make you a believer. Jimmy Witherspoon here is beautifully moody. The saxwork sits right behind him perfectly and the keyboard sets a nice foil to his vocal front. SIMPLY BEAUTIFUL AND CAPTIVATING - GREAT BLUES. GOOD ROCKIN' MAN: A nice organ opener to this swinging dancing side. Mr. Witherspoon once again plays right on the line where jazz meets the blues. I particularly like this segment of the blues since it carries so much musicality. The final minute highlights once again Mr. Witherspoon and Clifford Scott as a very hot duet. KANSAS CITY: A really jazzy and quick paced version of this classic classic. Very upbeat and very playful. Mr. Witherspoon is fast voiced here and shoots the words out at a double pace - makes a nice side for listening and an adventure in good music. A very original and creative cover. DRINKING BEER: Here's another big band over blues cut. Jimmy Witherspoon on this entire CD plays his abilities to their limits and constantly entertains. This is one side not to be missed. DON'T LET GO / I'VE BEEN TREATED WRONG / EVENIN' / CANE RIVER: Here are the four alternate takes. Listen carefully. Some are clear alternates but some offer up gentle nuances that reflect the overall artistry to this CD. The slight variations are nice and I found myself going back and forth between these four sides and their predecessors on the CD just to listen to the changes. A great way to end a great CD. -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Fri, 1 Sep 1995 20:08:00 BST-1 From: Alan Arkless Subject: SET LIST Hi Blues Fans, I'm new to this conference and I've read your messages with interest. I've been playing in various blues bands for some time..... playing drums 29 years. I live in Whitburn ( North-East U.K. ) and the current band is called Gliders. We play the pubs and bars covering material by bands from all over the world.The locals don't usually want original numbers - they want to recognise the music. I only joined the band one rehearsal and 7 gigs ago - (tomorrow we play in Durham ) and the others are happy to modify the sets.We usually play 2 x 45 minutes. I'm looking for numbers which would suit us - we're bass guitar, guitar & drums with a singer who sounds really great. Fortunately he has a terrific range so we're not limited. In fact, we're all experienced and fairly versatile but we need to lose stuff which was 'dropped in'to put us on the road. We have all played Muddy Waters to Hendrix. Anyone who can make suggestions - please do help. I'd like to know the types of sets played elsewhere...... U.S.A., Europe, even U.K. I enjoyed a couple of gigs at Easter in the Blues Bar in Warsaw and a small bar in Krakow. Their choice of music was lovely to play but totally different from that expected in our bars. I think we need Blues of the 1990's but it takes quite a while to filter to our area. Do any subscribers have a 'Top Ten' or 90's suggestions? Our audiences are nearly always experienced and used to hearing traditional blues bands. Anyone in the North-East region....... Sunderland/Newcastle/Durham over to the Lakes and from Yorkshire to the Scottish Borders..... please come along for a pint and a chat. Email me for details. Alan ARKADY@CIX.COMPULINK.CO.UK ========================================================================= Date: Fri, 1 Sep 1995 14:29:51 -0500 From: Baseflug Michael Subject: Rock'n'Roll Hall of Fame Am I just ignorant? I cannot understand why they put the R'N'R hall of fame in Ohio (Cleavland, I think). Does anyone know why? Why didn't they build it somewhere where rock'n'roll truly got started like the Delta or even Chicago, or someplace significant in the birth of Rock. Or is there something about Ohio (what city?) that I don't know that is special? Also, by default, I think that all the old blues greats that gave birth to R'N'R should be honorary members automatically. Anyone agree with me or am I just shootin' my mouth off? Michael B) have llama, will travel ========================================================================= Date: Fri, 1 Sep 1995 15:31:09 EDT From: george morales Subject: clapton on A & E There will be a biography special on Eric Clapton tonight from 8-9 pm ========================================================================= Date: Fri, 1 Sep 1995 15:58:16 -0400 From: Tom Freeland Subject: Re: Rock'n'Roll Hall of Fame In a message dated 95-09-01 15:37:04 EDT, Baseflug_Michael@MACMAIL1.FWRDC.RTSG.MOT.COM (Baseflug Michael) writes: > >Am I just ignorant? I cannot understand why they put the R'N'R hall of fame >in Ohio (Cleavland, I think). Does anyone know why? > >Why didn't they build it somewhere where rock'n'roll truly got started like >the Delta or even Chicago, or someplace significant in the birth of Rock. Or >is there something about Ohio (what city?) that I don't know that is special? > Its about money. The city of Cleveland put together a *big* pot of money-- like $65 million-- to put with the museum. While Memphis, TN had the obvious credentials, and was in the running at the end, but the city fathers of Memphis (lets just say at the time so we done malign anyone currently holding office) seemed unable to find their rear ends with both hands and made no serious attempt to compete with Cleveland's money. At one of the induction ceremonies in New York, Sam Phillips of Sun Records fame made a remark about Memphis being the obvious place for the hall of fame, asked what exactly Cleveland had contributed, and got booed. I don't know all that went into it, but up through the late seventies, going all the way back to the late twenties, Memphis had had a music scene that produced world-class music, with hardly an interuption other than the WWII era. This is gone. There are still studios in Memphis, and interesting things going on in those studios on occasion, but people in Memphis are not drawing world attention for the music being made there any longer, and haven't in decades. It is sad its gone, and I'm not sure exactly why its gone. Tom Freeland ========================================================================= Date: Fri, 1 Sep 1995 16:16:37 -0400 From: Peter Welch Subject: Re: Rock'n'Roll Hall of Fame According to Michael B.: > > Am I just ignorant? I cannot understand why they put the R'N'R hall of fame > in Ohio (Cleavland, I think). Does anyone know why? I think it's because Alan Freed, who was supposed to have popularized early R&B and Rock-n-Roll among a mass audience, used to broadcast over a station in Cleveland. > Why didn't they build it somewhere where rock'n'roll truly got started like > the Delta or even Chicago, or someplace significant in the birth of Rock. Or > is there something about Ohio (what city?) that I don't know that is special? Memphis would have been my choice. > > Also, by default, I think that all the old blues greats that gave birth to > R'N'R should be honorary members automatically. Anyone agree with me or am I > just shootin' my mouth off? > Hell yes! -Peter ========================================================================= Date: Fri, 1 Sep 1995 14:23:38 -0700 From: Jeff Birk Subject: Rock'n'Roll Hall of Fame -Reply >Am I just ignorant? I cannot understand why they put the R'N'R hall of >fame in Ohio (Cleavland, I think). Does anyone know why? Apparently, some DJ a long time ago who broadcast from Cleveland coined the phrase "rock and roll" when it was just getting it's start years ago. I'm sure someone on the list has more detailed info. Jeff ========================================================================= Date: Fri, 1 Sep 1995 16:45:02 -4 From: "P.W. Fenton" Subject: Re: Rock'n'Roll Hall of Fame On 1 Sep 95, Baseflug Michael had this to say... > Am I just ignorant? I cannot understand why they put the R'N'R hall of fame > in Ohio (Cleavland, I think). Does anyone know why? > Memphis, New Orleans, Philadelphia, Chicago, New York, and Los Angeles all wanted to have the museum. Cleveland, the home of the man who coined the phrase "Rock-n-Roll" (Alan Freed), came up with the FUNDING. More than 15 Million dollars was raised. > Also, by default, I think that all the old blues greats that gave birth to > R'N'R should be honorary members automatically. Anyone agree with me or am I > just shootin' my mouth off? Ray Charles, B.B. King, Robert Johnson, Jimmie Rogers, Jimmy Yancey, Big Joe Turner, Muddy Waters, Louis Jordan, T-Bone Walker, Leadbelly, Leonard Chess, Ahmet Ertegun, Bessie Smith, Ma Rainey, John Lee Hooker, Howlin' Wolf, Bobby "Blue" Bland, Booker T. & The MGs, Doc Pomus, Elmore James, Professor Longhair, Ruth Brown, Etta James, Johnny Otis, and Willy Dixon have already been inducted into the Rock & Roll Hall of Fame. I hope I answered your questions. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Fri, 1 Sep 1995 13:52:32 MST From: Bill Breen Subject: Re: Rock'n'Roll Hall of Fame >From what I understand there were two main reasons in why Cleveland was chosen. 1.The term 'rock and roll' was supposedly coined by Alan Freed, a DJ in Cleveland. 2. The city/community was willing to come up with the required funding to build it (~19M dollars ) --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Rock'n'Roll Hall of Fame Date: Friday, September 01, 1995 1:48PM DATE: Sep 01 13:35:46 1995 -07:00 relative to GMT IPMessageID: ?n1402156596.54056(a)macmail1.fwrdc.rtsg.mot.com? FROM: BLUES-L AUTHORIZED: Baseflug(u)Michael TO: BLUES-L BCC: bbreen SUBJECT: Rock'n'Roll Hall of Fame REPLY TO: Baseflug(u)Michael IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- Am I just ignorant? I cannot understand why they put the R'N'R hall of fame in Ohio (Cleavland, I think). Does anyone know why? Why didn't they build it somewhere where rock'n'roll truly got started like the Delta or even Chicago, or someplace significant in the birth of Rock. Or is there something about Ohio (what city?) that I don't know that is special? Also, by default, I think that all the old blues greats that gave birth to R'N'R should be honorary members automatically. Anyone agree with me or am I just shootin' my mouth off? Michael B) have llama, will travel ========================================================================= Date: Fri, 1 Sep 1995 16:13:10 CDT From: L W Subject: Re: Rock'n'Roll Hall of Fame ----------------------------Original message---------------------------- >1.The term 'rock and roll' was supposedly coined by Alan Freed, a DJ in >Cleveland. JFTR: The term rock and roll was in use long before Alan Freed used it. As a matter of fact Alan's parents Rock and Rolled or else Alan wouldn't be here AS most of you know Rock and Roll was a term used for sex years and years before Alan Freed came about. If I recall AF said the music made you want to Rock and Roll (as in made you want to have sex) so the phrase became a label for music..... Also Little Debbie didn't invented the term Jelly Roll either :-) LW 'Rock me baby like my back ain't got no bone' TO: BLUES-L BCC: bbreen SUBJECT: Rock'n'Roll Hall of Fame REPLY TO: Baseflug(u)Michael IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- Am I just ignorant? I cannot understand why they put the R'N'R hall of fame in Ohio (Cleavland, I think). Does anyone know why? Why didn't they build it somewhere where rock'n'roll truly got started like the Delta or even Chicago, or someplace significant in the birth of Rock. Or is there something about Ohio (what city?) that I don't know that is special? Also, by default, I think that all the old blues greats that gave birth to R'N'R should be honorary members automatically. Anyone agree with me or am I just shootin' my mouth off? Michael B) have llama, will travel ========================================================================= Date: Fri, 1 Sep 1995 15:35:12 -0600 From: PAN D'MONIUM Subject: Re: rock 'n roll hall of fame I believe the DJ was a fella named Allan Fried (sp?). Heard he was kind of a wild man at the time he hit the airwaves in Cleveland. ========================================================================= Date: Fri, 1 Sep 1995 18:12:00 EDT From: edward c liu Subject: Re: Yes, anyone can dig a hole Howdy all, Don O. writes: > Not everyone will bite, but I am >convinced we can change the world, one pair of ears at a time. I've tried that, and still do. Either I've picked the wrong friends or the wrong performers, 'cuz I've yet to make a "conversion." At first, I'd get kind of frustrated because here's all this friggin' awesome music to be heard, and these folks just weren't GETTIN' it! I almost wanted to shake some of these people up -- "What's **WRONG** with you???" I still do try to convert friends to the blues. I'm just not as evangelical about it as I used to be. If you wanna know more, bug me -- I'll talk about it for days (and, much more importantly, lend you CDs). If it doesn't move you, that's cool too -- I can't do a "soul" implant =8^). -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ----------------------------- ========================================================================= Date: Fri, 1 Sep 1995 15:33:00 PDT From: Gary Joneson Subject: San Francisco Blues Festival Date: September 23-24, 1995 Time: 11 A.M. to 5:30 P.M. Location: Great Meadow - Fort Mason. Marina Blvd. at Laguna. Information: 415/979-5588 Press Information: 415/864-2333 --------------------------------------------- Saturday, September 23 Little Milton Revue Junior Wells Joe Louis Walker & the Bosstalkers Debie Davies The Fat Possum Mississippi Juke Joint Caravan R.L. Burnside Junior Kimbrough Dave Thompson Sista Monica Johnny Mars Steve Freund & Paris Slim Soul Drivers ------------------------------------------------- Sunday, September 24 John Lee Hooker Hank Ballard & the Midnighters Luther Allison Miss Lavelle While Geno & French Rockin Boogie Johnny Nocturne Band Featuring Brenda Boykin Earl 'Good Rockin' Brown Preacher Boy & The Natural Blues Talk Of The Town ---------------------------------------------------- The San Francisco Blues Festival Presents Five days of the Blues! A week- long series of films, concerts and club dates all the way to the Festival weekend. The San Francisco Blues Festival has further information at: http://www.island.net/~blues/sfbf.html ------------------------------------------------------ ========================================================================= Date: Fri, 1 Sep 1995 17:55:13 -0500 From: "Henry Busse Jr." Subject: BIRTHDAY 9/1 THRU 9/4 sept 1st Bates,Robert ( Bob ) 1923 Pocatello, ID Died:09/13/1981SAN FRANCISCO,CA Age:58 Bass DAVE Brubeck 53-55 / MARTY MARSALA BROTHER OF NORMAN & JIM DANZI, MIKE ( MICHAEL ) 1898 NEW YORK, NY Died:02/13/1986 NEW YORK, NY AGe:88 BANJO WALTER SEATMAN / ALEX HYDE HARRIS, GENE ( EUGENE ) 1933 BENTON HARBOR, MI KEYBOARDS THREE SOUNDS / BENNY CARTER / RAY BROWN MIDDLETON, VELMA 1917 ST.LOUIS, MO Died:02/10/1961 FREETOWN, SIERRA LEONE Age: 44 SINGER LOUIS ARMSTRONG OLIPHANT, GRASSELLA 1929 PITTSBURGH, PA DRUMMER PEPPER, ART ( ARTHUR EDWARD JR ) 1925 GARDENA, CA DIed:06/01/1982 PANORAMA,CA Age: 57 ALTO SAX / TENOR SAX / LEADER STAN KENTON / BENNY CARTER / BUDDY RICH RUFF, WILLIE ( HENRY JR ) 1931 SHEFFIELD, AL BASS / FRENCH HORN / TEACHER LIONEL HAMPTON / DWIKE MITCHELL THORNTON, TERI 1936 DETROIT, MI SINGER VENUTI, JOE ( GIUSEPPE ) 1904 AT SEA WHILE PARENTS ENROUTE TO U.S. Died:08/14/1978 SEATTLE, WA AGE:74 VIOLIN RED NICHOLS / FRANKIE TRUMBAUER / PAUL WHITEMAN / JEAN GOLDKETTE / PHIL NAPOLEON / DORSEY BROTHERS WEISS, SAMMY (SAMUEL) 1910 NEW YORK, NY Died:12/18/1977 ENCINO, CA AGE:67 DRUMMER / LEADER GENE KARDOS / BENNY GOODMAN / TOMMY DORSEY / LOUIE PRIMA / ARTIE SHAW / PAUL WHITEMAN Sept 2nd ALMEIDA, LAURINDO 1917 SAO PAULO, BRAZIL Died:07/26/1995 AGE:67 LOS ANGELES, CA GUITAR STAN KENTON / BUD SHANK COUNCIL, FLOYD 1911 CHAPEL HILL NC Died:06/06/1976 SANFORD, NC AGE:74 GUITAR BLIND BOY FULLER DAVIS, WALTER JR. 1932 RICHMOND, VA Died:06/02/1990 NEW YORK, NY AGE:58 PIANO CHARLIE PARKER / MAX ROACH / ART BLAKEY / SONNY ROLLINS / DIZZY GILLESPIE DONALD, BARBARA ( KAY ) 1942 MINNEAPOLIS, MN TRUMPET DEXTER GORDON / STANLEY COWELL / ROLAND KIRK MARRIED SONNY SIMMONS 1964 JORDAN, CLIFF ( CLIFFORD, LACONIA ) 1931 CHICAGO, IL Died:03/27/1993 NEW YORK, NY AGE:62 TENOR SAX MAX ROACH / HORACE SILVER / J.J. JOHNSON / CHARLIE MINGUS NAPOLEON, PHIL ( FILIPPO NAPOLI ) 1901 BOSTON, MA Died:10/01/1990 BOSTON, MA AGE:89 TRUMPET / LEADER MEMPHIS FIVE RICHARDS EMIL (EMILLO JOSEPH RADACCHI) 1932 HARTFORD, CT VIBES / PIANO GEORGE SHEARING / PAUL HORN SILVER, HORACE ( WARD MARTIN TAVARES ) 1928 NORWALK, CN PIAN0 / COMPOSER / LEADER STAN GETZ / LOU DONALDSON / 1952 WITH BLUE NOTE RECORDS 28 YEARS WILSON, EDITH ( EDITH GOODALL ) 1896 LOUISVILLE, KY Died:03/30/1981 CHICAGO, IL AGE:84 SINGER JOHNNY DUNN & THE ORGINAL JAZZ HOUNDS / EUBIE BLAKE Sept 3rd ALPERT, TRIGGER ( HERMAN ALPERT ) 1916INDINAPOLIS, IN BASS GLENN MILLER / TEX BENEKE / WOODY HERMAN / BENNY GOODMAN BAYETE, COCHRAN, ( TODD ) 1951 SAN FRANCISCO, CA PIANO / SYNTHESIZER JOHN HANDY / BOBBY HUTCHERSON / HAROLD LAND BOOKER, CHARLIE 1925 MOORHEAD, MS Died:09/20/1989 AGE:64 SOUTH BEND, IN GUITAR BROOKS, ROY 1938 DETROIT, MI DRUMMER / PERCUSSION CAREY, MUTT ( THOMAS CAREY ) 1891 HAHNVILLE, LA DIED:09/ 03/1948 ELSINORE, CA AGE:50 TRUMPET JOHNNY DODDS / ED HALL / KID ORY / LED OWN GROUPS IN 1947 FILM NEW ORLEANS CHRISTIAN, FRANK ( JOSEPH ) 1897 NEW ORLEANS, LA DIED:11/27/1973 NEW ORLEANS, LA AGE:76 CORNET / TRUMPET / TUBA / MELLOPHONE JIMMY DURANTE / NORMAN BROWLEE BROTHER OF CHARLIES & EMILE COOK, DOC CHARLES L.1891 LOUISVILLE, KY DIED:12/25/1958 CHICAGO, IL AGE:67 PIANO / ARRANGER 67 PLAYED RKO AND RADIO CITY MUSIC HALLS DAPOGNEY, JAMES ( JIM ) 1940 BERWYN, IL EDITOR / WRITER / TEACHER / PIANO / LEADER CHICAGO JAZZ BAND / HAS TAUGHT JAZZ THEORY SINCE 1966 AT UNIVERSITY OF MICHIGAN GUMBS, ONAJE ALLEN 1949 KEYBOARDS /ARRANGER / COMPOSER BETTY CARTER / WOODY SHAW / DEE DEE BRIDGEWATER / GRADY TATE HENRY, ERNIE ( ERNEST ALBERT ) 1926 NEW YORK, NY DIED:12/29/1957 NEW YORK, NY AGE:31 ALTO SAX TADD DAMERON / FATS NAVARRO / CHARLIE VENTURA / MAX ROACH / GEORGIE AULD HURLEY, CLYDE 1916 FORT WORTH, TX DIED:09/??/1963 FORT WORTH, TX AGE:47 TRUMPET GLENN MILLER / BEN POLLACK KING, FREDDIE "FREDDY "( FREDDIE CHRISTIAN ) 1934 GILMORE, TX DIED:12/28/1976 DALLAS, TX AGE:42 GUITAR KITSIS, BOB 1917 MOSTON, MA PIANO ARTIE SHAW / GEORGE AULD / GENE KRUPA LEWIS, NOAH 1895 HENNING TN DIED:02/07/1961 RIPLEY, TN AGE:65 HARMONICA JUG STOMPERS / GUS CANNON / SLEEPY JOHN ESTES MEMPHIS SLIM ( CHATMAN, PETER ) 1915 MEMPHIS, TN DIED:02/24/1988 PARIS, FRANCE AGE:72 SINGER / GUITAR WILLIE DIXON / SONNY BOY WILLIAMSON (RICE MILLER) / BIG BILL BROOZY WROTE:EVERY DAY I HAVE THE BLUES RIDLEY, LARRY ( LAURENCE HOWARD II ) 1937 INDIANAPOLIS, IN BASS / TEACHER WES MONTGOMERY / FREDDIE HUBBARD / SLIDE HAMPTON ROKER, MICKEY ( GRANVILLE WILLIAM ) 1932 MIAMI, FL DRUMMER RUSTY BRYANT / JOE WILLIAMS / DUKE PEARSON / ART FARMER / DIZZY GILLESPIE SEPT 4TH CEPHAS, JOHN ( BOWLING GREEN JOHN CEPHAS ) 1930 WASHINGTON, D.C. GUITAR / SINGER PHIL WIGGINS ( CEPHAS & WIGGINS ) ========================================================================= Date: Fri, 1 Sep 1995 16:11:36 PDT From: Gordon Fehlman Subject: Re: EB The other day I was talkin to a fella down at the local record store and I was browsing the blues section and he said there is a new Elvin Bishop CD out. I haven't heard of any since "Bossman". Can someone enlighten me? Since I got ya, can someone recomend a Little Smokey Smothers CD? Heard some of his stuff and sounds great. Later, Gordon ========================================================================= Date: Fri, 1 Sep 1995 17:33:05 -0600 From: Watterworth Jay Subject: Re: Verve Phone Number ASAP !!! Verve/Polygram Records 825 8th Avenue, 26th Floor New York, NY 10019 (212) 333-8000 Information from JazzTimes (April 1994). Send me a copy of your first release! Jay Watterworth CU Boulder On Fri, 1 Sep 1995, L W wrote: > I need the phone number to Verve records is someone has it. > THANKS > LW > ========================================================================= Date: Sat, 2 Sep 1995 01:11:53 GMT From: Curtiss Clarke Subject: Gatemouth Brown, Aladdin Sides Hi: I am looking for the other 3 Gatemouth Brown sides cut for Aladdin records in the late 40's. I have one on the Capitol double CD "Aladdin Records Story" (Guitar in My Hand), but I think the remaining three are "After Sunset", "Without Me Baby", and "Gatemouth Boogie". I heard the masters were lost; does anyone know if they have been re- issued on CD with decent sound ? Also, has anyone else besides Rounder, released a decent set of the Peacock sides ? I'm not crazy about the British reissues because they often seem to have muddy sides. Thanks Curtiss ========================================================================= Date: Sat, 2 Sep 1995 01:18:36 GMT From: Curtiss Clarke Subject: Re: Johnny Winter? In article <41mtrk$6fa@ns.moran.com>, leighs@MORAN.COM says... > >A lot of us would sure like to hear a lot more steel acoustic blues >from Johhny. Anyone agree? Yeah, you said it. If you don't have any of his early stuff, check out the first Columbia LP (cut is Dallas?), and prior to that, some of the stuff on Liberty (Progressive Blues Experiment). I saw Johnny here (in Toronto) in early '70, right around the time "Second Winter" came out, and watched his hair light up a completely dark hall. This guy was not only a great slinger, but a great gymnastics mover as well. "Slippin' and Slidin'" all right. I lost my hearing for 2 days but it was worth it. Regards, Curtiss Clarke (Toronto) ========================================================================= Date: Fri, 1 Sep 1995 20:39:29 -0700 From: Joe Lempkowski Subject: Trip Report Last weekend, I dropped by Blue Chicago (736 N. Clark). I caught Billy Branch and the Son Of Blues and had a great time. I saw them both Friday and Saturday nights and saw some great stuff. 1. Carl Weathersby has got to be one of the best guitar players on the scene. His Albert King-type stuff sends chills up my spine. He also has an incredible voice. His singing on "If Heartaches Were Nickels" and "Should Have Known Better" really tear me up. His voice is especially soulful on Tyrone Davis tunes. 2. Billy Branch is a fabulous harp player. On Saturday night, he really blew the top off Blue Chicago with a wicked version of "The Creeper". This was the first time I had seen him do an instrumental tune, (usually he just takes an extended solo). It was incredible. Billy's vocals show a lot of feeling. His version of Mannish Boy is great. At Blue Chicago, there were a ton of guests so he didn't do much singing, instead they brought a lot of talented singers on stage. More on this later. 3. Melvin Smith and Mose Rutues are provide an awesome rock solid rhythm section. Mose sings a pretty mean version of "Sex Machine". All of these guys are very classy gentlemen. 4. On Friday, a couple singers and harmonica player dropped in for a couple of tunes. One of the singers named Peaches did a very nice version of Proud Mary (with Carl Weathersby doing the Ike Turner bit). Peaches has a good voice. Another singer (whose name escapes me) did a good version a fever. A harmonica player named Madison Slim sat-in for one number. He played a version of Big Town Playboy. Definitely, not the most lively tune to finish the evening, but he was better than I'd have been. 5. On Saturday, I met a singer named Mary Lane. Mary is a nice person and has a good voice. Her band appears on Thursday nights at Charlie's Lounge on 419 N. Laramie in Chicago. Shirley Johnson and Zora Young were also in the audience. Shirley Johnson sang a couple of numbers. She has a very powerful voice and possesses quite a bit of feeling. Detroit Junior played piano for a almost a two sets. He sang a couple of tunes. I had the opportunity to talk with him a few months ago in San Mateo, CA. He is a nice guy. Closing the third set, a local harmonica player named Matthew (his last name slips my mind). Billy called him Spanky. Carl Weathersby told me he was a good harmonica player and singer. He was right. Matthew is a very good harmonica player and he has a good singing voice. If he lived in the S.F. Bay Area, he would clean up. 6. I got to meet fellow blue-l'er, Tom Rossen, who is a very nice guy. We talked about a bit during the breaks and had a few drinks. He is a very classy and fun guy. He also has great taste in music. Overall, it was a great trip. I got to listen to some great music, meet up with some friends and visit a very nice club. Joe P.S. My wife was bummed she wasn't there. She has become a really SOB-aholic. Later. ========================================================================= Date: Fri, 1 Sep 1995 23:12:48 -0500 From: Rob Varak Subject: Re: Trip Report Joe Lempkowski wrote: Carl Weathersby has got to be one of the best guitar players on the scene. His Albert King-type stuff sends chills up my spine. He also has an incredible voice. His singing on "If Heartaches Were Nickels" and "Should Have Known Better" really tear me up. His voice is especially soulful on Tyrone Davis tunes. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I second THAT emotion to the fourth power!!! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 1 Sep 1995 23:49:21 -0500 From: Craig Edmundson Subject: Elmore James sessions? Does anyone know who produced (and for what label) the seven EJ tracks included on the l.p. SOUTHSIDE BLUES: ELMORE JAMES, EDDIE TAYLOR, JIMMY REED (Cobblestone 9001, circa 1971) ? The liner notes indicate they were recorded in 1957 after James made a "more or less permanent move to Chicago." This would put them on either the Chess or Chief labels, yes? Personnel: EJ, J.T. Brown, Eddie Taylor, Johnny Jones. Thanks! ce ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Fri, 1 Sep 1995 23:56:25 -0600 From: Tom Rossen Subject: Re: Trip Report Gosh, Joe, you're a classy and fun guy yourself. And so's your sister - I mean - um - fun gal - uh - classy lady - woman .... ;-) Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Sat, 2 Sep 1995 01:24:52 -0400 From: Tom Freeland Subject: Re: Elmore James sessions? In a message dated 95-09-02 00:54:04 EDT, cedmunds@NETSERV.UNMC.EDU (Craig Edmundson) writes: >Does anyone know who produced (and for what label) the seven EJ tracks >included on the l.p. SOUTHSIDE BLUES: ELMORE JAMES, EDDIE TAYLOR, JIMMY >REED (Cobblestone 9001, circa 1971) ? The liner notes indicate they were >recorded in 1957 after James made a "more or less permanent move to >Chicago." This would put them on either the Chess or Chief labels, yes? >Personnel: EJ, J.T. Brown, Eddie Taylor, Johnny Jones. > > I have those tracks on the charly Elmore James King of the Slide Guitar box. They were all for the chief label. They have personnel slightly different than your list; for one session, the guys you name plus Homesick James on bass, Odie Payne on drums and Wayne Bennett on guitar, plus for two of the songs ("Cry for Me Baby" and "Take Me Where You Go") they omit Jones, and include Homesick James, and show Willie Dixon on bass, and Fred Below on drums. Just as an aside, before the advent of CDs, I found Elmore James discography as confusing as that of any blues artist who interested me (including Willie McTell, but noting that I have not made a study of either Lightnin' Hopkins or John Lee Hooker). I always felt that there was stuff out there I hadn't heard hiding between all those re-recorded versions of "Dust My Broom." The advent of the CD box generally and the Elmore James Island 3 CD set and the Charley 4 CD set (which between them include EVERYTHING HE RECORDED!!!) has made this one hell of a lot simpler if you can pay the toll. Tom Freeland ========================================================================= Date: Sat, 2 Sep 1995 00:29:50 -0500 From: Craig Edmundson Subject: Re: Clash closet (Re: Can everybody dig the blues?) And don't forget the Sex Pistols, the Dead Boys, Fear, X, the Minutemen, and punk-a-billy gurus, The Cramps... ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Thu, 31 Aug 1995, James Leftwich wrote: > On Thu, 31 Aug 1995, Tom Rossen wrote: > > >other Clash and punk fans out there in the closets of Blues-L. :) :) > > >Riffin Rick > > Count me out (of the closet) :-) > count me too! Before blues it was (and still is) the Clash, the Ramones, > the Replacements, R.E.M., the Smiths and others... ========================================================================= Date: Sat, 2 Sep 1995 01:47:15 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - August 2nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ASHFORD, ROSALIND (of MARTHA & VANDELLAS) b. 1943-0902, DETROIT, MI COUNCIL, FLOYD "DIPPER BOY" (g) b. 1911-0902, CHAPEL HILL, NC GALE, MOE (founder: SAVOY BALLROOM) d. 1964-0902, NEW YORK CITY, NY 65 GOODEN, SAM (of THE IMPRESSIONS) b. 1939-0902, CHATTANOOGA, TN DULING, VINCENT "GUITAR RED" (g) b. 1931-0902, CHICAGO, IL HOWARD, DARNELL (cl) d. 1966-0902, SAN FRANCISCO, CA 71 JORDAN, CLIFFORD (tsax) b. 1931-0902, CHICAGO, IL LAURY, LAWRENCE "BOOKER T." (p) b. 1914-0902, MEMPHIS, TN LEWIS, RICHARD (of THE SILOUETTES) b. 1933-0902, PHILADELPHIA, PA MASON, EARL (p/BILLY ECKSTINE) d. 1974-0902, CHICAGO, IL -- MONCUR, GRACHAN II (b) b. 1915-0902, MIAMI, FL MULDAUR, MARIA D'AMATO (g) b. 1942-0902, NEW YORK CITY, NY PAYNE, BENNIE (p/CAB CALLOWAY) d. 1986-0902, LOS ANGELES, CA 79 PURIFY, BOBBY (of JAMES & BOBBY PURIFY) b. 1939-0902, TALLAHASSEE, FL SIMON, JOE (v) b. 1943-0902, SIMMESPORT, LA TAYLOR, BILLY SR. (b) d. 1986-0902, FAIRFAX, VA 81 ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 2 Sep 1995 01:55:43 EDT From: Joseph Leichter Subject: ABC Nightline On nightline they just showed a recent Robert Lockwood, and old Muddy doin "Mojo" . Lou Reed said "The BLues had a baby"...Queen Victoria said it, to o ========================================================================= Date: Sat, 2 Sep 1995 03:27:47 -0400 From: Tony Burke Subject: EDDIE KIRKLAND REVIEW Here's a CD that I think Blues-l people should check out. If you have the album, there is nothing new, if you ain't heard of Eddie Kirkland - then read on........ EDDIE KIRKLAND Front And Center Trix 3301 When I First Started Hoboing/I Tried To Be A Friend/Eddies Boogie Chillen/Nora/I Need A Lover Not A Friend/I Walked Twelve Miles/Ive Got An Evil Woman/Goin Back To Mississippi/ Lonesome Talking Blues/Detroit Rock Island/Jerdine/Have You Seen That Lonesome Train/Going To The River See If I Can Look Across Arguably the best album Eddie Kirkland has ever made and one of the Trix labels best downhome releases. Pete Lowry recorded Eddie in Macon, Georgia in 1970, 71 and 72, solo, with the exception of a second guitar and percussion on Lonesome Train. Back in 1973 when this set was first issued, Kirkland was perhaps best known over here for his LuPine sides from the late 50s and his Tru-Sound album from 61 and 62. These and other sides for King, Volt (at the time of his spell as a member of Otis Reddings touring band) and Fortune featured Eddie in a band setting, sometimes with back-up singers and with a full horn section. Front And Center saw him return to his roots, the sort of stuff he cut with John Lee Hooker back in 1952. At the time that Pete first cut Kirkland, Eddie was running a motel right around the corner from Capricorn Records in Macon. He also worked as a part time car mechanic, one UK promoter once told me that when he toured with Eddie over here, he made little conversation except to talk about car engines. What the heck! this is one hell of a downhome album. Eddie, alone with a variety of guitars and a harmonica - rough, evoking the spirit of Hooker at times and during a period when Johnny Lee was the darling of members of Canned Heat and was taken to cutting albums with Van Morrison...oops, amazing how things come round aint it? But back to Eddie Kirkland. Why Eddie never benefited from the 1970s blues boom and appears to have been ignored by European festival promoters recently after period when he was a regular to these shores. Why nobody has brought him over for a while remains a mystery. Here is an artist who is comfortable playing with a band or on this evidence as a solo and as good as anyone else around at the time. Using an array of guitars from a National Steel, 12 string and a straight lectric, Kirkland displays his wide ranging and remarkable playing skills. Clearly influenced by his former boss, Eddie commences with When I First Started Hoboing, and takes us through an excellent set of Detroit and Mississippi blues. Evoking Hooker on Boogie Chillen, Kirkland digs deep into his Delta roots on numbers such as, Mississippi, River, Jerdine, complete with great Joe Williams styled slide and I Walked Twelve Miles. On Detroit Rock Island he pays homage to Eddie Burns, Calvin Frazier and Baby Boy Warren. He also proves to a fine harp player, particularly on Lonesome Train, where second guitarist Fred Robinson has trouble keeping up with Eddie! According to Blues Records there were plenty of unissued sides cut during the 1970 session, so further material from these sessions may be forthcoming. Definately a welcome reissue of sides by a bluesman who could well do with a tour or two, and whats more an artist who is handy to get the band bus going if it breaks down. Tony Burke ========================================================================= Date: Sat, 2 Sep 1995 07:34:03 +0000 From: Ian Angus Subject: I'm back / Blues on Cosby Okay, conversation can resume, I'm back on the list! :-) I spent over a week with blues-l set to nomail and my ears set to nomusic. But by accident, one night in my hotel room, I saw the epsisode of the Cosby Show which featured BB King. If you get a chance, see this episode -- like a lot of Cosby shows, there wasn't much plot, but the blues was good and some of the comedy bits were, too. (I especiallty liked Rudy's friend Kenny singing the blues.) BB King, playing 'Riley Jackson," offered some reminiscences about growing up in MIssissippi which I think must have been fictional -- if he really went down to Muddy Waters House, he must have been a pre-teen, at best, unless it was after Muddy left! Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 2 Sep 1995 08:47:49 -0600 From: Don O Subject: sax/phil guy/jsp > From: Lee Spector <00lcspector@BSUVC.BSU.EDU> > > speaking of JSP, there is a nice Phil Guy with some excellent sax by > Maurice Vaughan on CD. Don't know the name, but Phil is quite > underated and the album doesn't go to excess. It's called "All Star Chicago Blues Session" and with good reason. It features Buddy Guy, Doug Williams, Professor Eddie Lusk, Maurice John Vaughn, Larry Cox, J.W. Williams, and Ray Allison. JSP CD #214. Don O. ========================================================================= Date: Sat, 2 Sep 1995 15:43:51 GMT From: Art Schuna Subject: Re: EB In article <9509012311.AA16851@dns01.pge.com> Gordon Fehlman writes: >The other day I was talkin to a fella down at the local record store and >I was browsing the blues section and he said there is a new Elvin Bishop >CD out. I haven't heard of any since "Bossman". Can someone enlighten >me? Elvin Bishop's "Ace In The Hole" is one good time blues CD. It's one of those discs where it seems like they may have gotten a group of people together to party first and record some tunes later. It's a lot of fun and has seen a lot of play at my house since I picked it up a couple of weeks ago. Four tunes are instrumental (Driving Wheel, Pigmeat on the Line, Blue Flame, Fooled Around and Fell In Love). I am one of these people who hates rap, but this CD has a RAP song which is a real scream -"Give Me Some of That Money". An indictment against striking baseball players, the money David Letterman earns, and rock stars who earn far more than the average cat struggling to make a living as an entertainer. Other choice lines talk about the average wage earner in China makes less money than most people in this country spend on beer in a year. "Party Till The Cows Come Home" is a great boogie number that it would get people moving at a party - and if they didn't you better check their pulse. "Home of the Blues" is a tribute to Chicago, its blues clubs, Maxwell St, and its artists - Buddy Guy, Jr. Wells, Son Seal, AC Reed, Pinetop Perkins, Little Smokey, Lonnie Brooks. He sings about first coming to Chicago "When dinosaurs roamed the earth", and the classic artists of that time. This tune is a great tribute. "Fishin' " - may not be considered a blues tune by the purists, but it again is a very fun song. I don't fish, but I think those who do will get quite a few smiles out of this song - who knows, maybe it could become your theme song ;-) He talks about a guy who spends his whole day at work at a computer, comes home and spends more time at a computer, spends $150 for a round of golf, $200 for a new tennis racket and works out to get a flat stomach (does any of this sound familiar to anyone on this list? :-) ). His argument is that this guy could be spending his time out fishin' and having a lot better time. Hard to argue with that logic. In summary, if you want a new blues release that will put a smile on your face, serve as a good party disc, plus some great guitar playing - buy this disc. If your looking for the depressing blues tunes about losing your job, your woman and all the other bad things that can happen in your life - don't buy this disc. > Since I got ya, can someone recomend a Little Smokey Smothers CD? I don't think you can do better than the Dutch Black Magic label release, " Bossman:The Chicago Blues of Little Smokey Smothers", which includes Elvin Bishop on 4 of 11 tracks. While your at it, pick up Lee "Shot" Williams' disc on Black Magic, "Cold Shot". Little Smokey plays guitar on this disc. Lee does vocals on 4 tracks of the Bossman CD. Hope this helps. Art Schuna ========================================================================= Date: Sat, 2 Sep 1995 16:02:15 GMT From: Art Schuna Subject: Lowell Fulson/Lloyd Glenn Swingtime Recs Managed to find the latest Night Train releases of Lowell Fulson - Sinner's Prayer (NTI CD 7011) and Lloyd Glenn- Chica Boo (NTI CD 7009) at a store in Minneapolis. I own the first Night Train release of these artists "Back Home Blues" (Fulson), "Honky Tonk Train" (Glenn) and was comparing the new ones with the older issues. ***CONSUMER'S ALERT*** I found very serious overlap between these issues. Seven tracks are on both Fulson releases. And if I remember correctly, there were ten tracks in common on both Glenn releases. This is too bad as, according to Blues Records, there are 3 pages of recordings listed for Fulson on Swing Time that should have been available to choose from and about 30 tracks by Glenn. My question is, does anyone know if similar duplication occurs with the Jimmy Witherspoon and Johnny Otis CDs? I've got the first volumes by these artists on Night Train, but if there is as much duplication on these I won't bother to try to track them down. Art Schuna ========================================================================= Date: Sat, 2 Sep 1995 19:06:46 -0000 From: Ken Peace Subject: Good guitar WWW sites required. As a demonstration of the Internet to a good (blues guitar playing) friend of mine I would like to find a couple of good guitar or amp WWW sites. Any recommendations ? I already have a list of blues related sites. Cheers....Ken ---------------------------------------------------------------------------- Ken Peace |Down at Antone's kenpeace@acer.u-net.com |Red Hot Texas Blues Chester, UK |Swinging 'n' Shuffling in the N.W. ---------------------------------------------------------------------------- ========================================================================= Date: Sat, 2 Sep 1995 14:11:50 -0600 From: Ranko Vujosevic Subject: Help! I got a couple of questions: 1. Has anybody heard of a musician, originally from Delta, named Monroe King, who claims that he performed with Muddy Waters, Junior Wells, and some others? 2. Is it true that Bertha Lee Patton, Charlie Patton's wife is still alive and lives in Chicago? Apparently she was 20 years younger than Charlie and should be about 80 now. Ranko ========================================================================= Date: Sat, 2 Sep 1995 14:10:15 -0600 From: George McClellan Subject: Speaking of Disasters... Friday afternoon I met a person walking down Lake Shore Drive handing out free passes to this afternoon's BB King, Etta James, Jimmie Vaughan show at the Hawthorne track infield. He had hundreds of these things to give away. I'm wondering what's up with that show? George McClellan Chicago >Date: Thu, 31 Aug 1995 08:18:12 -0500 >From: Richard Shurman >Subject: Re: Blues Bowl III Chitown info > >Be aware that Spann's last two blues extravaganzas have been disasters or >close. A couple of years ago he held one in Soldier Field. Word got >around just before the show, based on one he'd just put on in the >southeast, that payment of performers was in question, so many didn't >show or perform and he was just about run out of Chicago. Last summer he >held a show at UIC. About fifteen artists were advertised (which is >crazy for a four hour show; how many can share that time, and what >difference in drawing power are the 11th-15th going to make?); about ten >showed up; six performed (some like Johnnie Taylor refused); and only one >got paid at the time. So, on the positive side, there will certainly be >some excellent blues/R & B talent (Spann has put on lots of good shows >over the years); on the negative side, you definitely don't want to take >the advertised list of artists at face value. Should be interesting... ========================================================================= Date: Sat, 2 Sep 1995 21:58:50 +0200 From: Peter Gallagher Subject: Fab T-Birds [THANKS ALL] Thanks to EVERYONE who mailed me to advise me ... I hope each and every one (there were a LOT) of you feel duly thanked! I get the message - the tickets are BOUGHT :-) The no-blues-content justification of this is that to anyone _considering_ seeing the Fabulous Thunderbirds, please be aware that the general consus is that THEY ARE NOT TO BE MISSED. regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sat, 2 Sep 1995 16:07:14 -0400 From: "William E. Forrester" Subject: Re: Cosby Sings the Blues was Re: I'm back / Blues on Cosby On Sat, 2 Sep 1995, Ian Angus wrote: > I spent over a week with blues-l set to nomail and my ears set to > nomusic. But by accident, one night in my hotel room, I saw the > epsisode of the Cosby Show which featured BB King. If you get a > chance, see this episode -- like a lot of Cosby shows, there wasn't > much plot, but the blues was good and some of the comedy bits were, > too. (I especiallty liked Rudy's friend Kenny singing the blues.) Cosby actually put out an album on Warner Bros. label featuring himself singing a number of Jimmy Reed songs, Big Boss Man, I Got a Woman, etc. I believe it was released in the late 1960's. The album was called Silver Throat (WS 1709). Bill Forrester ========================================================================= Date: Sat, 2 Sep 1995 16:53:15 -0400 From: Ross Whitwam Subject: Re: Yes, Anyone Can Dig Rap but why? "M. Mullins" <102533.1676@compuserve.com> wrote: >It is interesting to read about the diversity of rap. To open a >barrel of dead worms, my premise is that all modern rap encompasses >negativity. > .... > >There was a degree of positivity in some of it. However the >emergence of so-called positive rap only came about when the >industry was about to face sanctions and censorship. So this >smokescreen of using the same music and putting positive words >in the place of negative words developed to shortcircuit >the legal sanctions. (Something like putting religious words >in a popular song and using it in church, you are stilled linked >to the original message)... > >In closing, there is so-called positive rap. But as long as >listening to it brings to mind the negative rap, it begs the >question; how positive can it be? > >One Heart > >Moses If someone asked you for an introduction to the acoustic blues of the 20's and 30's and you handed CDs by Charley Patton, Skip James, and Blind Lemon Jefferson, he might see the same persistant negativity you are decrying in rap. Obsessions with sex and violence, rampant misogyny, boastfulness, were the orders of the day; he would hear the odd gospel or spiritual song and notice that the bluesmen don't sing these uplifting songs with half the heart and fervour that they put into singing about taking a 22-20 and cutting her half in two. The is-rap-crap? is-it-even-music? debate crops up all the time, in every discussion group on the internet. About a year ago it came up on the blues-l (not the first time) and Martin Adamson posted a trenchant and funny comparison between blues and rap that put it far better than I could ever hope to. (I've always thought his post deserved to go into the FAQ, this controversy being such a recurrant one.) Often in music there is something going on well below the surface images of the lyrics that creates a mood, a world, that transcends even the most disturbing attitudes superficially conveyed. I don't listen to pre-war blues for primers on sexual relations. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University . ========================================================================= Date: Sat, 2 Sep 1995 18:02:01 -0400 From: Jacquelin Katz Subject: Re: Rock'n'Roll Hall of Fame On Fri, 1 Sep 1995, Baseflug Michael wrote: > Am I just ignorant? I cannot understand why they put the R'N'R hall of fame > in Ohio (Cleavland, I think). Does anyone know why? don't know if this is the actual reason, but Cleveland DJ Alan Freid (sp?) supposedly coined the term "rock and roll". I guess Cleveland could use a shot in the arm, but I kind of wish it were somewhere else. One good thing for me is that it's only a day's drive away :) unlike Chicago. Jackie "i believe my baby's got a black cat bone" > Why didn't they build it somewhere where rock'n'roll truly got started like the Delta or even Chicago, or someplace significant in the birth of Rock. Or is there something about Ohio (what city?) that I don't know that is special? > Also, by default, I think that all the old blues greats that gave birth to R'N'R should be honorary members automatically. Anyone agree with me or am I just shootin' my mouth off? > Michael B) > have llama, will travel > ========================================================================= Date: Sat, 2 Sep 1995 17:26:00 CDT From: Bonnie Kalmbach Subject: Re: Trip Report >Joe Lempkowski wrote: > > Carl Weathersby has got to be one of the best guitar players on the >scene. His Albert King-type stuff sends chills up my spine. He also >has an incredible voice. His singing on "If Heartaches Were Nickels" >and "Should Have Known Better" really tear me up. His voice is especially >soulful on Tyrone Davis tunes. > >- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > >I second THAT emotion to the fourth power!!! Carl Weathersby has got to be one of the finest blues guitarists out there today!! -Bonnie kalmbach@macc.wisc.edu ========================================================================= Date: Sat, 2 Sep 1995 22:40:54 GMT From: Bas de Witte Subject: "Like to live the love..." Please fix! Hello blues lovers, I tried to write down the lyrics of the B.B. King song below and would appreciate it if any of you native speakers could correct some of my mistakes. Thanks Baz (thebaz@xs4all.nl) ------------------------------------------------------------------------ SONG: I like to live the love CD: B.B. King & Bobby Bland Together For The First Time...Live 1974 MCA Records. MCAD-4160 ------------------------------------------------------------------------ CD: B.B. King. The collection. 1991 MCA Records Inc. MCD 17755 RC 720 ------------------------------------------------------------------------ My song is a serious matter It reflects what i feel When i say i love you i mean it Cause in my song every line is for real Every man and woman enjoys going home To a peacefull situation To give love and receive love without any complication Whether my tune is strong alone (strong/good/'strod' ?) Whether my lyrics are weak or strong I like to live the love i sing about - in my song I like to live the love i sing about (everyday..) - in my song Music is love My love is music In perfect harmony When i sing i have sung all about the love of you and me I never got angry, with my guitar cause when i strike a chord it gives me what i wan'a hear So i'm finding out that we're quite like my song together my dear {?} Outside answers should always be forbidden {outside answers?} Problems should be solved and never hidden I like to live the love i sing about - in my song I like to live the love i sing about - in my song -- _________ | heBaz /* Bas de Witte, Amsterdam, The Netherlands (thebaz@xs4all.nl) */ ========================================================================= Date: Sat, 2 Sep 1995 17:47:00 CDT From: Bonnie Kalmbach Subject: Re: Trip Report Joe Lemprowski wrote in his Trip-to-Chicago report (keep 'em comin', Joe): >5. On Saturday, I met a singer named Mary Lane. Mary is a nice person and >has a good voice. Her band appears on Thursday nights at Charlie's Lounge >on 419 N. Laramie in Chicago. Mary Lane was married to the late Morris Pejoe. She used to sing with Willie Kent and has recorded a few sides for WOLF Records, including "You hurt my feelings" which her late husband also recorded. She has a daughter who is also sings professionally - I think her name is Lani. -Bonnie ========================================================================= Date: Sat, 2 Sep 1995 17:51:00 CDT From: Bonnie Kalmbach Subject: St. Louis Blues Heritage Festival Wah-h-h, I didn't get to go. Could anybody do a report??? -Bonnie (thinking about walking down the street to see if I can get tickets from a scalper for the Wisconsin-Colorado game which is about to start - as a consolation) ========================================================================= Date: Sat, 2 Sep 1995 19:04:51 EDT From: Chris Metzler Subject: A blues novice asks about books. I've enjoyed blues music for a long time, but only lately have I started trying to *learn* about the history of the blues, what artists are just "good" and what artists are "seminal", what recordings I *must have*, and so on. There are an infinity of books on the blues. So that I may not be ignorant, which would you recommend? Feel free to recommend more than one, and I'll be extra happy if you can tell me what you like and don't like about the books you recommend. Feel free to warn me away from some books, too. Thanks much! -c -- Chris Metzler Department of Physics, University of Michigan 313-764-4607 (office) Randall Lab, 500 E. University 313-996-9249 (home) Ann Arbor, MI 48109-1120 USA E-MAIL: metzler@umich.edu "I know he can get the job . . .but can he *do* the job?" -- Mr. Waturi ========================================================================= Date: Sat, 2 Sep 1995 19:07:02 -0400 From: DeniseTapp Subject: Re: Rock'n'Roll Hall of Fame I'd like to offer my sincerest thanks to those of you who mentioned that Memphis would have been the appropriate site for the Rock 'n Roll Hall of Fame. Not only do we deserve the title for our unique contributions to Blues, R&B, Soul and Rock, we are also in the center of the greatest free market for music the world has ever known. Corporate tastes have never dictated what has come from Memphis. Local talent has done its thing from time to time, and the world has found it tasty. And don't write us off just yet. Music has typically come from Memphis in waves of creativity, and it still can. Tom Freeland, whom I understand is a lawyer in Oxford, Misssissippi, points the finger at our local politicians for the failure of the Museum to land in Memphis. I would like to suggest that the situation was far more complex. The City of Memphis is part of Shelby County. City residents pay two property tax bills, in addition to 8.75% sales tax on all purchases (groceries included.) We have relatively good public services, including well maintained streets, lighting, garbage collection, and so forth, which are supported by a fraction of the people who use them. White flight has drawn many of the well-to-do outside of the city limits, but they continue to work and shop on streets they do not pay to maintain. There are very few good paying jobs in Memphis; charitable foundations are small on a national standard; and we are simply not equipped to enter a bidding war with other municipalities, especially for something that should, by all rights, be ours. The selection of Cleveland as the home for the museum was a tremendous insult to the people of this area. Nonetheless, we have cooperated by loaning them memorabilia, such as Elvis' black leather outfit. If you want to see the authentic artifacts, come here. We'll treat you with legendary Southern hospitality, as well. Denise ========================================================================= Date: Sat, 2 Sep 1995 16:29:21 -0700 From: Mary Katherine Aldin Subject: Rock N Roll hall of Fame--blues content The Rock and Roll Hall of Fame has a blues wing, supposedly several rooms full of memorabilia relating exclusively to blues. This is not tokenism---they evidently made an entire wing of the place just for blues! This section is curated by Robert Santelli (who wrote the recent "The Big Book of the Blues") and I wish some blues-ler in Cleveland would check out the display on blues and report to us all. Mary Katherine ========================================================================= Date: Sat, 2 Sep 1995 18:08:32 -0800 From: Beth Oliver Subject: Re: Verve Phone Number ASAP !!! In article , ISTS024%UABDPO.BITNET@VTBIT.CC.VT.EDU wrote: > I need the phone number to Verve records is someone has it. > THANKS > LW Verve is a division of PolyGram in New York. The telephone # is (212) 603-3900. You may also e-mail them at Verve@jazzonln.com. Hope this helps. ..Beth.. ========================================================================= Date: Sat, 2 Sep 1995 21:48:40 -0400 From: CATBAUER Subject: Dan Penn & Spooner Oldham Someone told me that Dan Penn amd Spooner Oldham were playing in St. Louis in early Sept., does anyone know for sure amd where? Cat Catbauer@vivanet.com ========================================================================= Date: Sat, 2 Sep 1995 21:16:09 -0600 From: Watterworth Jay Subject: Re: St. Louis Blues Heritage Festival Well, I guess if you really needed to get the blues the game would be the ticket..... Jay CU Boulder On Sat, 2 Sep 1995, Bonnie Kalmbach wrote: > Wah-h-h, I didn't get to go. Could anybody do a report??? > > -Bonnie > (thinking about walking down > the street to see if I can get > tickets from a scalper for the > Wisconsin-Colorado game which is > about to start - as a consolation) > ========================================================================= Date: Sat, 2 Sep 1995 23:52:34 -0400 From: Bkg agent Subject: Re: Dan Penn & Spooner Oldham bet I could help out here. Will advise. Janice Nickeltune Music, Inc. ========================================================================= Date: Sun, 3 Sep 1995 00:39:40 -0400 From: "Bluzman Ed@Aol.Com." Subject: WFBE Playlist Fellow Blues-Lers, If enough of you are interested in a weekly posting of the playlist for David Boyd's Blue Highway show which is aired on WFBE 95.1 FM, public radio in Flint Mi., I will be glad to post it The show airs every Saturday night from 9pm to midnight, and is programmed by yours truly. I also do host duties a couple times a month. I know several other playlists are posted, which I find interesting and helpful, but I wonder if there is a need for yet another. Post your opinions to me privately, or on the list if you think appropriate. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 3 Sep 1995 04:24:10 -0500 From: Craig Edmundson Subject: Re: Yes, Anyone Can Dig Rap but why? I am under the impression that, while a singer may fantsize about murdering a mistreating lover, the threat is rarely carried through. Most often, the drama is resolved when the mistreated singer voluntarily leaves town, and won't be "comin' back no more." ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Sat, 2 Sep 1995, Ross Whitwam wrote: > If someone asked you for an introduction to the acoustic > blues of the 20's and 30's and you handed CDs by > Charley Patton, Skip James, and Blind Lemon Jefferson, >snip> > he would hear the odd gospel or spiritual song and notice that the bluesmen > don't sing these uplifting songs with half the heart and fervour that > they put into singing about taking a 22-20 and cutting her half in two. ========================================================================= Date: Sun, 3 Sep 1995 07:49:00 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 3rd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BAGBY, HAROLD "DOC" (o/GOTHAM REC) d. 1970-0903, NEW YORK CITY, NY -- BOOKER, CHARLEY (g/SUN/MODERN REC) b. 1925-0903, QUIVER RIVER, MS CAREY, THOMAS "MUTT" (cnt) d. 1948-0903, ELSINORE, CA 57 COLLINS, AARON (of THE JACKS/THE CADETS) b. 1930-0903, KRESS CITY, AR DAVIS, JOE (prod/owner : JOE DAVIS REC) d. 1978-0903, LOUISVILLE, KY 81 JONES, JO (d/BASIE) d. 1985-0903, NEW YORK CITY, NY 74 KING, FREDDIE (g) b. 1934-0903, GILMER, TX LAMB, JOSEPH FRANCIS (p) d. 1960-0903, BROOKLYN, NY 82 LANCE, MAJOR (v/OKEH REC) d. 1994-0903, DECATUR, GA 55 LEWIS, NOAH (hca/CANNON'S JUG STOMPERS) b. 1895-0903, HENNING, TN MEMPHIS SLIM (PETER CHATMAN) (p) b. 1915-0903, MEMPHIS, TN MORGAN, TOM (author/BLUES L MEMBER) b. 1952-0903, HONESDALE, PA NICHOLAS, ALBERT (cl/ELLINGTON) d. 1973-0903, BASEL, SWITZERLAND 73 PARKER, JOHN W. "KNOCKY" JR. (p) d. 1986-0903, LOS ANGELES, CA 68 SIMIEN, TERRANCE (acc/MALLET PLAYBOYS) b. 1965-0903, EUNICE, LA TELLER, ALVIN N.(MCA ex/R&R HALL OF FAME) b. 1944-0903, NEW YORK CITY, NY THOMPSON, HANK (g) b. 1925-0903, WACO, TX TRICOT, JACQUES (critic/LE POINT DU JAZZ) d. 1992-0903, FRANCE 63 VENOSA, ARTIE (of THE ELEGANTS) b. 1940-0903, STATEN ISLAND, NY WILLIAMS, DOUGLAS (lead/WILLIAMS BROS) b. 1956-0903, SMITHDALE, MS WILSON, AL "BLIND OWL" (of CANNED HEAT) d. 1970-0903, TORRANCE, CA 27 ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 3 Sep 1995 07:58:38 -4 From: "P.W. Fenton" Subject: Re: Yes, Anyone Can Dig Rap but why? On 3 Sep 95, Craig Edmundson had this to say... > I am under the impression that, while a singer may fantsize about > murdering a mistreating lover, the threat is rarely carried through. Most > often, the drama is resolved when the mistreated singer voluntarily leaves > town, and won't be "comin' back no more." > Or, even worse, can do nothing but hang their head and moan. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Sun, 3 Sep 1995 07:19:00 CDT From: Paul Garon Subject: Re: A blues novice asks about books. >There are an infinity of books on the blues. So that I may not be >ignorant, which would you recommend? Feel free to recommend more than >one, and I'll be extra happy if you can tell me what you like and don't >like about the books you recommend. Feel free to warn me away from >some books, too. > >Thanks much! > As this question was asked by another member a short time ago, perhaps I won't be stoned and brick-batted (sp?) for repeating my answer from that time. But let me add that the BLACKWELL GUIDE TO RECORDED BLUES (ON CD) is coming out soon (yes, finally, after too many months of delay), with illustrious blues-l contributors like Richard Shurman, yours truly, and many others, let me add that to the recommendation list. There are a number of comprehensive histories on the market right now, the newest of which, NOTHING BUT THE BLUES edited by Larry Cohn, is also a spectacular pictorial as well. I still like Paul Oliver's STORY OF THE BLUES for all its detail, but it may be hard to find. His BLUES FELL THIS MORNING (or MEANING OF THE BLUES) is more of a sociological history. Wm Barlow's LOOKING UP AT DOWN is a history with sociological meaning included; recommended. DEEP BLUES is perhaps the "best read" but lacks comprehensiveness and is a bit narrow in focus. This list just scratches the surface, though, and once you've purchased a few books and glanced at their bibliographies, a whole new world of blues literature will open up! Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Sun, 3 Sep 1995 07:00:06 -0700 From: Eric LeBlanc-CISTI Subject: HAPPY BIRTHDAY, TOM MORGAN Tom Morgan, longtime BLUES-L member, is 43 today. If you haven't read is wonderful book - "From Cakewalks to Concert Halls: An Illustrated History of African-American Music from 1895-1930" (Elliott & Clark, 1992) - you should! It won the 1993 Ralph Gleason Music Book Award, and is one of the few books I know that has early histories of early afro-american songwriters/composers. The photographs are a music see & all come from his own extensive collection of sheet music. Today, he is the program director at WTJU-FM, Charlottesville, VA., and for the last 15 or so years, Tom has been delighting his audiences with his radio shows on WTJU-FM. His home page Subject: Re: HAPPY BIRTHDAY, TOM MORGAN In another time and place, Eric LeBlanc-CISTI said: > > Tom Morgan, longtime BLUES-L member, is 43 today. If you haven't read is > wonderful book - "From Cakewalks to Concert Halls: An Illustrated History > of African-American Music from 1895-1930" (Elliott & Clark, 1992) - Thanks eRIC, what a nice birthday present. I have just returned from a short vacation trip to the Hamptons and Portland, Maine and am looking forward to getting back up to speed on blues-l, where some of the finest people on the Internet hang-out. Tom ========================================================================= Date: Sun, 3 Sep 1995 07:30:44 -0700 From: Mary Katherine Aldin Subject: Re: A blues novice asks about books. You wrote: > >>There are an infinity of books on the blues. So that I may not be >>ignorant, which would you recommend? Feel free to recommend more than >>one, and I'll be extra happy if you can tell me what you like and don't >>like about the books you recommend. Feel free to warn me away from >>some books, too. >> >>Thanks much! >> > >There are a number of comprehensive histories on the market right now, the >newest of which, NOTHING BUT THE BLUES edited by Larry Cohn, is also a >spectacular pictorial as well. > >I still like Paul Oliver's STORY OF THE BLUES for all its detail, but it may >be hard to find. >Paul Garon >---- I agree with the recommendation for Paul Oliver's Story of the Blues with one caveat; like all blues books written more than three decades ago, it is somewhat outdated now. In the intervening years a great deal of new bluse research has been done, some of which invalidates a few of Oliver's conclusions. It should be read with the publication date in mind. For that matter, so should Larry Cohn's book Nothing But the Blues. I can speak from personal knowledge here--my own (the final) chapter of that book, called "The Current State of the Blues," was outdated before the book ever went to press. Though no fault of Larry's there were many serious production delays, and so the chapter that was supposed to be the most current (!!) was actually written a full two years before the book hit the stores! I was therefore embarrassed to realize that (to give just one example) an artist referred to in the text as "an up and coming young performer" had actually died a full year before the book came out. Whatever books a newcomer to this music consults, attention should be paid to the publication date, at least. Otherwise one might find oneself spending hours carefully absorbing information that will be contradicted by the newer research published in the very next book one reads. Btw, Paul Oliver has been asked, nay begged, for *years* to update Story of the Blues, but has not had time to do so. He is, think, an architect, and very prominent in his field, and has been workingon an encyclopedia of architecture for publication in the future and that is taking up all his time. It was in part because that book *is* so outdated that Larry Cohn put together his book Nothing But the Blues. Mary Katherine ========================================================================= Date: Sun, 3 Sep 1995 15:37:03 GMT From: Patrik Urbansson Subject: Homesick James? It's time to buy some new records. I've heard some great songs with Homesick James recorded in the sixties. But the only record I can find with from the sixties is "Blues on the southside", is it good? Thanks in advance. Patrik ========================================================================= Date: Sun, 3 Sep 1995 10:11:31 GMT-6 From: Eliot Williams Subject: Re: Yes, Anyone Can Dig Rap but why? > From: Craig Edmundson > I am under the impression that, while a singer may fantsize about > murdering a mistreating lover, the threat is rarely carried through. A notable exception: Auburn "Pat" Hare, who recorded "I'm gonna murder my baby" for Sun in the 50s, was later jailed fof doing just that. He died in a Minnesota prison in 1980. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 3 Sep 1995 14:56:56 GMT From: "Ian K. Mckenzie" Subject: Re: Clarksdale qquit wrote: >Would some of you who have travelled to Clarksdale, Miss., please tell me if it > is worth the trip? Just to be in the Delta was a great experience for me. A visit to the Delta Blues Museum (they hold some open mike sessions), to Robert Johnson's marker in Morgan City, Parchman and to places like Friars Point (which RJ mentions in Travelling Riverside Blues) was like going to heaven. When people come over here (to England) they go to castles and to see stuff about English HISTORY - the Tower of London, Buckingham Palace and such. For someone like me, who has been in love with the blues for more than forty years, my first trip to Clarkesdale was the stuff of dreams! Go and enjoy!! ****************************************************** Ian K. Mckenzie Institute of Police & Criminological Studies, University of Portsmouth UK ******************************************************* ========================================================================= Date: Sun, 3 Sep 1995 16:27:23 GMT From: Art Schuna Subject: 500 Songs That Shaped Rock (blues content) Today's NY Times Week in Review section prints a list of 500 songs that shaped rock. Chosen by Jim Henke, Chief Curator of Rock & Roll Hall of Fame with advice of writers & critics. The list is not necessarily most popular, not just rock, but most influential. These are the blues tunes & others that would be of interest to readers of this list: BOBBY BLAND - Turn on Your Lovelight CHARLES BROWN - Driftin' Blues LOWELL FULSON -Reconsider Baby CECIL GANT - We're Gonna Rock GOLDEN GATE QUARTET-Rock My Soul GUITAR SLIM - Things That I Used to Do SLIM HARPO - Rainin' In My Heart WYNONIE HARRIS - Good Rockin' Tonight JOHN LEE HOOKER - Boogie Chillun, Bom Bom HOWLIN' WOLF - Spoonful, The Red Rooster, Smokestack Lightnin' MISSISSIPPI JOHN HURT - Stack o'Lee Blues ELMORE JAMES - Dust My Broom, Shake Your Money Maker BLIND LEMON JEFFERSON - Matchbox Blues BLIND WILLIE JOHNSON - Motherless Child ROBERT JOHNSON - Crossroad Blues, Hell Hound on My Trail, Love In Vain, Sweet Home Chicago LOUIS JORDAN - Caldonia, Saturday Night Fish Fry ALBERT KING - Born Under a Bad Sign BB KING - Sweet Little Angel, The Thrill Is Gone FREDDY KING - Hide Away LEADBELLY - The Midnight Special LITTLE WALTER - Juke PROFESSOR LONGHAIR - Tipitina BLIND WILLIE MCTELL - Statesboro Blues AMOS MILBURN - Let's Have A Party PINETOP PERKINS - Pinetop's Boogie Woogie JIMMY REED - Big Boss Man, Bright Lights Big City OTIS RUSH - I Can't Quit You Baby BESSIE SMITH - Downhearted Blues SISTER ROSETTA THARPE - This Train BIG MAMA THORNTON - Hound Dog, Ball & Chain BIG JOE TURNER - Shake Rattle & Roll T-BONE WALKER - Call It Stormy Monday DINAH WASHINGTON - Am I Asking Too Much MUDDY WATERS - Got My Mojo Working, Hoochie Coochie Man, Mannish Boy, Rollin' Stone BIG JOE WILLIAMS - Baby Please Don't Go SONNY BOY (JOHN LEE) WILLIAMSON - Good Morning Little School Girl JIMMY YANCEY - Midnight Stomp All and all, not bad representation of the blues on a list of rock & roll influences. I like how it recognizes pre-war as well as post-war artists. Who do you think is missing & what tunes? I was surprised Sonny Boy II isn't on this list considering how important he was to the British Invasion artists. Another peculiarity - even though it claims to not be a list of the most popular only the most influential, Elvis Presley's That's All Right is cited and not Big Boy Crudup. Also "Mystery Train" by Elvis is mentioned but not Junior Parker who cut the original on Sun that led to the EP remake. You could argue I suppose that these songs would have been long forgotten had Elvis not cut them and therefore they would not have had the influence on rock. While I'm at it, why choose Robert Johnson's "Sweet Home Chicago" when it's just a remake of Kokomo Arnold tune? What do others think? If you care to post your arguments or alternatives directly to the Hall of Fame you can do that at their web site (http://www.rockhall.com/) Art Schuna ========================================================================= Date: Sun, 3 Sep 1995 11:40:19 -0600 From: David Silberberg Subject: Random Thoughts (Some Blues Related) 1. Of all of the blues / R & B / Rock 'N Soul people who have died too soon, didn't we lose the most when Sam Cooke was killed? I've been listenning to a lot of his work with the Soul Stirrers recently, as well as "Night Beat" and the SAR stuff - and I'm convinced that he would have been THE talent of the sixties - perhaps not in a strict commercial sense, but certainly in his influence on what "the music" would have become. 2. Was the Sweet Soul Music of the sixties / seventies the greatest music ever made anywhere by anyone? And why wasn't I as floored by it 20 years ago as I am now? Why didn't I think then that Al Green was as terrific as I now think he is? And the Stax stuff, the Atlantic soul stuff - I feel reborn! 3. I know that PW gave a good answer to Michael Baseflug's comment about the old blues greats being in the R & R HOF: just wanted to comment that I think the HOF has done a terrific job in including those earlier blues artists and R & B performers who greatly influenced the music. I was watching the HOF Concert on TV last nite and was really impressed with the people they have inducted who could properly be included in blues-l discussions. (But really - Iggy Pop doing "Back Door Man"?) 4. While watching that HOF Concert last nite, I felt that Rock 'N Soul has done a pretty good job of delivering terrific music over the past 40+ years, that Cheryl Crow could become a good Rock N Roll singer if she wanted to go in that direction, and that the biggest audience response came from the soul performers. 5. Has anyone ever seen Bob Dylan smile? Can Aretha possibly put on any more weight? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sun, 3 Sep 1995 17:38:48 GMT From: Peter Groves Schweitzer Subject: *I need music for a radio show* -n-roll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Sun, 3 Sep 1995 19:34:25 GMT From: "Linda L." Subject: Chris Duarte tour dates? Can someone please re-post Chris Duarte's tour schedule? Pollstar.com is giving me lots of errors. Fast, please. Thanks... Linda -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Sun, 3 Sep 1995 15:22:27 -0400 From: Jim McGlynn Subject: Re: WFBE Playlist Ed Tremewan wrote: >If enough of you are interested in a weekly posting of the playlist for >David Boyd's Blue Highway show which is aired on WFBE 95.1 FM, public >radio in Flint Mi., I will be glad to post it >[stuff deleted] >I know several other playlists are posted, which I find interesting and >helpful, but I wonder if there is a need for yet another. Am I alone in hitting the delete key as soon as a playlist appears in my read-through of posts? I just don't understand why anyone not involved in the marketing or promotion (maybe I've just answered my own question) of blues recordings would care what's played on a single show in a single market somewhere. No offense intended to anyone, just trying to understand. Maybe I'm missing something I oughta be hip to. Whassup with the playlists? Jim -- ========================================================================= Date: Sun, 3 Sep 1995 15:58:00 -0400 From: Tom Freeland Subject: What's with the playlists (was Re: WFBE Playlist) A blues lister wrote: > >Am I alone in hitting the delete key as soon as a playlist appears in >my read-through of posts? I just don't understand why anyone not >involved in the marketing or promotion (maybe I've just answered my >own question) of blues recordings would care what's played on a single >show in a single market somewhere. > I had the same thought, until a record-industry friend stated that disemination of these lists is important in the business, telling record companies who is playing their stuff, and helping in getting stuff to the dj's. This particular friend reprints the list and then sends them on to the record companies she works with. While I still delete the lists, I understand their utility. And take this a particular instance of the general rule that no one person can tell what is noise and what is signal on a mailing list. Tom Freeland ========================================================================= Date: Sun, 3 Sep 1995 16:00:28 -0400 From: Tom Freeland Subject: tower collectors lists Tower records online (on America Online) has put together lists of 'essential collectors' recordings for a variety of categories. Blues is broken into 3 categories: Rural Blues, Urban Blues, and Zydeco. The three bules lists were put together by Ted Drozdowski, a Boston-area writer who writes for the Boston Phoenix (and who I have met at Junior Kimbrough's juke joint near Holly Springs). I thought blues listers might be interested in seeing the lists, and that a critique of the lists might make an interesting thread. I'll post rural blues list without Drozdowki's glosses (which would make the post too long), and follow with my comments. The stars are Drozdowski's. If this draws any interest, I'll post the urban blues list in a while... 1. Various Artists, NEGRO BLUES AND HOLLERS (Library of Congress) ***** 2. Leadbelly, THE LIBRARY OF CONGRESS RECORDINGS (THREE VOLUMES: MIDNIGHT SPECIAL, GWINE DIG A HOLE TO PUT THE DEVIL IN, LET IT SHINE ON ME) (Rounder) ***** 3. Blind Lemon Jefferson, BLIND LEMON JEFFERSON (Biograph) ***** 4. Blind Willie McTell, THE EARLY YEARS (Yazoo) ***** This one and the next one are without doubt on *my* version of this list. 5. Charley Patton, FOUNDER OF THE DELTA BLUES (Yazoo) ***** 6. Son House, FATHER OF THE DELTA BLUES: THE COMPLETE 1965 SESSIONS (Columbia/Legacy) ***** There seems a general bias on this list in favor of post-war re-recordings. I'd rather have either the Library of Congress or Son House's first sessions. 7. Robert Johnson, THE COMPLETE RECORDINGS (Columbia) ***** Another easy choice. 8. Muddy Waters, DOWN ON STOVALL'S PLANTATION (Testament) ***** This one is out of print AND has been reissued in much better shape (and availability) by MCA as "Plantation Recordings." Why not list it the way its available? 9. Skip James, DEVIL GOT MY WOMAN (Vanguard) ***** Again, there is a bias here in favor of post-war. Even in that context, the first Vanguard (Skip James Today!) seems better, but I'd rather go with his prewar recordings, on the Yazoo set. 10. Bowling Green John Cephas and Harmonica Phil Wiggins, DOG DAYS OF AUGUST (Flying Fish) **** This one made me go "huh??" as it is the one that fits the least of all on this list. The comments state this included to include a Piedmont recording (the compiler stated this to me also when I asked him about this one) If you want Piedmont, which seems to be the point of this entry, why not the Yazoo Blind Boy Fuller? Or, you note that these people play in the tradition of Sonny Terry and Brownie McGhee. Wny not one of theirs? 11. Lightnin' Hopkins, THE COMPLETE ALADDIN RECORDINGS (EMI) ***** 12. Jelly Roll Kings, ROCKIN' THE JUKE JOINT DOWN (Earwig) ***** 13. Junior Kimbrough and the Soul Blues Boys, ALL NIGHT LONG (Fat Possum/Capricorn) ***** 14. R.L. Burnside TOO BAD JIM (Fat Possum/Capricorn) ***** 15. Various Artists, DEEP BLUES (Anxious/Atlantic) ***** Comment on 13, 14, and 15: While the Deep Blues record, it is out of print, AND seems an odd choice for the 2nd compilation in this set, particularly given that the musicians here are quite well represented with the Junior Kimbrough and R.L. Burnside inclusions. Particularly in a set that includes NO John Estes, Frank Stokes or other Memphis recordings (Memphis Jug Band? Memphis Minnie? Robert Wilkins? Gus Cannon?), no Blind Blake, no Bukka White. It seems to me they ought to reconsider the three Kimbrough/Burnside/Deep Blues. Possible replacements I know are on CD: Frank Stokes' Dream -- 1927-1931: The Memphis Blues on Yazoo (Frank Stokes, Furry Lewis, Noah Lewis, Will Weldon, Memphis Minne & Kinasas Joe, Cannon's Jug Stompers). Jackson Blues 1928-1938 (Tommy Johnson, Bo Carter, Mississippi Sheiks, Willie Harris, Ishman Bracey, Willie Lofton, Charlie McCoy) another possible that MAY not be out on CD would be The Blues In Memphis 1927-1934 (Original Jazz Library) (John Estes, Robert Wilkins, Yank Rachel, Furry Lewis, Frank Stokes, Memphis Minnie and Kansas Joe, Cannon's Jug Stompers, Will Weldon, Jack Kelly). Maybe keep Deep Blues and add in Frank Stokes' Dream and Jackson Blues? That would leave Memphis Jug Band as a major omission.... And this may be personal prejudice, but I would figure out a way to include the Yazoo Robert Wilkins. Tom Freeland ========================================================================= Date: Sun, 3 Sep 1995 16:16:39 EDT From: "M. Mullins" <102533.1676@COMPUSERVE.COM> Subject: The Blues Man is in the House Hotep Brothers and Sisters A word of introduction from the Blues Man from Nashville, TN. My name is Moses Mullins, former TN State Univ (Big Blue Tigers) student and community activist. Currently a poet and Paralegal, not to mention computer addict. Soon to be a Blues Guitarist, I presently collect blues and jazz cd's and read everything I can (when I have time). Here in Nashville I'm a member of the Music City Blues Society. Other things that I support are Kwanzaa and Family Reunions. The 56th Smith-Driver-Davidson-Brown Family Reunion will be in Nashville, August 2-4, 1996. If you are related, think you are related, or know someone that is, get in touch so you can be on the mailing list. The other family reunions I have info about is Mullins, McCall, Trotter and Westmoreland. I recently posted a sample of my first two collections of poetry on AfroAm and AASNET, if anyone likes it and wants more I'll post Volume I, but it's about 18 pages (50k). Well, enough about me, what about you? One heart Moses M.Mullins@Genie.Geis.Com Alternate address ========================================================================= Date: Sun, 3 Sep 1995 18:16:06 -0400 From: Claudio Caponi MARNR Subject: Which Amos Milburn & James Booker CDs? Hy bluesellers! I have been mainly lurking last three weeks, as things at the office have been pretty busy, and what little free time I had left, I spent listening to some great blues, mostly CDs suggested by blues-l members: Peg Leg Sam "Medicine Show Man" (thanks to Peter Welch and Bill Forrester), Walter Davis "First Recordings 1930-1932", Professor Longhair "The Complete London Concert", Etta James "Rocks the House", Big Bad Smitty "Mean Disposition", Luther Allison "Love me Papa", Otis Spann's Storyville CD (thanks to Bonnie and eRIC) and Muddy Waters MCA's Chess Box (Special thanks to Mary Katherine!!!). Anyhow, as I need some more fuel to keep goin' and as listening to Otis Spann made me wish I didn't have already all his CDs (please somebody, discover a previously-unreleased/lost session by Otis!!!), I decided to explore some other blues pianists mentioned in the list, of which I have next to nothing. In particular, I need help with the following; this is what cdconnection lists for Amos Milburn and James Booker: !CAP27229 +MILBURN*AMOS DOWN THE ROAD APIECE 8.6/5 **** $13.15 &CAPITOL 1/94 MRR21 MILBURN*AMOS ROCK ROCK ROCK $16.50 MRR & B 9/94 => End of list. 2 item(s) listed. !RoU2036 +BOOKER*JAMES CLASSIFIED **** $13.27 &ROUNDER 5/89 HAZ1359 +BOOKER*JAMES JUNCO PARTNER 5/1 *** $13.53 &HANNIBAL 2/93 JUU1 BOOKER*JAMES KING OF THE NEW ORLEANS KEYB 8/1 *** $12.68 &JUNCO PARTNER 9/94 !RoU2027 +BOOKER*JAMES NEW ORLEANS PIANO WIZARD-LIVE 9/5 *** $13.32 &ROUNDER 1/92 RoU2118 +BOOKER*JAMES RESURRECTION OF THE BAYOU MAHA 10/1 *** $13.32 &ROUNDER 8/93 RoU2119 +BOOKER*JAMES SPIDERS ON THE KEYS ** $13.32 &ROUNDER 7/93 => End of list. 6 item(s) listed. What is the one CD for each of them? Should I follow the All Music Guide advice (AM's Down the road apiece - JB's Classified)? Please enligthen me and fast, as my hands are itching to go to the keyboard and order ASAP!!! Thanks in advance, ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Mon, 4 Sep 1995 10:15:45 +1000 From: Daniel Bruce Subject: Re: Random Thoughts (Some Blues Related) > > 1. Of all of the blues / R & B / Rock 'N Soul people who have died too > soon, didn't we lose the most when Sam Cooke was killed? I've been > listenning to a lot of his work with the Soul Stirrers recently, as well as > "Night Beat" and the SAR stuff - and I'm convinced that he would have been > THE talent of the sixties - perhaps not in a strict commercial sense, but > certainly in his influence on what "the music" would have become. > A great, great loss. The sweetest voice of the sixties. > 2. Was the Sweet Soul Music of the sixties / seventies the greatest music > ever made anywhere by anyone? And why wasn't I as floored by it 20 years > ago as I am now? Why didn't I think then that Al Green was as terrific as > I now think he is? And the Stax stuff, the Atlantic soul stuff - I feel > reborn! > You are correct, 10 points. It is indeed the greatest music ever made. Stax, James Brown, Atlantic, etc etc etc. Too good, too much of it to take in. The 9cd first Stax set is an incredible set of music. Virtually every track is a certifiable classic whether a hit or not. > > David Silberberg |Woman I love got 2 teeth > davidis@interaccess.com | solid gold > |Got a lien on > my body > | mortgage > on my soul > | > Johnny Shines > -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Mon, 4 Sep 1995 00:17:55 GMT From: David Alan Hammel Subject: Identifying a tape I found Summary: Keywords: I Recently came across a recording called "Jimmy Hendrix and Little Richard" (note the spelling). It made in Switzerland by Intertape(?) and imported by Madacy Inc. out of Quebec. Is this recording legitimate or is someone just cashing in on the Hendrix name? Any information would be appreciated. Thanks. The songlist is as follows: Whole Lotta Shakin Goodnight Irene Keep a Knockin Goin Home Tomorrow Belle Stars Tutti Fruity Lawdy Miss Claudie Why Don't You Love Me Lucille Hound Dog Money Honey Funky Dish Rag Anyone have any idea where this may have been recorded or with what band (any Johnny Winter fans)? ========================================================================= Date: Sun, 3 Sep 1995 20:04:50 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: books, albums Whenever someone asks for a suggestion about blues albums and records, I always think of saying that they should take a trip down to their public library. Most libraries in medium sized cities have several blues books on the shelfs and quite a few records. Read the back of the albums and checkout what seems interesting. Then start expanding from their. If you find you like, Robert Johnson, take out a blues book and read the section on Johnson. Look up his name in the index and you will find other references to him and discussion about other artists which he influenced. Then go back to the library for another batch. Libraries are wonderful sources and too few people remember them when they are starting a new hobby. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Sun, 3 Sep 1995 21:33:04 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: WFBE Playlist In a previous post, Jim wrote: ==========================snip=========================== Am I alone in hitting the delete key as soon as a playlist appears in my read-through of posts? I just don't understand why anyone not involved in the marketing or promotion (maybe I've just answered my own question) of blues recordings would care what's played on a single show in a single market somewhere. No offense intended to anyone, just trying to understand. Maybe I'm missing something I oughta be hip to. Whassup with the playlists? ============================snip=========================== As a blues radio programmer, I like to keep abreast of whats being played in various regions of the country, whats new from regional artists I may not have access to here in MI., and even theme ideas for future shows. Also, it clues me in on things I may need to add to my stations library. I believe others appreciate this information also, but do not want to post to the list unless a goodly number of members can benefit from it. There is a lot to be said for the delete key. BLUZ!! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 3 Sep 1995 21:15:00 CDT From: Joe Mayes Subject: Re: Chris Duarte tour dates? The CHRIS DUARTE Group - USA Tour Schedule [9/4 thru 10/20/1995] 09/04 Seattle, WA Bumbershoot Festival 09/04 Seattle, WA Mural Amphitheatre 09/08 Tulsa, OK Cain's Ballroom 09/09 Dallas, TX Artist Square Theatre 09/12 Austin, TX Steamboat 09/13 San Marcos, TX Gordo's 09/14 San Antonio, TX Acapulco Sam's 09/15 Bryan, TX Dixie Theatre 09/16 Houston, TX Rockefeller's 09/17 Corpus Christi, TX Executive Club 09/19 Baton Rouge, LA Papa Joe's 09/20 Memphis, TN 616 Club 09/21 Nashville, TN Riverfront Park 09/22 Huntsville, AL Big Spring Jam 09/23 Atlanta, GA Cotton Club 09/24 Metairie, LA Lafaniere Park 09/26 Charlotte, NC Tremont Music Hall 09/27 Savannah, GA The Zoo 09/28 Gainesville, FL Performing Arts Center 09/29 Orlando, FL Renaissance 09/30 Pompano Beach, FL Pompano Beach Amphitheater 10/01 Sarasota, FL Sarasota County Fairgrounds 10/05 Kansas City, MO Grand Emporium 10/06 Waterloo, IA Electric Park Ballroom 10/07 Des Moines, IA Roadhouse Ruby's 10/10 Green Bay, WI Concert Cafe 10/13 Chicago, IL Park West 10/17 Indianapolis, IN Patio 10/18 Bloomington, IN Mars 10/19 Fort Wayne, IN Piere's 10/20 Detroit, MI Majestic Theatre Best Regards, Joe Mayes Dallas, The Republic of Texas <---- Begin Included Message ----> Date: Sun, 3 Sep 1995 19:34:25 GMT From: "Linda L." Sender: Blues Music List Subject: Chris Duarte tour dates? Can someone please re-post Chris Duarte's tour schedule? Pollstar.com is giving me lots of errors. Fast, please. Thanks... Linda -- Linda L. sac62628@saclink.csus.edu <---- End Included Message ----> ========================================================================= Date: Sun, 3 Sep 1995 22:11:10 -0400 From: Tom Freeland Subject: Little Buster and the Soul Brothers This evening I've been listening to a new Bullseye Records release, Little Buster & The Soul Brothers Right On Time. Has this one slipped by the list? If it has been noted, my apologies for missing it. If it hasn't, at least on a couple of listens, THIS IS GREAT STUFF. It's soul blues recorded in the New York area by a long-time soul singer there who has recorded singles since the sixties but never recorded an album. Really great voice, good guitar, a kick-ass soul band, good & simple arrangements. Recommended. If this has not been noted yet hereabouts, I'll post a longer review. Hows about it?? Tom Freeland ========================================================================= Date: Mon, 4 Sep 1995 22:57:43 GMT From: Andrew Gregg Subject: Re: Yes, Anyone Can Dig Rap (VAnilla Ice isnt a rapper because he's white) I personally never like to fuel such 'discussions', but I quite enjoy rap. How can you claim to love the music started by AFrican-Americans, and totally disregard a musical form which shares so much common ground with the reason this list exists?? IF you dislike it, fine, but dont question its status as music. Is it so hard for others on this list to see the similarities between the two forms?? ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Sun, 3 Sep 1995 22:48:13 GMT-6 From: Eliot Williams Subject: Re: tower collectors lists > From: Tom Freeland > another possible that MAY not be out on CD would be > The Blues In Memphis 1927-1934 (Original Jazz Library) (John Estes, Robert > Wilkins, Yank Rachel, Furry Lewis, Frank Stokes, Memphis Minnie and Kansas > Joe, Cannon's Jug Stompers, Will Weldon, Jack Kelly). There's a CD on Memphis Archives called "Memphis Country Blues Vol 1" that's got all these folks except Yank Rachel on it. It'd certainly fit very well on this list. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 3 Sep 1995 22:57:43 GMT-6 From: Eliot Williams Subject: Re: Identifying a tape I found > From: David Alan Hammel > I Recently came across a recording called "Jimmy Hendrix and > Little Richard" (note the spelling). It made in Switzerland by > Intertape(?) and imported by Madacy Inc. out of Quebec. Is this > recording legitimate or is someone just cashing in on the Hendrix > name? Any information would be appreciated. Thanks. > > Anyone have any idea where this may have been recorded or with > what band (any Johnny Winter fans)? Jimi played in Little Richard's band for a while in the 60s. These are for the most part (inferior) remakes of Richard's Specialty recordings and bear little if any resemblance to Hendrix's later work. Ditto for his recordings with Curtis Knight, which have also been reissued with Jimi getting top billing. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 3 Sep 1995 22:32:00 CDT From: Joe Mayes Subject: "Blues CD Buyer's Guide" [was: A blues novice asks about books] The "Blues CD Buyer's Guide" is a great source of information. It lists more than 800 summaries of over 500 CD's and covers hundreds of Blues artists, past and present. Review summaries are from the leading Blues periodicals, "Blues Access", "Blues Revue", "Living Blues" and "Westcoast Blues Review". The "BBG" also serves as a review index for these four publications. Style [genre] and record label information is also included. "BBG" contains a wealth of information in an easy-to-use format. "Blues CD Buyer's Guide" is published by Andrew Gordon and BBG, Inc. For more info, please contact Andrew via e-mail: Best Regards, Joe Mayes <---- Begin Included Message ----> Date: Sun, 3 Sep 1995 07:19:00 CDT From: Paul Garon Subject: Re: A blues novice asks about books. >> There are an infinity of books on the blues. So that I may not be >> ignorant, which would you recommend?.... [cut] > ....But let me add that the BLACKWELL GUIDE TO RECORDED BLUES (ON CD) > is coming out soon (yes, finally, after too many months of delay), with > illustrious blues-l contributors like Richard Shurman, yours truly, and > many others, let me add that to the recommendation list. [cut] <---- End Included Message ----> , ========================================================================= Date: Mon, 4 Sep 1995 00:20:26 -0500 From: Craig Edmundson Subject: Re: Yes, Anyone Can Dig Rap (VAnilla Ice isnt a rapper because he's white) Historically, when a musical style emerges from the black community it is eventually appropriated and commercialized by whites. The black community responds by revitalizing its music into a new sound it can call its own. This is one way to explain the links between blues, R&B, soul, funk, hip hop and rap. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Mon, 4 Sep 1995, Andrew Gregg wrote: > How can you claim to love the music started by AFrican-Americans, and > totally disregard a musical form which shares so much common ground with > the reason this list exists?? Is it so hard for others on this > list to see the similarities between the two forms?? ========================================================================= Date: Mon, 4 Sep 1995 00:38:10 -0500 From: Craig Edmundson Subject: Blues in Omaha, NE These artists will be appearing at a micro-brewery located at 1316 Jones Street in Omaha: SUN 09-24-95 THE PALADINS WED 09-27-95 COCO MONTOYA SAT 10-07-95 KERI LEIGH & THE BLUE DEVILS FRI 11-17-95 SMOKIN' JOE KUBEK SAT 11-18-95 SMOKIN' JOE KUBEK SUN 12-31-95 MAGIC SLIM & THE TEARDROPS I am not...blah blah blah. :) ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Mon, 4 Sep 1995 09:44:27 +0200 From: Peter Gallagher Subject: T-Birds (blew us away!) Last week I asked the list "are the Fabulous Thunderbirds a 'not to be missed' band?". The answers flooded in and the message was unanimously: "SEE THEM!" Well, I saw them last night and now I know why. If you happen to pass by the Paradiso here in Amsterdam and it seems to be missing a roof, it's because the T-Birds blew it off. I have rarely seen such a rapturous reception either! They played no less than 2hrs and 45mins. Seems it was the last gig of a European tour - they certainly rounded it off with incredible energy. They played a lot of styles - rock, bluesrock, rock'n'roll and of course, blues. Though not striclty a blues gig, almost everything they did was bluesy. Whew! I'm still getting over it! regards and thanks again for the ound advice! PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Sep 1995 08:20:49 GMT From: marc borms Subject: Tribute to Muddy Waters Hey, you all ! A few weeks ago, I got the info that in November Pinetop Perkins is coming to Europe ( Belgium ) with some other artists for a "Tribute to Muddy Waters" concert. Are these guys touring in the States too ? And who is joining PP ? I'd love to get some more info about it. Is there more than 1 concert planned for Belgium ? How's PP these days, alive and kickin' ? Thanks in advance :-) marc@az.vub.ac.be - I gotta key, to the (Blue) highway .... - ========================================================================= Date: Mon, 4 Sep 1995 05:57:00 -0400 From: "J.E. Downey" Subject: Re: Tribute to Muddy Waters Regarding Pine Top's reported upcoming trip to Belgium for a "Tribute to Muddy Waters," if anybody has European dates, I hope they will please post 'em. Especially Russia (or Helsinki). If Pine Top is willing to play in Moscow, he can definitely stay at my place! Thanks! Joe Downey J.E._Downey@bakermck.com ========================================================================= Date: Mon, 4 Sep 1995 03:06:58 -0700 From: Jef Jaisun Subject: Love is definitely strange My girlfriend has been driving me nuts for months with this: "What's the tune on the flip side of Mickey and Sylvia's 'Love is Strange?'" Any takers? ============================================================================= Jef Jaisun eljefe@netcom.com "If ida kept all the money I'd already made I would have more money than a millionaire." -H. Wolf ============================================================================= ========================================================================= Date: Mon, 4 Sep 1995 12:09:26 +200 From: Ron Alflen Subject: Re: Tribute to Muddy Waters > A few weeks ago, I got the info that in November Pinetop Perkins > is coming to Europe ( Belgium ) with some other artists for a > "Tribute to Muddy Waters" concert. > > Are these guys touring in the States too ? And who is joining PP ? > I'd love to get some more info about it. > Is there more than 1 concert planned for Belgium ? I know there is at least one more concert on 4 november in Utrecht (The Netherlands) Regards Ron --------------------------------------------------- "NOTE: I Have typed in this message very slowly because I know you can't read that fast....." --------------------------------------------------- Ron Alflen RAET Decentrale Overheid, The Netherlands E-mail: alflen@do.raet.nl ========================================================================= Date: Mon, 4 Sep 1995 11:01:02 GMT From: greg harrison Subject: Re: Otis Clay Would anyone know where i could find a copy of `Baby Jane' by Otis Clay. I have been looking for 10 years with no success. I would even settle for a tape copy and would be more than happy to swap or reimburse anyone that can help me. ========================================================================= Date: Mon, 4 Sep 1995 11:54:00 GMT From: marc borms Subject: Tribute to Muddy Waters Hello, all of you ! In November, Pinetop Perkins will be in our country (Belgium) for a "Tribute to Muddy Waters"-concert. At least, that's all I know about it. Is he touring around the world and who's accompanying him ? Who has European tourdates ? Because I'm a "pianoman" and PP is the last great bluespianoplayer still performing ( after the dead of Sunnyland Slim ), or am I wrong ?, I'm VERY interested in this concert. I don't wanna miss it. Who knows anything more ? marc "pianoman" borms marc@az.vub.ac.be ps. Who has a list of Pinetop's CD-recordings ( + comments ? ) Private mail is fine, but blues-l is better (let's join our knowledge ). ========================================================================= Date: Mon, 4 Sep 1995 07:24:45 -0500 From: tidwell elizabeth Subject: Re: Yes, Anyone Can Dig Rap (VAnilla Ice isnt a rapper because he's white) Regarding the sentiment "Rap isn't music; yes it is" that was posted first in this thread, my Enjoyment of Music college professor stated in our last class, "Rap isn't music. It is poetic recitation." He made the point (?) that music isn't music unless it has a melody. To illustrate, he then played a recording of a drum solo in a jazz composition, and repeatedly called it music!!! God, and I've got to try to get a good grade in this class!!!! I think the guy is nuts! ========================================================================= Date: Mon, 4 Sep 1995 08:48:31 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 4th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- CEPHAS, JOHN (g/CEPHAS & WIGGINS) b. 1930-0904, WASHINGTON, DC COOKE, EDNA GALLMON "MADAME" (v) d. 1967-0904, PHILADELPIA, PA 49 EDWARDS, ARCHIE (g/L&R REC) b. 1918-0904, UNION HALL, VA GATTON, DANIEL WOOD "DANNY" (g) b. 1945-0904, WASHINGTON, DC JONES, BESSIE(of GEORGIA SEA IS. SINGERS) d. 1984-0904, BRUNSWICK, GA 82 KNIGHT, MERALD "BUBBU" (of THE PIPS) b. 1942-0904, ATLANTA, GA MYERS, LOUIS (g/hca) d. 1994-0904, CHICAGO, IL 64 NORRIS, AL (g/LUNCEFORD) b. 1908-0904, KANE, PA RAGAVOY, JERRY (R&B prod) b. 1930-0904, PHILADELPHIA, PA SALLEY, LEO (tpt/arr) d. 1987-0904, NEWARK, NJ 66 WHALUM, WENDELL PHILLIPS (o/gospel) b. 1931-0904, MEMPHIS, TN WILLIAMS, BILLY (tsax) d. 1992-0904, CHRISTOPHER, IL 61 WILSON, GERALD S. (arr) b. 1918-0904, SHELBY, MS WILSON, HUARY "UP" (g) b. 1935-0904, SHREVEPORT, LA WRIGHT, RICHARD (author/poet) b. 1908-0904, ROXIE, MS ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Sep 1995 14:53:14 +200 From: Ron Alflen Subject: Re: Tribute to Muddy Waters Today Marc Borms wrote: > In November, Pinetop Perkins will be in our country (Belgium) for a > "Tribute to Muddy Waters"-concert. At least, that's all I know about it. > > Is he touring around the world and who's accompanying him ? > Who has European tourdates ? On 4 november a concert is planned in Utrecht (NL) with: Big Daddy Kinsey Luther 'guitar junior' Johnson Bob Margolin Carey Bell Pinetop Perkins Calvin Jones Willy Smith Regards ron --------------------------------------------------- "NOTE: I Have typed in this message very slowly because I know you can't read that fast....." --------------------------------------------------- Ron Alflen RAET Decentrale Overheid, The Netherlands E-mail: alflen@do.raet.nl ========================================================================= Date: Mon, 4 Sep 1995 14:56:51 +0200 From: Peter Gallagher Subject: Re: Trib. To Muddy (Utrecht 4 nov) Hi Marc, I was intending to post this to the list, but now you mentioned it... Venue : Vredenburg, Utrecht (Kleine Zaal [ ! ] ) Date : 4 November, '95 Lineup: Big Daddy Kinsey Luther "gtr.Jr" Johnson" Pinetop Perkins Wille "Big Eyes" Smith Carey Bell Bob Margolin Calvin Jones What a line-up !!! regards, PeterG > Hello, all of you ! > > In November, Pinetop Perkins will be in our country (Belgium) for a > "Tribute to Muddy Waters"-concert. At least, that's all I know about it. > > Is he touring around the world and who's accompanying him ? > Who has European tourdates ? > > Because I'm a "pianoman" and PP is the last great bluespianoplayer still > performing ( after the dead of Sunnyland Slim ), or am I wrong ?, I'm > VERY interested in this concert. I don't wanna miss it. > > Who knows anything more ? > > marc "pianoman" borms > marc@az.vub.ac.be > > > ps. Who has a list of Pinetop's CD-recordings ( + comments ? ) > Private mail is fine, but blues-l is better (let's join > our knowledge ). > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Sep 1995 08:59:00 -0400 From: CATBAUER Subject: Little Buster and the Soul Brothers Has anyone else heard the cd "Right On Time" by Little Buster and the Soul Brothers? I 've had it for a couple weeks but never had the chance until last week. Now that I have I don't want to take it out of the cd player. Does anyone know if they tour? Cat Catbauer@vivanet.com ========================================================================= Date: Mon, 4 Sep 1995 09:04:11 -0400 From: CATBAUER Subject: Re: Little Buster and the Soul Brothers Great minds... I just posted the same note to the list. I have had the Little Buster cd for a couple of weeks and just hadn't had time to listen to it...it is wonderful. The songs are well written and arranged (that Dan Penn tune, "Whatever It Takes" is one of mt favorites). Cat ========================================================================= Date: Mon, 4 Sep 1995 15:06:44 +0200 From: Peter Gallagher Subject: Amsterdam: Maloe Meloe reopens!!! Former Amsterdam mecca of the blues, "Maloe Meloe" is to reopen. I believe sometime in October. This is great news for Amsterdammers and any blues-fans visiting the city. It is also important news for any bluesbands considering coming to Amsterdam. I'll keep you posted... regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Mon, 4 Sep 1995 08:48:00 CDT From: Joe Mayes Subject: Cat's List [was: Re: Blues-L Billboard list] Cat, Greetings from The Republic of Texas! Please let me make sure I understand. Are you saying that in addition to the Billboard charts, CHRIS DUARTE's superb release, "Texas Sugar/ Strat Magik" is also on your list? Your list, compiled by a Blues DJ/ record store employee and yourself, is based on: SALES of Chris Duarte at a Blues/Jazz specialty store, AND LISTENER REQUESTS for Chris Duarte at several Blues radio stations. My, my, my . . . I wonder what all the nay saying Blues purists will think when they realize Chris Duarte is ranked among some of the finest Blues artists of today? Purist strength Maalox anyone? Best Regards, Joe Mayes <---- Begin Included Message ----> Date: 29 Aug 1995 16:32:17 -0400 From: CATBAUER Sender: Blues Music List Subject: Blues-L Billboard list After reading the Billboard chart I happened to mention the list to a local blues dj who also works at a local record store that specializes in blues and jazz. We came up with a list based on sales from the store along with what's requested by listeners of the local blues shows. I'd love to know what is popular in other areas. Cat Rawls & Luckett - Can't Sleep at Night, Rooster Mighty Sam McClain - Keep On Movin', Audioquest Smokey Wilson - The Real Deal, Bullseye/Rounder Little Milton - I'm A Gambler, Malaco Buddy Ace - From Me to You, Bobby Bland, Evejim Wilie Clayton - No Getting Over Me, Ichiban Howard Tate - Get It While You Can, reissue on Mercury Buddy Guy - Slippin' In, Silvertone Snooks Eaglin - Soul's Edge, Blacktop Saffire - Old, New, Borrowed & Blue, Alligator Lazy Lester - I'm Evil, reissue on AVI/Excello Trudy Lynn - First Lady of Soul, Ichiban Charles Brown - These Blues, Verve **** Chris Duarte - Texas Sugar/Strat Magik, Silvertone **** John Lee Hooker - Chill Out, Pointblank/Virgin Etta James - Live from SF, Private <---- End Included Message ----> , ========================================================================= Date: Mon, 4 Sep 1995 09:12:37 -0500 From: Jeff Seale Subject: Re: Yes, Anyone Can Dig Rap (VAnilla Ice isnt a rapper because he's white) On Mon, 4 Sep 1995, Andrew Gregg wrote: > How can you claim to love the music started by AFrican-Americans, and totally > disregard a musical form which shares so much common ground with the reason > this list exists?? IF you dislike it, fine, but dont question its status as > music. Because, it's the music stupid! This is a blues MUSIC list. This isn't a blues CULTURE list. We don't care about the culture, man. I can't see anything in common MUSICALLY between rap and blues. :-) ;-) ;-) ;-) ;-) ;-) ;-) This post was TONGUE IN CHEEK to pre-empt all the stupid similar comments that are bound to show up in this thread, AGAIN. -Jeff (back to your regularly scheduled US holiday...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every night. -Joe Ely ========================================================================= Date: Mon, 4 Sep 1995 10:18:29 -0400 From: Barry Silverberg Subject: One Man's Opinion-Eddie Clearwater 2. EDDY CLEARWATER - A REAL GOOD TIME - LIVE! (ROOSTER #72625) ROOSTER BLUES RECORDS 232 SUNFLOWER AVE. CLARKSDALE, MS. 38614 Eddy Clearwater is a major bluesman and has been for a long time. He is here represented in a very powerful and immediate live CD. It has been culled from 2 sessions he did at Jake's in Bloomington Indiana and Nick's in West Lafayette Indiana. This is a high energy live session CD from start to finish. One thing about Mr. Clearwater is he makes music and delivers a lot. You will see this in every cut represented here and you will be more than pleased listening to this set as you will feel the presence of this extraordinary entertainer. How / A Real Good Time-Cool Water / Three Ways To Skin A Cat / Lowdown Lonesome Feeling / Hustlin' & Schemin' / Hi-Yo Silver / I'll Change My Style / My Little Honey Bee / Party At My House / Tear Down The Wall Of Hate / All Your Love / Get Off On The Blues / Goodnight, Sweetheart Goodnight NYCD-Takes How: After 30 seconds by the emcee and a huge bass intro by Herman Applewhite, Eddie Clearwater blows in with his playful Indian gaming . Eddie the Indian - NO. Eddie the Performer - YES. Mr. Clearwater always puts on a great show and this CD has all the qualities of these great shows and really captures that live essence. A Real Good Time/Cool Water: Mr. Clearwater now kicks into a Chuck Berry style tune - and it swings. Mr. Clearwater is always able to capture the real sense of great rock & roll, and when he's playing his Chuck Berry tunes he is stellar. The guitar runs and the vocalizations are just like Mr. Berry. They could have been doubles for one another and would have torn any house down. The second 1/2 of this side is an Eddy Clearwater original and rounds out a nice cut. This side flies from beginning to end. You will love it. Some very big guitar licks are also featured here. Three Ways To Skin A Cat: Eddy Clearwater intonates at a slower side but after a few bars he pulls the change and offers up a nice mid-tempo rocking tune. A very nice guitar tuning lends a very musical sound to this side. It borders on the rough and tumble but belies a very sophisticated underpinning. Nicely done and very enjoyable. Mr. Clearwater also turns down his voice a few octaves to add some more punch here. Lowdown Lonesome Feeling: Here Mr. Clearwater opens with an eerie electric opening - right on the razor's edge. Now that he has slowed the tempo a bit more he cuts some brash and powerful vocals. He takes his voice into a whole new realm that you will not have heard out of him prior. This sound does not even exist on his classic CD - The Chief. I guess this is the magic of a live set and it is captured fully here. This CD is a good opportunity to own the live quality of a master bluesman. Hustlin' & Schemin': Back on up to a moving, kicking sound. Mr. Clearwater returns to his classic vocals and guitar work, yet the side does not sacrifice the live quality of this cut. Mr. Clearwater is a music machine. Hi-Yo Silver: Higher and higher. Eddy Clearwater and company really set out to rocking. Here you could dance all night and look for more. This is a great medley. I actually envy the audience that must have been mesmerized at this performance at Jake's in Bloomington Indiana. The energy here is propulsive and the side drives from its opening notes on. Mr. Clearwater is playing here and you feel it. This is high energy music played all out. I'll Change My Style: Here's a cover to an old Jimmy Reed grinding side. Mr. Clearwater treats it rich and robust. He adds a country overlay and belts out this tune with vigor. A nice change of pace that must have pleased this live crowd to no end. My Little Honey Bee: Eddy Clearwater now plays us his Fats Domino side. He wrote it but the feel is there. It has the big round faced sound, sitting at the piano feel of the "Great Antoine". What's nice about Mr. Clearwater is that he admires certain musical geniuses and has no personal problems in giving them their day through his music. BRAVO Mr. Clearwater. A big man musically, but a bigger man personally. Party At My House: Here's some jump - not that Mr. Clearwater has slowed down for a minute yet, but here he cooks. He's been moving and rocking constantly on this CD and here is more. GREAT BACKUP VOCALS too - perfectly set right behind Mr. Clearwater. This is a standout cut. This side also has some of the best guitar work on this CD. Tear Down The Wall Of Hate: This tune takes a slower opening and leads us into a very personal side about modern day ills and our need to STOP IT. It takes a lot of courage to run a song like this in a live set, not knowing how the audience will react. But that is why Eddie Clearwater is a major entertainer - he gives more than asked for. The real success of this tune lies in the fact that it is run mid-tempo. Most musicians would probably go slow and draw the music into the terror but Mr. Clearwater takes on the challenge of keeping with the pace of these sets and keeps moving. All Your Love: Here's the bluesiest opening yet - at least on the heart tugging musical side. Mr. Clearwater opens his mouth and spews a volcano of vocals. He is so good and so multi sided. He actually manages to double dub his voice - turning himself into a one-man-duet. Simply amazing vocals here backed by a scorching electric guitar. Get Off On The Blues: Eddy Clearwater keeps the set driving. Good front and center vocals here really cook. Mr. Clearwater has not let up for a moment yet on this entire CD and given that it is from two separate live sessions - Rooster deserves our thanks for a great production. This side is wonderful. The raw energy of Mr. Clearwater is right in your face here. Pay particular attention to the great electric guitar runs by Mr. Clearwater - this is a great bluesman at his best. Goodnight, Sweetheart Goodnight: Typical of Eddie Clearwater's showmanship and sense of fun he ends here with a goodnight tune and turns to the audience to thank them for their attendance. Again the personal stature of this man is evident. Thank you Rooster for a great CD. Eddy leaves us on a nice touching note - looking for more. He is a must add to every good blues collection. Without his work you are missing a master and Rooster has two of his best. NY CD Blues Barry Silverberg -- Barry Silverberg THE WALL of LIFE P.O. Box #1005 NYC 10272-0607 bsco@panix.com "Dignified & Distinctive, Quality Donor Recognitions" Raising monies for the religious and non-profit sectors As of 01/01/95 - over $12,000,000 in fund raising projects installed ========================================================================= Date: Mon, 4 Sep 1995 09:33:21 EWT From: Andy Dillon ISHC Subject: playlists Please, no more playlists. I would hit the D key as soon as they appear but I read via digest and don't have the luxury. Since I read blueselle at home I also have to suffer through any mail that I don't wishe to read in case the next message is better. Playlists (and the extremely long re-posts of people who can't select an appropriate section to quote from earlier lettersthat they are reacting to) are quite a source of frustration for digest readers. Sorry for hurting anyone's feelings on that but you did ask. btw - did anyone catch Slash and Boz Scaggs masacring Red house on the R'n'R Hall of Fame concert. Wow, the Slash guy really cannot play blues - or else he was under the influence. Bad. Andy Indiana university ========================================================================= Date: Mon, 4 Sep 1995 09:58:53 -0600 From: David Silberberg Subject: FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified July 11, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Mon, 4 Sep 1995 09:58:59 -0600 From: David Silberberg Subject: FAQ - List Etiquette THE BLUES-L FAQ ETIQUETTE AND GUIDELINES PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@davidis@interaccess.com) Last Modified July 11, 1995 Any additions, suggestions, or corrections should be mailed to David Silberberg (davidis@interaccess.com) CONTENTS: 1. General Etiquette 2. Announcing Personal Appearances 3. Announcing National Act Appearances 4. Selling Stuff on Blues-L 5. Appropriate Blues-L Topics This is the etiquette and guidelines portion of the Blues-L FAQ. PLEASE READ IT BEFORE POSTING ANY MESSAGE TO THE LIST / NEWSGROUP. Blues-L is not censored in any way. All messages will be posted to the list. But this is a list devoted to discussion of the blues, and this is a community of blues-lovers and people interested in the form. Over 750 people, from all over the world, subscribe to the mail list; countless others read the newsgroup without subscribing. We you will follow these simple guidelines, so that Blues-L will be a happier, friendlier place to be. 1. General Etiquette A. Remember that PEOPLE will be reading your post. Not everyone will agree with your views, but they are people with valid opinions. Base your arguments on what has been said, not on who you think the sender is. Don't get personal - let your argument speak for itself. B. Mr. Pimmel has structured the list so that your mail readers / newsgroup readers automatic "reply" feature will address your response to the individual poster of the message. This is to remind us to think whether or not we wish to respond to the entire list (certainly completely appropriate if you think you comments will interest the entire list), or to the individual poster of the message you are responding to. C. Avoid posting "I agree" or "Great Post" or "Me Too" messages to the entire list. This is a waste of resources. If you wish to send this kind of message, please send it to the individual you are complementing. D. Avoid posting messages without any useful contents. This includes messages containing only snide remarks to a previous poster, etc. It also includes message where you say "Sorry, no blues content". If there is no blues content, do not send the message to the list. E. Commercial messages should not be posted to the list. (However, see below for guidelines concerning personal appearances by musicians who are members of the blues-l community.) F. If a topic (or musician, etc.) has been extensively discussed recently, hold off on bringing it (him / her) up again. Let another topic get some time on the list. G. Remember the distinction between posting to the list (where everyone sees it) and posting to an individual privately. Think about the universality of your message: if you think many (if not most) people on the list would find your message interesting and informative, please post it to the list. If your message would be of interest to only one or two people, send it to them privately. H. Please pay attention to your "subject line": make sure it accurately reflects the contents of your message. If you have changed the subject during your response to a previous post, please change your subject line. I. When responding to a previous post, it is acceptable - and often necessary - to quote a few lines from that previous post, to remind readers of what you are referring to. But quote only as much as is necessary to make clear what you are responding to. J. Above all, use common sense and consider the feelings of others. Treat others as you would wish them to treat you. We know that sounds like church - but it is good advice. 2. ANNOUNCING PERSONAL APPEARANCES It is appropriate to announce your personal appearances on the list, with certain restrictions. Many people on our list are interesting in seeing other members perform. However, frequent (weekly?) announcements that you will be playing in such and such places is going too far. Please remember, this is a global list: most people will not be able to swing by the corner pub for your Friday night set even if they want to. With that in mind: A. Perhaps you could post a message bi-monthly, introducing yourself, the style of music you play, and the general geographic area you play in. Request private responses from people who would be interesting in receiving your "gig list". These would most likely be people who would realistically be able to attend your performances, and would be the people you would most like to reach with your message. B. E-mail the information only to those people. C. If your situation changes, and you get some bookings in a new location, then please post this information to the entire list. 3. ANNOUNCING NATIONAL ACT APPEARANCES Announcing "national touring acts" is appropriate to the list, because it gives readers a way of seeing who is on the road and who will be appearing in their area. Of course, the list members would be interested in your attending such shows, and reviewing them on the list. 4. SELLING STUFF ON THE LIST Do not use the list to sell CD's, tapes, or other merchandise for profit. Doing so may be illegal, so DO NOT DO IT. 5. APPROPRIATE BLUES-L TOPICS This is an uncensored list. All messages will be posted to the list, so please adhere to these simple guidelines: Any topic relating to the blues - the music, performers, books, cultural aspects, history, technical music discussions, reviews, opinions, facts - if it relates to the blues, it is appropriate for Blues-L. This is a terrific list: many members have some kind of professional relationship to the music - musicians, producers, authors, radio programmers, etc. Someone here can answer almost any question you may have - and any information you may wish to transmit will be gratefully accepted by our community. But please - make sure your facts, opinions, and other comments relate to the blues. ========================================================================= Date: Mon, 4 Sep 1995 11:13:05 -0400 From: Beverly Howell Subject: ATTN: Stevie Ray & Jimmie Fans! Hi, y'all, "BLUES CHAT" is proud to bring RENE MARTINEZ back as our guest for his second appearance by popular demand this coming Wednesday, September 6, at 10:00 PM ET in CenterStage, on America Online. Rene is the Guitar Tech for Jimmie Vaughan, and previously worked with brother Stevie Ray Vaughan for five years. Rene is also an accomplished classical and flamenco guitarist, and is featured on Jimmie's latest release, "Strange Pleasure." Rene has also toured with Edie Brickell, Foreigner, Billy Joel, Prince, Clint Black, Wynonna Judd, and the Moody Blues. Rene will be back to answer questions regarding his working and personal relationships with Stevie Ray, Jimmie, and the other artists referenced above. Rene is currently on tour with Jimmie, B.B. King, Etta James, Elvin Bishop, J. Geils, and Magic Dick as they perform at arenas across the country. NOTE: If you'd like to send comments or questions to Rene, just email them to me ASAP. I won't promise they'll be used on the show, because last time we were overwhelmed, but....I will be spending most of the day with him, so if we don't have time during the show, I will go over the mail with him (if we have time) before the show. Rene is a very warm, wonderful person...very dedicated to his job and the artists he works with....and this really came thru to the audience in his last appearance. I hope you can join us for this special evening. I'm including his bio for your information. :) Warmest Regards, Beverly, Host "Blues Chat," via America Online ------------------------------- RENE MARTINEZ: BIOGRAPHICAL INFORMATION Name: Ramiro Rene Vincent Martinez Date of Birth: June 4, 1952 Dallas, Texas Childhood Influences: Rene's father played guitar, and he cites him as his first major influence. At age 9, he discovered the Beatles, and his love for guitar grew, and at 12, Rene's interest in flamenco developed. He started his first band in grammar school. Although he performed in band throughout high school, excelling in baritone sax, Rene's love for guitar continued, and Jimmie Hendrix became his idol. Although acoustic guitar was still a prerogative, electric guitar became an interest as well. At 18, Rene's passion for guitar included classical, and his dream was to become a concert classical guitarist. He graduated Jesuit College Preparatory School and then attended a semester at St. Edwards University in Austin. Rene states that it was around age 18 that he was introduced to guitar repair and rebuilding; he discovered a way to earn a living in a profession he truly enjoyed. Rene established a good reputation, not only in Dallas, in the music business at large, by becoming a master at his craft between 1971 and 1985. He left Dallas in 1985 when he accepted Stevie Ray Vaughan's offer of employment as his Guitar Tech. Rene traveled extensively and exclusively with Stevie Ray and Double Trouble from 1985 until Stevie's death in August of 1990. In the years that followed, Rene toured with: Fall, 1990: Edie Brickell 1991: Foreigner 1992: Billy Joel, Prince, Clint Black 1993: Clint Black, Wynonna Judd 1994: Jimmie Vaughan,* Moody Blues - Africa, 1995: CURRENTLY on tour with Jimmie Vaughan* *It is significant to point out that Rene not only serves as Jimmie Vaughan's Guitar Tech, he also is a respected member of the band. Rene performs the flamenco lead-in and accompaniment in Jimmie's song, "Flamenco Dancer" on both the "Strange Pleasure" CD, and in all live appearances. Rene's masterful guitar playing was recently captured on video during Jimmie and the Tilt-a-Whirl band's appearance on Austin City Limits. Rene is an extremely important part of the artist's team. His personal commitment extends beyond primary job responsibilities. He not only repairs, cases and uncases all instruments, he also sets up equipment, performs sound checks, and handles any last minute details. Rene is a trusted and supportive friend and consultant for all artists he tours with. His commitment and hard work has earned him his title as "Tech To the Stars." -------------------------------------------------- ========================================================================= Date: Mon, 4 Sep 1995 15:14:32 GMT From: greg harrison Subject: Re: Otis Clay Would anyone happen to know where I could find a copy of `Baby Jane' by Otis Clay. Any help would be greatly appreciated. I've been looking for this for 10 years. ========================================================================= Date: Mon, 4 Sep 1995 11:27:59 -0400 From: Tom Morgan Subject: Re: playlists In another time and place, Andy Dillon ISHC said: > > Please, no more playlists. I would hit the D key as soon as they appear > but I read via digest and don't have the luxury. Since I read blueselle at I have to add my opinion on this matter as I probably was the first person to start putting playlists on this group. I have been doing this for probably a year or so and have received no criticism of my playlists or posting them. Quite the opposite, I have received many compliments on interesting themes that I explore with my radioshows. I have received many e-mails that my playlist turned these folks on to artists that they may not have been exposed to or at least songs that they didn't know existed. The scope sometimes of Blues-l can be narrow and the posting of playlists, I feel brings mention of hundreds of artists here to hopefully spur conversations. It also should be mentioned that playlists are a great way to inform blues-l about some of the new music out there. Who is closer to what is being released than us DJs? Finlly, I sympathize for those getting the list in digest form but that's your choice normally, not ours. I also understand someone hitting the delete key when Playlist comes up, I do the same when Eric Clapton or SRV's names come up. :) A good thing, I feel to remember about listservs, is that: Not everything here is for everybody. :) Tom Oh, by the way, tomorrow's playlist will be songs about professions, in honor of the American holiday, Labor Day. ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 4 Sep 1995 11:30:52 -0400 From: Beverly Howell Subject: WRITE THE ARTISTS I will finally be catching up with the B.B. King, Jimmie Vaughan, Etta James tour that y'all have been talking about so much on Thursday, Sept. 7, in Cincinnati, and Sunday, Sept. 10, in Lexington. :) If you'd like to write directly to any of these artists, please email directly ASAP, and I will print them out, toss em in a folder, and pass them on to these artists on the 7th. Please reference who the email is to in the subject line (i.e., MAIL FOR B.B.) Warmest Regards, Beverly, Host "Blues Chat" via America Online ========================================================================= Date: Mon, 4 Sep 1995 10:30:40 -0500 From: "K. Kelly" Subject: Playlists.... Even if everyone decides that playlists aren't Blues-L material, maybe all of us individuals who are interested can exchange through some sort of mail-chain. I delete them half the time myself, but every once in a while I like to give them a looksee just to see how my playlists compare to others from all over God's Blue Earth. Sad days, Lonley Nights Kyle ========================================================================= Date: Mon, 4 Sep 1995 11:29:51 -4 From: "P.W. Fenton" Subject: Barbecue & Blues In a few hours I will be slaving over a hot barbecue grill in the blazing Florida sun. A bit of hot hard work I actually do eagerly. Which brings me to a topic I'd love to explore some time on the list. The connection between the Blues and barbecue. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Mon, 4 Sep 1995 18:44:53 +0300 From: Jouni Ilari Hyyti{inen Subject: Re: Tribute to Muddy Waters On Mon, 4 Sep 1995, marc borms wrote: > Hello, all of you ! > > In November, Pinetop Perkins will be in our country (Belgium) for a > "Tribute to Muddy Waters"-concert. At least, that's all I know about it. > > Is he touring around the world and who's accompanying him ? > Who has European tourdates ? > > Because I'm a "pianoman" and PP is the last great bluespianoplayer still > performing ( after the dead of Sunnyland Slim ), or am I wrong ?, I'm > VERY interested in this concert. I don't wanna miss it. > > Who knows anything more ? > > marc "pianoman" borms > marc@az.vub.ac.be > > > ps. Who has a list of Pinetop's CD-recordings ( + comments ? ) > Private mail is fine, but blues-l is better (let's join > our knowledge ). > Who is promoting this tour ?. Is there any days left. Please if someone have promoters phone/fax numbers please send it to the list/me , please. hurry. Sorry if I sound rude, but this is a major happening in europe. jouni almost ready to hitch hike to benelux. ========================================================================= Date: Mon, 4 Sep 1995 11:46:48 -0400 From: CATBAUER Subject: Okeh artists webchat! Keb' Mo', Popa Chubby, Anders Osborne, and G. Love will be doing an online conference in Muddy's Cabin, a chat room on The Blue Highway. The conference will originate backstage at Club SOB in New York City on September 6th. The Blue Highway is a World Wide Web site located at http://www.vivanet.com/~blues The exact time will be announced shortly. You can check The Blue Highway or the Sony Records web site for more details. Be sure to check our ever-changing schedule for more chat sessions with some of today's favorite bluesmakers. We'll also bring some of the artists from the King Biscuit Festival online in early October. During these times, we ask that you only visit the chat room if you'd like to participate in or quietly enjoy our guest session. Please be kind and respectful during the conferences. After all, this is Muddy's place. : ) When there isn't a guest session scheduled, feel free to use Muddy's Cabin to meet with others who want to talk about the blues. Just remember, you'll be on the net, so you may find yourself talking to someone in Cleveland or someone in Belgium. The OKeh label is as legendary in the world of the blues as the bluesmakers they brought us all those decades ago. They have some wonderful new artists on the label these days. Take Keb' Mo', for instance. His self-titled debut album took home the 1995 W.C. Handy Award for Country/Acoustic Album of the Year and is today at #4 on Billboard Magazine's chart of the top 15 blues releases. Joining Keb' on the Billboard charts is Popa Chubby with his OKeh release "Booty And The Beast" at #9. Relative newcomers Anders Osborne and G. Love & Special Sauce are bringing a rare, new sound to OKeh and the blues. We hope you'll be able to make the chat but if not you can e-m us questions for any of the artists at blues@vivanet.com, please use the artist name in the subject heading. If there's anyone else you'd like to chat with drop us a line at blues@vivanet.com and we'll see what we can do. Thanks! Curtis & Cat Curtis@magicnet.net Catbauer@vivanet.com ========================================================================= Date: Mon, 4 Sep 1995 12:32:43 -0400 From: Hugh Hardy Subject: Colin James Saw Colin James on Saturday in Bala Ontario. I took my Strat for him to sign...if the opportunity arose...so I was eating dinner down the street from the hall and I heard these monster sounds drifting my way...obviously CJ himself. Although it was only late afternoon I grabbed my guitar and slipped into the side door of the hall where I was treated to a private concert for 1/2 hour ...actually a soundcheck. Then as he came off the stage I got him to John Doe the guitar (the laquer is drying over the signature now). The concert?... well, the new album is great! The concert had plenty of feeling too...but it was sooooo loud. CJs tone was too distorted for my taste, and his solos got a bit lost in the din. The sound during the souncheck was A1 , however. I think I'll just listen to the album. Maybe he should trade in that Marshall for a tweed bassman. Colin Linden opened the show...his sound was more under control and he played some marvellous slide stuff on one of those acoustic/electric reissue national resonator jobs (the solid body type...very cool). Hugh H. ========================================================================= Date: Mon, 4 Sep 1995 12:34:35 -0400 From: Lynn Moncrief Subject: Re: Tribute to Muddy Waters In a message dated 95-09-04 07:56:40 EDT, you write: >marc "pianoman" borms >marc@az.vub.ac.be > > >ps. Who has a list of Pinetop's CD-recordings ( + comments ? ) > Private mail is fine, but blues-l is better (let's join > our knowledge ). Marc, I don't have a whole list of Pinetop's CD recordings. But here are two that I know of. PINETOP PERKINS Portrait of a Delta Bluesman on Omega Records This one is just Pinetop and his piano--all that's needed, really. Some of the tracks are short pieces of Pinetop talking about various incidents in his life (joining Muddy Water's band, etc.) including an anecdote about Howlin' Wolf. Included is his famous "Pinetop's Boogie Woogie" and a great cover of "Caldonia". But it's not just boogie-woogie; he does some slower songs too. This is a must-have CD for Pinetop fans as not only do you get Pinetop's awesome piano-playing, full force with nothing to distract the ear from it or to obscure the left-hand playing, you also catch glimpses of Pinetop as a man. Not only do I enjoy this CD for listening to, but I've declared Pinetop as the man who would teach me good blues piano, so I also play along with it on my keyboard (set to "Honky Tonk" piano). ;-D This is his first solo CD, BTW, and has great liner notes by George Kilby, Jr. LIVETOP (record label unknown). I've only heard two selections from this one (on the "Nothin But the Blues" show by the Wagman on KLON) as I haven't bought this one yet. However, both selections were so good that they sent me scrambling for pen and paper. Day before yesterday I heard his cover of "After Hours" from that album which just blew me away. (It sent me running to the phone to tell my mother to turn on the radio--now!). Pinetop is with a band on this one (but I don't know the line-up), but since this is definitely at the top of my "buy" list, I'll probably get back to you with the rest of the info before this thread is done. Just in case you haven't noticed, I'm crazy about both of these. ;-D Lynn ========================================================================= Date: Mon, 4 Sep 1995 09:44:30 -0800 From: Michael Hewitt Subject: Boz, Slash and Red House At 1:33 AM 9/4/95, Andy Dillon ISHC wrote: >btw - did anyone catch Slash and Boz Scaggs masacring Red house on the >R'n'R Hall of Fame concert. Wow, the >Slash guy really cannot play blues - or else he was under the influence. Bad. > >Andy >Indiana university Yeah...I caught that. Should have been renamed Dead Horse for the occaision (sorry animal lovers). There's a dead horse over yonder And we're beating it today There's a dead horse over yonder And we're beating it today There won't be no real blues in this song Not while Slash is here to play I've seen Boz live and he has a very respectable show so I was disappointed in his participation in that number. Slash, on the other hand, was a joke. Those who complain that Clapton runs endless, souless scales would have a field day burning Slash. Hmmm...Slash and Burn...maybe not an altogether unappropriate description of Slash's style. I only caught a small part of the concert, but the most interesting part that I did catch (and all you Clapton haters out there can DELETE NOW!) was the reunion of Cream. When I was but a mere lad Cream was one of the first groups whose album I felt compelled to buy. As a matter of fact I still have both Fresh Cream and Goodbye Cream, although neither one has seen the light of day in 15 years or more. Of course, all this has been...IMHO. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Mon, 4 Sep 1995 18:43:00 GMT From: Art Schuna Subject: Re: tower collectors lists In article <950903160027_10076213@mail06.mail.aol.com> Tom Freeland writes: >10. Bowling Green John Cephas and Harmonica Phil Wiggins, DOG DAYS OF AUGUST >(Flying Fish) **** >This one made me go "huh??" as it is the one that fits the least of all on >this list. The comments state this included to include a Piedmont recording I'd have to agree here. Since this list contains only 15 CDs, why should anything considered less than a 5 star recording be on the list? Any of a number of pre-war artists or as you suggest, Sonny & Brownie could be included. No offense to Cephas & Wiggins fans intended, as I like them too. It's just that there could be a better choice. >15. Various Artists, DEEP BLUES (Anxious/Atlantic) ***** >Comment on 13, 14, and 15: While the Deep Blues record, it is out of print, >AND seems an odd choice for the 2nd compilation in this set, particularly >given that the musicians here are quite well represented with the Junior >Kimbrough and R.L. Burnside inclusions. Actually, Kimbrough and Burnside are only a small part of this recording ( 3 of 15 tracks). Also included are 3 Big Jack Johnson, 1 Frank Frost, 2 Jessie Mae Hemphill, 3 Booba Barnes, 2 Lonnie Pitchford and 1 by Jack Owns & Bud Spires. It's really too bad that it is no longer in print as I think it is the best compilation of present day deep blues around. If you find this used, snap it up (that's where I found mine)! Kind of strange that Tower would list a recording like this that's not available since I'm not so sure that the purpose of this list is the altruistic passing of knowledge to its readers. > Particularly in a set that includes>NO John Estes, Frank Stokes or other Memphis recordings (Memphis Jug Band?> Memphis Minnie? Robert Wilkins? Gus Cannon?), no Blind Blake, no Bukka>White. These were all important people... maybe the list should have been longer :-) Tom, I'd be interested in seeing the other lists if you get a chance to post them. Art Schuna ========================================================================= Date: Mon, 4 Sep 1995 11:47:40 PST From: "D. ALLEN SIMPSON" Subject: European (maybe) Blues Artists I picked up a German compilation CD (a sampler, really), put out by Inak. It included a lot of (but not exclusively) blues. I was impressed with some of the artists represented, enough to ask if anyone knows these names: Johnny Heartsman, Joanna Connor. BTW, thanks to the recommendations of the list, I picked up some Duke Robbilard (sp?). A definite plus to my small but growing blues collection. Doug Simpson ========================================================================= Date: Mon, 4 Sep 1995 16:11:03 EST From: Leonardo Kenji Shikida Subject: Beat Daddys Do anyone know anything about a band called Beat Daddys ? Thanks in advance. Kenji ========================================================================= Date: Mon, 4 Sep 1995 16:19:00 -0400 From: Owen Okie Subject: HELP! Need a ride to Jimmie Vaughan and BB King concert! BB King and Jimmie Vaughan are playing in Cinncinatti on the 7th of sept and in Lexington on the 10th. I Live in the Cleavland area (Oberlin Ohio) and need a ride. I will pay for gas. Please reply promptly so I can get ticket(s) I'm down on my knees... Owen Okie ========================================================================= Date: Mon, 4 Sep 1995 20:14:53 GMT From: Tony Burke Subject: Re: Identifying a tape I found Hendrix was a member of a Richard's touring band in the early 60's for a short while. This stuff has been churned out over and over again since Hendrix died. It is not legit in the sense that Hendrix's estate has authorised the release - these are just live shows with Hendrix in the touring band - and are not very good as Richrad was pretty crap around this period anyway. TB ========================================================================= Date: Mon, 4 Sep 1995 20:16:15 GMT From: Tony Burke Subject: Re: Little Buster and the Soul Brothers Not seen this one ourselves yet Tom, unless its on its way from the USA - it sounds good. So fill us in! TB ========================================================================= Date: Mon, 4 Sep 1995 16:34:32 -0400 From: CATBAUER Subject: Re: WebChat on The Blue Highway! I thought I posted this earlier but didn't see it, since I did it from aol I thought I should try again, sorry if this is a duplicate. : ) The Blue Highway will be scheduling online conferences on the net starting this Wed. with a number of artists and industry people. If there's anyone you'd like to see online please e-m us at blues@vivanet.com with suggestions. Keb' Mo', Popa Chubby, Anders Osborne, and G. Love will be doing an online conference in Muddy's Cabin, a chat room on The Blue Highway. The conference will originate backstage at SOBs in New York City on September 6th. The Blue Highway is a World Wide Web site located at http://www.vivanet.com/~blues/ The exact time will be announced shortly. You can check The Blue Highway or the Sony Records web site for more details. Be sure to check our ever-changing schedule for more chat sessions with some of today's favorite bluesmakers. We'll also bring some of the artists from the King Biscuit Festival online in early October. During these times, we ask that you only visit the chat room if you'd like to participate in or quietly enjoy our guest session. Please be kind and respectful during the conferences. After all, this is Muddy's place. : ) When there isn't a guest session scheduled, feel free to use Muddy's Cabin to meet with others who want to talk about the blues. Just remember, you'll be on the net, so you may find yourself talking to someone in Cleveland or someone in Belgium. All of the conferences will be available via webchat which can be accessed by all commercial services that have web browser (including AOL & *P*). The OKeh label is as legendary in the world of the blues as the bluesmakers they brought us all those decades ago. They have some wonderful new artists on the label these days. Take Keb' Mo', for instance. His self-titled debut album took home the 1995 W.C. Handy Award for Country/Acoustic Album of the Year and is today at #4 on Billboard Magazine's chart of the top 15 blues releases. Joining Keb' on the Billboard charts is Popa Chubby with his OKeh release "Booty And The Beast" at #9. Relative newcomers Anders Osborne and G. Love & Special Sauce are bringing a rare, new sound to OKeh and the blues. For more information e-m blues@vivanet.com CatBauer@aol.com RWHD17A@prodigy.com Catbauer@cyber1.sevrtech.com ========================================================================= Date: Mon, 4 Sep 1995 15:36:42 CST From: JBards Subject: Re: Beat Daddys I think I reviewed their CD a couple of months ago here on the Blues-L. I got it because of the lovely, beat-up old National guitar on the cover, and was expecting more roots-oritented blues. Instead, I got something that sounded more like blues ffrom Las Vegas Lounge Lizards. I was not impressed. _______________________________________________________________________________ Subject: Beat Daddys From: kenji@DCC.UFMG.BR at INTERNET-SH Date: 9/4/95 2:32 PM Do anyone know anything about a band called Beat Daddys ? Thanks in advance. Kenji ========================================================================= Date: Mon, 4 Sep 1995 20:21:40 GMT From: Tony Burke Subject: Re: Homesick James? Yep, get it There aint too much good Homesick James around at present, however his last album on Trix is worth checking out. TB ========================================================================= Date: Mon, 4 Sep 1995 20:19:17 GMT From: Tony Burke Subject: Re: Which Amos Milburn & James Booker CDs? I'm not a big James Booker fan so I'll comment on the Amos Milburn - the earlier the stuff the better. Try the The Best of Amos Milburn "Down The Road Apiece" on EMI (USA) if you can. The other should be Ok but if they are late recordings ie: late 50's they are nearer to rock and roll than R&B TB ========================================================================= Date: Mon, 4 Sep 1995 23:17:05 +0200 From: MICHAEL LILLIENBERG Subject: Sweden? --- Inkommet fren VPK.MICCE 0500-475512 95-09-04 23:16 -> IN=blues-l(a)brownvm.brown.edu Hello! I,ve just heard Monaco Blues Band,and they are really good. Does anybody know some more titles? Bye from Michael Lillienberg Sweden ========================================================================= Date: Mon, 4 Sep 1995 22:04:58 GMT From: Jonathan Duttweiler Subject: Re: Barbecue & Blues (& beer) In <199509041530.LAA57720@tequesta.gate.net> "P.W. Fenton" writes: > >In a few hours I will be slaving over a hot barbecue grill in the >blazing Florida sun. A bit of hot hard work I actually do eagerly. >Which brings me to a topic I'd love to explore some time on the list. >The connection between the Blues and barbecue. Add Beer and you have what I call my "three b's" (all but the blues in moderation, of course). Actually, let's make sure we define what we mean by barbecue. I assume, Paul, you being in the South (geographically as well as, hopefully, culturally) by barbecue you mean (I *will* allow this much latitude) pork, chicken or beef (for you Texas folk), *not* simply grilling. There is simply no better meal to consume while enjoying the blues than pulled hickory smoked pork with your favorite sauce, appropriate side dishes of choice, and a cold bottle of good german beer. Talk about hog heaven :-)!! Is there a connection? Don't know, but it sure is good! -- *********************************************************************************** Jon Duttweiler / "We sing Gospel because it gives us strength, we sing the blues toz@ix.netcom.com / because we hurt." Elder W. E. Whitehead, Mt. Carmel Missionary Baptist Church at Big Voice Odum's Funeral. ************************************************************************************ ========================================================================= Date: Mon, 4 Sep 1995 18:38:08 -0400 From: Linden/Powers Subject: Blues & Barbecue This is a thread that I can really sink my teeth into. (Sorry) If the Blues had a taste, it'd be barbecue. If barbecue had a sound, it'd be blues. I'd lov to get a comprehensive list of Bluezellers' favourite barbecue joints. I have many of them. I'd love to discover more. Thanks, Colin Linden Toronto, Canada ========================================================================= Date: Mon, 4 Sep 1995 18:57:56 -0400 From: Tom Freeland Subject: Re: Barbecue & Blues (& beer) In a message dated 95-09-04 18:14:11 EDT, toz@IX.NETCOM.COM (Jonathan Duttweiler) writes: > I assume, Paul, you being in the South >(geographically as well as, hopefully, culturally) by barbecue you mean >(I *will* allow this much latitude) pork, chicken or beef This is probably a debate for another list, but consider it part of blues culture: Chicken ain't barbecue. And at least for someone from the east of the Mississippi, beef is pushing it..... I could use a some bbq from Payne's in Memphis, right now. As far as I've been able to tell (having tried Alabama, Mississippi, Tennessee, a little Kentucky, a little Texas, but not the Carolinas) Payne's is the barbecue center of the barbecue center of the universe. Tom Freeland ========================================================================= Date: Mon, 4 Sep 1995 23:13:05 GMT From: "Linda L." Subject: Chris Duarte SF concert I've read mixed reviews of Chris Duarte in the newsgroup, but have his disk and saw him in person this weekend and to all of you who don't like him, all I can say is ARE YOU OUT OF YOUR MINDS?!? He was fantastic! Totally high energy, continuous, kick-ass guitar playing. He put on a great show, playing almost all of his disk, plus some Albert King, SRV, and Jimi Hendrix. We stood in front (it was a small club, so were about 3-4 feet from him) and rocked for 2 1/2 hours straight. I've heard complaints about his volume - this show didn't seem to me to be any louder than any other I've been to, but I wear earplugs to all of them anyway. I would encourage any and all to see Chris's show. I don't see how anyone could *not* enjoy it (unless you only like mellow music!) ... Linda BTW, his bass player plays an enormous, custom 7 string bass. -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Mon, 4 Sep 1995 23:49:24 GMT From: David Goldstein Subject: A blues novice asks about books The two books that I have read and have enjoyed thoroughly are: Deep Blues - Robert Palmer It discusses the origin of the blues, and the migration of the blues from the Delta to Chicago. I Am The Blues - Willie Dixon It is an autobiography that is very entertaining, with some hilarious stories. ========================================================================= Date: Mon, 4 Sep 1995 19:21:41 -0500 From: dwhite Subject: Barbecue (Low Blues, High Protein Content) Barbecue is something I find inseperable from blues (though fried catfish & chicken run close behind). I can hardly resist a few comments on some very fine Central Texas establishments and one Houston institution. In no particular order: 1. Sam's Barbecue 2000 East 12th Street Austin Brisket, sausage, mutton, & ribs all cooked over oak with a cumin and vinegary sauce Sam's burned in 1992 and was rebuilt with the help of many devoted customers. It has been a favorite of many musicians local and traveling; whose pictures line the walls. You have a choice of Root beer or Red soda to drink. Potato salad and beans. Rosewood Barbecue not to far from Sam's can also be good. I remember there mutton as being pretty good. But recently I've heard some mixed reports. 2. Kreuz Market on the square in Lockhart, TX (just south of Austin on Hwy 183) A true carnivores paradise since 1900. Sold by the pound only served on butcher paper only. No sauce, no forks, knifes chained to the table in case you left your pocket knife your other jeans. Cheese, onions, and avocados available on the sides. The pork loin and prime rib smoked with post oak and sliced straight off the fire are beyond compare. More than worth the drive for serious meat lovers. Black's barbecue on the other side of the square has its partisans but I don't think it quite rates as highly both in quality and in atmosphere. 3. The Town of Llano, Tx If beef and barbecue has a spiritual home it is Llano. The roads are lined with open pits. My favorite is Coopers, another mecca for butcher paper-open pit excellence. It also scores points for variety: 2 inch thick pork chops, goat, lamb, chicken, beef, and pork ribs. Vinegary sauce. Also; Laird's is worth a visit. Beef is always whats for dinner in this town. 4. Luling City Market is worth the detour on a trip from Austin to Houston. There is also a very fine Meat Market in LaGrange on the square. I remember their sausage as being quality. They only serve at lunch time and the meat goes quick. 5. Closer to Austin are the Iron Works and the Salt Lick both quite good. Ruby's has the virtue of not only being good but also of being down the alley from Antone's and open really late on weekends. 6. Temple, Tx on the way to Dallas has a very good place just off I-35. I have eaten there several times and now for the life of me can't remember the name. However; there is a billboard for it on the highway. 7. Lockwood Barbecue on Lockwood in East Houston has been around forever and has a more East Texas/Louisiana flavor. Spicy, peppery sausage was the standout. Also, served boudain and had a wonderful bread pudding. I haven't been to Houston lately and I had heard rumours of it closing. I pray they are untrue. Last but not least my backyard where a nicely trimmed and seasoned brisket was prepared over hickory this very day. (As see alternately dines and types) Gotta go it's kind of messy. Dana ========================================================================= Date: Mon, 4 Sep 1995 20:22:34 -0400 From: Tom Freeland Subject: review: Little Buster and the Soul Brothers, Right On Time! Little Buster and the Soul Brothers Right On Time! Bullseye 9562 Edward "Little Buster" Forehand has apparently being playing around Long Island since the mid-sixties, with little recording. While this is his first album, his recording career (according to the liner notes) dates back at least to the Doc Pomus tune "Young Boy Blues", which Little Buster recorded for Jubilee Records in 1967. Another Little Buster song ("Looking for a Home") was covered as a part of the Kooper Bloomfield sessions. Throughout this recording, the soul and blues sounds (to me) from the deep south and not Long Island, although part of the problem here may be complete ignorance on my part of what Long Island soul might be. "I've Been Watching You" is a real standout. The cover of "First You Cry" is very much a Muscle Shoals-style ballad. The arrangement on "Engines and Wings" reminds me of Albert King without quite the bite on the guitar (but with Albert King's "Wooooo"), with the instrumentation and arrangements both there and throughout (obviously evoking Booker T and the MGs with the Memphis Horns) being a substantial part of what gives this its Southern soul sound. "Baby Couldn't Be Found" is a short ballad with Forehand accompanying himself on acoustic guitar with his own back-up vocals. There's a "Long Island Railroad" theme -- the title (Right on Time!), the packaging (with a timetable in beige and white on the CD itself) and the dedication (to the railroad and conductors). Eight of the twelve tracks are originals. "What Can I Do" is a particular standout among the orignals. The production on the recording is outstanding, letting the soul band and arrangements speak for themselves. There is a very clean, clear sound throughout. The quality of this recording raises some obvious questions: why it has taken this guy so long to get this opportunity, and (more so) how he is in performance. Given the music, the strength of his singing, and his guitar playing, I have to assume that his shows are quite good. Any of our Long Island or New York area listers seen him? And finally, what do those old singles sound like? The personnel are Forehand on guitar and vocals, Eugene Dacosta Cordew on keyboards (including, of course, a B3 organ on a number of tracks), Alan Levy on bass, Billy Kilson or Chris Candida on drums, JerryHarshaw and Timothy "Rick" Richardson on tenor sax, and Larry Etkin on trumpet. TRACK LISTING: What can I Do (Somebody Tell Me) Engines and Wings First You Cry Ever Since Whatever It Takes That's What I Want To Do I've Been Watching You I'm So Lonesome Broken Hearted Man What Do I have To Do (To Make You Love Me) My Darling Baby Couldn't Be Found ========================================================================= Date: Mon, 4 Sep 1995 20:48:52 EDT From: Chris Metzler Subject: Question about M.J. Hurt/Avalon Blues Recently, I metnioned to someone at a store that I wanted to get some Mississippi John Hurt, and he pointed me at "Avalon Blues". I bought it. I like it. But I've recently seen some things that have confused me. Since I bought this disc, I've seen two other discs in the store with similar titles -- one titled "Avalon Blues", like mine, and one titled "Avalon Blues 1963". The cdnow/All-Music Guide has only one listing for "Avalon Blues" . . . ----- begin included file Mississippi John Hurt -- Avalon Blues (30:02) April 1963 Rating: 8 (out of 9) The All-Music Guide Tracks: .. 1. Avalon blues (2:20) 2. Richland Woman Blues (3:39) 3. Spike Driver Blues (2:27) 4. Salty Dog (1:41) 5. Cow Hooking Blues (6:01) 6. Spanish Fandango (1:15) 7. Casey Jones (3:44) 8. Louis Collins (2:14) 9. Candy Man Blues (2:55) 10. My Creole Belle (1:50) 11. Liza Jane (1:56) Music Style: Acoustic Country Blues Mississippi John Hurt played simple, haunting blues and gospel numbers. His guitar lines and accompaniment as well as his vocals reflected Hurt's personality and character; there was nothing intricate or deceptive about it. The 12 tunes on this '91 CD are sung without frills and played in elegant, evocative fashion. Whether doing brief pieces like "Salty Dog" and "Spanish Fandango" or more elaborate ones such as "Cow Hooking Blues" Hurt's style was the same. He just told stories in a lean and piercing manner, never failing to make the lyrics register merely through his vocals and instrumental support. ~ Ron Wynn -- Ron Wynn, All-Music Guide Category: BLUES TRADITIONAL ROUNDER RECORDS 1166 1081 2 ----- end included file Although the title listed above is "Avalon Blues", this seems to match the tracklist for what I see in stores titled as "Avalon Blues 1963". But anyway, the weird thing is, mine is completely different from this one or the other one. Mine is from Flyright Records, FLYCD 06, and says Mississippi John Hurt Library of Congress Sessions Avalon Blues on the front. The song lineup is: 1. Avalon Blues 2. Richlands Women Blues 3. Frankie And Albert 4. Louis Collins 5. Stackolee 6. Coffee Blues 7. Slidin' Delta 8. Corrine Corrina 9. Nobody's Dirty Business 10. Monday Morning Blues 11. Hey Baby Right Away 12. Spanish Flangdang 13. Pay Day 14. Talking Casey Jones 15. Let The Mermaids Flirt With Me 16. Got The Blues That Can't Be Satisfied 17. Stocktime 18. Candy Man 19. Pera-Lee 20. Trouble I've Had All My Days So, my question is, what's going on? Why are there three different MJH CDs with the same title? Why are they different? Are they related (as in, all the material recorded at the same LoC sessions, but different selections on different versions of the CD)? Does anyone know what's going on here? Thanks. -c -- Chris Metzler Department of Physics, University of Michigan 313-764-4607 (office) Randall Lab, 500 E. University 313-996-9249 (home) Ann Arbor, MI 48109-1120 USA E-MAIL: metzler@umich.edu "I know he can get the job . . .but can he *do* the job?" -- Mr. Waturi ========================================================================= Date: Mon, 4 Sep 1995 21:13:20 -0500 From: "Henry Busse Jr." Subject: Births & Deaths for 9/5/95 Birth and Deaths for 9/5/95: BOLLIN, ZUZU ( A. D. BOLLIN ) Born:1922 FRISCO, TX Died:10/26/1990 WEST DALLAS, TX Age:68 Occupation:SINGER / GUITAR Style: BLUES CASEY, FLOYD Born:1900 POPULAR BLUFFS, MO Died:09/07/1967 NEW YORK, NY AGE:67 Occupation:DRUMS / WASHBOARD Worked With:CLARENCE WILLIAMS / DEWEY JACKSON / JIMMY REYNOLDS Style:JAZZ / BIG BAND LEARY, FORD Born:1908 LOCKPORT, NY Died:06/04/1949 NEW YORK, NY Age:41 Occupation: SINGER / TROMBONE Worked With:BUNNY BERIGAN / LARRY CLINTON / CHARLIE BARNET / MUGGYS SPANIER Style:BIG BAND MANGELDORFF, ALBERT Born:1928 FRANFURT, GERMANY Occupation:TROMBONE Worked With:JOE KLIMM / HANS KOLLER / JOHN LEWIS Style:JAZZ POWELL, RICHIE ( RICHARD ) Born:1931 NEW YORK, NY Died:06/26/1956 PITTSBURGH, PA Age:25 Occupation: PIANO Worked With:PAUL WILLIAMS / JOHNNY HODGES BROTHER OF BUD Powell Style:JAZZ PRESTON, EDDIE ( EDWARD ) Born:1928 DALLAS, TX Occupation:TRUMPET Worked With: LIONEL HAMPTON / DUKE ELLINGTON / COUNT BASIE / CHARLIE MINGUS Style:JAZZ / BIG BAND SHAW, BOBO ( CHARLIES SHAW ) Born:1947 POPE, MS Occupation:DRUMMER / LEADER Style:JAZZ SUNNYLAND SLIM ( ALBERT LUANDREW )Born:1907 VANCE, MS Occupation:PIANO Worked With:MUDDY WATERS / BIG BILL BROONZY / ROBERT JR LOCKWOOD /BABY FACE LEROY / J.B. HUTTO /BIG WALTER HORTON / JOHNNY SHINES Style:BLUES Passed away this date: AYRES, MITCHELL ( MITCHELL AGRESS ) Died:09/05/1968 Las Vegas, NV age:58 Occupation:LEADER Worked With:PERRY COMO ON RECORDS POPULAR BAND DURING WAR YEARS Style:BIG BAND ========================================================================= Date: Mon, 4 Sep 1995 21:19:16 -0500 From: Craig Edmundson Subject: Re: Blues & Barbecue In Omaha, NE, you can get your barbecue fix at Ozark Smoked Meat Co. and Saddle Creek Canyon Barbecue. These people know what they are doing. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Mon, 4 Sep 1995, Linden/Powers wrote: > I'd lov to get a comprehensive list of Bluezellers' favourite > barbecue joints. I have many of them. I'd love to discover more. ========================================================================= Date: Mon, 4 Sep 1995 19:45:48 -0700 From: Al Handa Subject: >From ajaguyy@well Mon Sep 4 19:31:19 1995 Return-Path: ajaguyy@well.com Received: from NULL (dd21-052.compuserve.com [199.174.178.52]) by well.com (8.6.12/8.6.12) with SMTP id TAA11813 for ; Mon, 4 Sep 1995 19:26:57 -0700 Date: Mon, 4 Sep 1995 19:26:57 -0700 Message-Id: <199509050226.TAA11813@well.com> X-Sender: ajaguyy@well.com X-Mailer: Windows Eudora Version 1.4.4 Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="=====================_810275023==_" To: ajaguyy@well.com From: ajaguyy@well.com X-Attachments: C:\WINDOWS\DSBLURB.TXT; --=====================_810275023==_ Content-Type: text/plain; charset="us-ascii" --=====================_810275023==_ Content-Type: text/plain; charset="us-ascii" Content-Disposition: attachment; filename="DSBLURB.TXT" The July-August '95 Delta Snake Blues News is out and available from the sources listed below. As always, it is a free publication and sent to any who request it. The Delta Snake is an online blues newsletter that runs one full length feature (edited down for it's general circulation version, full size for WWW and archive), and several shorter CD and tape reviews from all eras. Average length of the general release version in ascii is 27K, full size issues will average 40K or so. Al Handa ajaguyy@well.com ----------------------------------------------------------------- WHERE YOU CAN FIND THE DELTA SNAKE!! WORLD WIDE WEB: http://www.island.net/~blues/snake.html Note: you can also select "King Biscuit" at the island.net home page, which will lead to the Snake, which is placed near front. If you have any questions, you can email: ajaguyy@well.com USENET: Posted in "rec.music.bluenote.blues"/"rec.music.bluenote" groups. COMPUSERVE: Uploaded to "The Blues" library in the "Music/Arts" forum. (Type: go music, select libraries, then "the Blues") DELPHI: Archived in music fandom database. Email: flipmusic@delphi.com for more info. EMAIL: The email list is active again, and for those who prefer to get it by email, contact: ajaguyy@well.com Note: The average size is 27K, so make sure your mailer will handle a file that size. --=====================_810275023==_ Content-Type: text/plain; charset="us-ascii" --=====================_810275023==_-- ========================================================================= Date: Mon, 4 Sep 1995 22:34:22 +0000 From: Ian Angus Subject: Re: Which Amos Milburn & James Booker CDs? Amos Milburn: Blues & Boogie ( Sequel) is my favorite -- all his early hits up to about 1955. For James Booker, I like Spider on the Keys (Rounder). It is entirely instrumental, some quite weird, and althogether enjoyable. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 4 Sep 1995 22:34:23 +0000 From: Ian Angus Subject: Re: Love is definitely strange Jeff J wrote: > My girlfriend has been driving me nuts for months with this: "What's the > tune on the flip side of Mickey and Sylvia's 'Love is Strange?'" > I believe it was "I'm Going Home" I'd like to claim I remembered this without help. but my source is the discography in the booklet accompanying the Bear Family 2CD set called Love is Strange. It's worth buying if you're really a dedicated Mickey and Sylvia fan, but only if. The main thing I learned from it is that M&S didn't have many hits because most of their recordings were pretty awful -- fifties pop stuff -- with a few great cuts like Love Is Strange and the forgotten but excellent No Good Lover. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 4 Sep 1995 22:54:18 -0400 From: Vicki Bean Subject: Intern'l Blues Talent Contest The Blues Foundation is holding its annual INTERNATIONAL BLUES TALENT COMPETITION on Oct. 7 & 8 this year. This two-day contest is a blues showcase that will decide the best "unsigned" blues talent for 1995. Contestants come from blues societies all around the world and independent contestants have come from as far away as Canada, Australia, and Britain. Sponsors include Gibson Guitar, House of Blues, Ultimate Blues Cruise, and others. Judges will range from reps from Gibson, HOB, radio & print media personalities, label reps, and other blues experts. Prizes: 1st Place: Prestigious Lucille Award, $1,000 cash, recording packages, performance at the '96 W.C. Handy Awards and festival gigs such as at the King Biscuit Blues Festival in Helena, and more TBA. 2nd Place: $500 3rd Place: $250 Also, the ALBERT KING AWARD is presented to the most promising guitarist from the finals and A GIBSON GUITAR WILL BE AWARDED by a Gibson rep. HOW IT WORKS: On Sat., Oct. 7, noon - 5PM, an "At-Large" or open competition will be held in Helena during the King Biscuit Blues Festival. A $35 entry fee is all it takes, plus you must enter by Sept. 15. No member of your act can be signed to a recording or management contract. The top two or three acts from the "At-Large" will go to Sunday's finals. (Just for the record, over the past three years, the winners and some of the contests have had success with recording contracts..... moreover, like last year, many of the winners come from the open competition on Sat.) THE FINALS: The finals are open only to contestants sent by blues socities that are affiliated with the Blues Foundation, along with the top two or three contestants from the open competition. There is no entry fee to the finals. The finals will be held in Memphis, TN on Sunday, Oct. 8, in the New Daisy Theatre on Beale Street. The time is 1 PM to 6 PM. There will be a VIP reception following the Finals. We have a really great time and have seen some marvellous talent. The blues soceities are well represented, as is the industry. Hope you'll find your way to become involved in one of the hottest blues events to happen all year! All applications must be postmarked by Sept. 15. For more information, call the Blues Foundation (901) 527-BLUE or EMAIL me, Vicki Bean, Contest Chairman. ========================================================================= Date: Mon, 4 Sep 1995 22:34:23 +0000 From: Ian Angus Subject: Re: Playlists.... > Even if everyone decides that playlists aren't Blues-L material, maybe > all of us individuals who are interested can exchange through some sort > of mail-chain. I delete them half the time myself, but every once in a > while I like to give them a looksee just to see how my playlists compare > to others from all over God's Blue Earth. I'd agree with that. I don't always read playlists, but when I do, I often get ideas for my show. Of course, I've always resisted "splitting the list" but maybe a "Blues-DJ" list would be a good idea. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 4 Sep 1995 20:23:00 -0700 From: Ned Kraft Subject: Tribute to Muddy Is the "Tribute to Muddy" traveling around the states. I saw Big Daddy, Hubert Sumlin and Pinetop a few years ago and they were fantastic. I'm a bigger Gtr. Jr. fan. Should be a great show. Ned a.k.a. ned_kraft@hp0000.desk.hp.com San Jose, CA ========================================================================= Date: Mon, 4 Sep 1995 22:33:10 -0500 From: Craig Edmundson Subject: Re: Barbecue & Blues (& beer) Every region rightfully lays claim to the "best barbecue." In my opinion, it's ALL good. When you think about it, the regional differences boil down to three basic features: 1) type of wood used for smoke; 2) kind of meat preferred; and 3) type of sauce served at the table. For example, in my neck of the woods we follow the Kansas City style and eat a lot of pork smoked over hickory, served with a thick, sweet, molasses and tomato sauce that gets an extra kick from red chile pepper. Yes, there is a wide gap between GREAT and just ok 'cue; but that gap owes more to the skill of the person cooking than to where they are doing the cooking. And don't forget ZZ Top's recipe for a fine plate of barbecue: "Bear down on the meat and ease off the potato salad." ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Mon, 4 Sep 1995, Tom Freeland wrote: > I could use a some bbq from Payne's in Memphis, right now. As far as I've > been able to tell (having tried Alabama, Mississippi, Tennessee, a little > Kentucky, a little Texas, but not the Carolinas) Payne's is the barbecue > center of the barbecue center of the universe. ========================================================================= Date: Mon, 4 Sep 1995 21:02:00 -0700 From: Ned Kraft Subject: BBQ As far as BBQ: I'm also into blues, brews and Q's. Did Colin volunteer to take inputs from everyone and post? If so, I'll offer BBQ at my place if you're visiting the SF bay area. My fav. - Central Texan Barbeque, Castroville, CA. FANTASTIC. Something about pit-smoked meat. Ned a.k.a. ned_kraft@hp0000.desk.hp.com ========================================================================= Date: Wed, 6 Sep 1995 00:01:26 GMT From: Andrew Gregg Subject: Re: Help! > > 2. Is it true that Bertha Lee Patton, Charlie Patton's wife is > still alive and lives in Chicago? Apparently she was 20 years > younger than Charlie and should be about 80 now. Gee I dont know, but she sang on a couple of Charlies songs, so that gives her at least 60 years BEFORE you add her performing age so.......sounds O.K to me ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Wed, 6 Sep 1995 00:04:57 GMT From: Andrew Gregg Subject: Charlie Patton Greetings Anyone out there know much about the life and times of Charlie Patton?? How did he die?? ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Tue, 5 Sep 1995 00:44:33 -0500 From: Rob Varak Subject: Confused Maybe somebody on the list can explain to me what the hell the attached message has to do with _anything_. Here it is: Date: Sun, 3 Sep 1995 00:49:30 -0400 From: SEvans1595@aol.com To: robbiev@interaccess.com Subject: Re: your mail Have you ever been, to the wc handy awards, in memphis, tn? If the grammy, awards, for the best blues artist in the entoire country, havbe you ever read, living bluse magazine? Notice, Buddy Guy, has won the best live, bl;ues performer---last four years! Buddy Guy won a Grammy in 1991, for his album "DAMN RIGHT" IV'E GOT THA BLUES! Have you ever been to the Mississippi Delta? If you have'nt, you don,t know a damn thing about tha blues! I am from the DELTA! I am a member of the Sonny Boy Blues Society out of Helena, AR. If you wanna hear som blues, then come on and see them, Oct 6/7 it is FREE! - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Did anybody else get this piece of literary magic or is it just my luck. I'm confused b/c I have no idea what this illiterate piece of sh*t is trying to say. It's kinda hard to read b/w the moronic typing and lack of coherent English. Rob PS I have been to the Delta, I like Buddy Guy and I know what the friggin' WC Handy awards are! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 5 Sep 1995 07:59:03 GMT From: Magnus Ensby Subject: Re: European (maybe) Blues Artists "D. ALLEN SIMPSON" wrote: > > I picked up a German compilation CD (a sampler, really), put out > by Inak. It included a lot of (but not exclusively) blues. > I was impressed with some of the artists represented, enough to > ask if anyone knows these names: > Johnny Heartsman, Joanna Connor. Joanna Connor is an american artist, but she have beeen touring in Europe. She have also been to Norway, at least once. I like her music and have one of her records (vinyl). Sitting at job now, I can't remember the name this album. Some information can bee found at: http://www.jazzonln.com/JAZZ/BLUES/bc5.htm Magnus ========================================================================= Date: Tue, 5 Sep 1995 04:26:00 -0400 From: "J.E. Downey" Subject: BLUE LIST IN RED RUSSIA Just a query, my good bluezellers: As a few of you are aware, I moved from Wash., D.C. to Russia around 1 August and have popped up on the list now that I am over here. I'm just curious: AM I THE FIRST OR ONLY BLUEZELLER IN RUSSIA OR THE FORMER SOVIET UNION OR ARE THERE OTHERS OUT THERE? Is anyone on the List in Russia, Ukraine, Baltics, Belarus, Moldova, Armenia, Azerbaijan, Georgia, Kazakhtan, Uzbekistan, Tadzhikistan, Turmenistan, or little Kirgizstan? Or have I, like, made history here or something? Your friend, Joe Downey (Moscow)(but going to Helsinki this weekend to buy CDs!) J.E._Downey@bakermck.com "Sound like a long distance call" ========================================================================= Date: Tue, 5 Sep 1995 09:06:46 GMT From: marc borms Subject: Re: Barbecue & Blues (& beer) : Add Beer and you have what I call my "three b's" (all but the blues in : moderation, of course). Actually, let's make sure we define what we : mean by barbecue. I assume, Paul, you being in the South : (geographically as well as, hopefully, culturally) by barbecue you mean : (I *will* allow this much latitude) pork, chicken or beef (for you : Texas folk), *not* simply grilling. There is simply no better meal to : consume while enjoying the blues than pulled hickory smoked pork with : your favorite sauce, appropriate side dishes of choice, and a cold : bottle of good german beer. Talk about hog heaven :-)!! This is probably a debate for another list, but consider it part of blues culture: german beer is not beer, go for BELGIAN BEER !!!! pianoman. ========================================================================= Date: Tue, 5 Sep 1995 08:41:29 EST From: Leonardo Kenji Shikida Subject: I was impressed when I heard them. A friend of mine borrowed me a CD and IMHO, "Train in the distance blues" and its variations are terrific! I also thought the vocals seems like Stevie Ray Vaughan... Well, I'm really looking for their lyrics. If you can, please, send me! I'll be very glad... Thanks ! _____________________________ Leonardo Kenji Shikida "I've been driftin... like a ship out on the sea... Well I ain't got nobody, baby... in this world that would care for me..." Charles Brown -/- On Mon, 4 Sep 1995 NED_KRAFT@HP0000.desk.hp.com wrote: > The Beat Daddys were a band from Evansville, IN and are friends > with my drummer. They play blues and rock, have 3 CD's out (I think)/ > The last CD is by the guitar player and harp player with various > sidemen hired to do the music. It's a pretty good disc and has a > couple of really hot tunes. If you're looking for booking or > other info let me know and I'll find it for you. > > Dirty NEd > a.k.a. hoosier.daddy@hp0000.desk.hp.com > San Jose, CA > > ========================================================================= Date: Tue, 5 Sep 1995 05:00:08 -0700 From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO SPECIALTY RECORDS ART RUPE, founder & producer of SPECIALTY RECORDS, is 78 years old today. He was born Arthur Goldberg on Wednesday, September 5, 1917, Greenberg, PA. FANTASY/SPECIALTY 5SPCD-4412-2 : THE SPECIALTY STORY (5CD set/130 tracks) is a tribute to the genius of ART RUPE. I reviewed this box set when it first came out & I consider it essential. It contains all of SPECIALTY RECORDS' 73 R&B/POP hits, as well as important songs and artists. A quick check in the indexes to Galen Gart's FIRST PRESSING : THE HISTORY OF RHYTHM & BLUES series (available from Big Nickel Publications) will convince you how important Art Rupe & SPECIALTY RECORDS was in the evolution of 50s R&B musics. And if you want more, or you just want single CD releases, I've listed THE LEGENDS OF SPECIALTY SERIES which I also recommend (those marked * do not contain Art Rupe productions but I've included them as they are in the same numerical series). Happy Birthday, Art Rupe! And thank you FANTASY for making this music avaliable. CD DISCOGRAPHY : THE LEGENDS OF SPECIALTY : BLUES/R&B/GOSPEL 7000 SERIES ========================================================================= 7001 PERCY MAYFIELD POET OF THE BLUES 7002 LARRY WILLIAMS BAD BOY 7003 JESSE BELVIN BLUES BALLADEER 7004 ROY MILTON LEGENDS OF SPECIALTY SERIES 7005 JIMMY LIGGINS LEGENDS OF SPECIALTY SERIES 7006 JOE LIGGINS LEGENDS OF SPECIALTY SERIES 7007 GUITAR SLIM SUFFERIN' MIND 7008 DON & DEWEY JUNGLE HOP 7009 SAM COOKE WITH THE SOUL STIRRERS 7010 LLOYD PRICE LAWDY! 7011 FLOYD DIXON MARSHALL TEXAS IS MY HOME 7012 LITTLE RICHARD GEORGIA PEACH 7013 SOUL STIRRERS SHINE ON ME (w/R. H. HARRIS) 7014 CHOSEN GOSPEL SINGERS LIFEBOAT 7015 ALEX BRADFORD RAINBOW IN THE SKY 7016 SISTER WYNONA CARR DRAGNET FOR JESUS 7017 DOROTHY LOVE COATES & ORIGINAL HARMONETTES - GET ON BOARD 7018 JOHN LEE HOOKER GRAVEYARD BLUES 7019 VARIOUS SPECIALTY LEGENDS OF BOOGIE WOOGIE 7020 SMOKEY HOGG ANGELS IN HARLEM 7021 HOLLYWOOD FLAMES HOLLYWOOD FLAMES 7022 FRANKIE LEE SIMS LUCY MAE BLUES 7023 ART NEVILLE HIS SPECIALTY RECORDINGS 7024 ROY MILTON GROOVY BLUES V. 2 7025 JOE LIGGINS DRIPPER'S BOOGIE V. 2 7026 JIMMY LIGGINS ROUGH WEATHER BLUES V. 2 7027 PERCY MAYFIELD MEMORY PAIN V. 2 7028 VARIOUS SHOUTING THE BLUES 7029 *VARIOUS ALL NIGHT LONG THEY PLAY THE BLUES 7030 PILGRIM TRAVELERS WALKING RHYTHM 7031 SOUL STIRRERS JESUS GAVE ME WATER (w/SAM COOKE) 7032 MEDITATION SINGERS GOOD NEWS 7033 BROTHER JOE MAY THUNDERBOLT OF THE MIDDLE WEST 7034 DETROITERS & GOLDEN ECHOES OLD TIME RELIGION 7035 JOHN LEE HOOKER EVERYBODY'S BLUES 7036 MERCY DEE WALTON ONE ROOM COUNTRY SHACK 7037 LESTER WILLIAMS I CAN'T LOSE WITH THE STUFF 7038 VARIOUS CREOLE KINGS OF NEW ORLEANS V. 2 7039 CLIFTON CHENIER ZYDECO BLUES & BOOGIE 7040 SOUL STIRRERS HEAVEN IS MY HOME (w/FOSTER/TAYLOR) 7041 FIVE BLIND BOYS OF ALABAMA SERMON 7042 ALEX BRADFORD TOO CLOSE 7043 SALLIE MARTIN SINGERS THROW OUT THE LIFELINE 7044 SWAN SILVERTONES HEAVENLY LIGHT 7045 VARIOUS GREAT 1955 SHRINE CONCERT 7046 CAMILLE HOWARD ROCK ME DADDY V. 1 7047 LLOYD PRICE HEAVY DREAMS V. 2 7048 WYNONA CARR JUMP JACK JUMP! 7049 VARIOUS HARDCORE DOO-WOP-IN THE HALLWAY-UNDER 7050 VARIOUS GOLDEN GROUPS 7051 *VARIOUS GOSPEL CHRISTMAS CARD 7052 SOUL STIRRERS LAST MILE OF THE WAY (w/SAM COOKE) 7053 PILGRIM TRAVELERS BETTER THAN THAT 7054 BROTHER JOE MAY LIVE-1952-55 7055 *REV. CLEOPHUS ROBINSON SOMEONE TO CARE (BATTLE SESSIONS) 7056 VARIOUS WOMEN OF GOSPEL GOLDEN AGE V. 1 7057 *VARIOUS BAD BAD WHISKEY (GALAXY MASTERS) 7058 VARIOUS LEGENDS OF JUMP V. 1 7059 VARIOUS ROCK 'N ROLL FEVER! 7060 ROY MILTON BLOWIN' WITH ROY V.3 7061 VARIOUS BLOODSTAINS ON THE WALL 4412 VARIOUS SPECIALTY STORY (5 CD BOX) 8508 LITTLE RICHARD SPECIALTY BOX SET (3 CD) Other series containing Art Rupe productions (except those marked *) =================================================================== 2105 LLOYD PRICE LLOYD PRICE 2109 LARRY WILLIAMS HERE'S LARRY WILLIAMS 2119 SAM COOKE TWO SIDES OF SAM COOKE 2139 CLIFTON CHENIER BAYOU BLUES 2154 LITTLE RICHARD ESSENTIAL 2168 VARIOUS CREOLE KINGS OF NEW ORLEANS V. 1 2169 *PAUL GAYTEN/ANNIE LAURIE REGAL RECORDS IN NEW ORLEANS 2170 *LITTLE JIMMY SCOTT LIVE IN NEW ORLEANS 2171 MIGHTY JOE HOUSTON CORNBREAD & CABBAGE GREENS 2172 *VARIOUS BLUES FROM DOLPHIN'S OF HOLLYWOOD 2173 *VARIOUS DOO-WOP FROM DOLPHIN'S OF HOLLY V. 1 2174 *VARIOUS DOO-WOP FROM DOLPHIN'S OF HOLLY V. 2 2175 CHUCK HIGGINS PACHUKO HOP 2176 MARVIN & JOHNNY FLIPPED OUT 7202 SWAN SILVERTONES MY ROCK/LOVE LIFTED ME 7203 FIVE BLIND BOYS OF ALABAMA OH LORD STAND BY ME/MARCHING ZION 7204 PILGRIM TRAVELERS BEST OF 7205 DOROTHY LOVE COATES & ORIGINAL HARMONETTES - BEST OF 7206 VARIOUS GREATEST GOSPEL GEMS ========================================================================= Date: Tue, 5 Sep 1995 08:01:02 -0400 From: Willy Evans Subject: Re: Barbecue (no blues, except for lack of BBQ) On Mon, 4 Sep 1995, Tom Freeland wrote: > In a message dated 95-09-04 18:14:11 EDT, toz@IX.NETCOM.COM (Jonathan > Duttweiler) writes: > > > I assume, Paul, you being in the South > >(geographically as well as, hopefully, culturally) by barbecue you mean > >(I *will* allow this much latitude) pork, chicken or beef > > This is probably a debate for another list, but consider it part of blues > culture: Chicken ain't barbecue. And at least for someone from the east of > the Mississippi, beef is pushing it..... Stuff deleted ... > been able to tell (having tried Alabama, Mississippi, Tennessee, a little > Kentucky, a little Texas, but not the Carolinas) Payne's is the barbecue > center of the barbecue center of the universe. I usually stay away from these non-blues related posts, but this is sort of a sacred subject. Barbecue is made from pork. Many barbecue places offer chicken, but notice on the menu that it is NOT called barbecue! It is a shame that Mr Freeland had barbecue from everywhere BUT the Carolinas, because unless you've had it from Eastern NC, you ain't had it. When you're done with the Delta, here's another pilgramage for you!!! Respectfully, Willy Evans ========================================================================= Date: Tue, 5 Sep 1995 07:55:37 -0500 From: T-Bone Subject: Re: Barbecue & Blues (& beer) On Tue, 5 Sep 1995, marc borms wrote: > This is probably a debate for another list, but consider it part of blues > culture: german beer is not beer, go for BELGIAN BEER !!!! Well, I *know* this belongs somewhere else, but beer is for folks who can't handle white lightnin. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Tue, 5 Sep 1995 08:01:06 -0500 From: Jeff Seale Subject: Re: Chris Duarte SF concert On Mon, 4 Sep 1995, Linda L. wrote: > He was fantastic! Totally high energy, continuous, kick-ass guitar > playing. He put on a great show, playing almost all of his disk, plus > some Albert King, SRV, and Jimi Hendrix. We stood in front (it was a > [the rest deleted] Not once in your post did you mention anything about BLUES. I don't want to drag the CD thing up again, just pointin out the facts. -Jeff (a purist ;-) ) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every night. -Joe Ely ========================================================================= Date: Tue, 5 Sep 1995 08:05:20 -0500 From: Roger Struve Subject: Re: Rock'n'Roll Hall of Fame -Reply Over the weekend, there was a show on PBS talking about this Hall of Fame. they interviewed the "proprietor", and he said, basically, because the city "really wanted it", which translates to me, "they came up with the money", and i think he also mentioned in passing that the term had been coined there. regards, ddr ========================================================================= Date: Tue, 5 Sep 1995 08:05:00 CDT From: Paul Garon Subject: Re: Charlie Patton >Greetings > > >Anyone out there know much about the life and times of Charlie Patton?? How >did he die?? He died of a heart problem in 1934. There are two or three books on Patton: Still in print is Calt and Wardlow's KING OF THE DELTA BLUES. THE LIFE AND MUSIC OF CHARLIE PATTON. Rock Chapel Press, 37 East Clinton, Newton, NJ 07860, or through Shanachie. Hard to find is the Belgian release VOICE OF THE DELTA. CHARLEY PATTON, THE MISSISSIPPI BLUES TRADITIONS. iNFLUENCES AND COMPARISONS. AN INTERNATIONAL SYMPOSIUM. Has David Evans recent Patton research, etc. Mostly in English, you could see if they still have copies at Presses Universitaires Liege, Sart Tilman, Bat. B. 7, S-4000 Liege, Belgium. And then there's the long out of print book by John Fahey, CHARLEY PATTON. so, yes, something IS known about his life and times! Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 5 Sep 1995 10:07:53 -0300 From: Rob Hutten Subject: Re: Charlie Patton > Anyone out there know much about the life and times of Charlie Patton?? How > did he die?? There's a very badly written and produced book by Steven Calt and Gayle Wardlow called "King Of The Delta Blues: The Life and Music of Charlie Patton" which is nonetheless a very worthwhile read, if only for the details of Patton's life. I get the impression that Wardlow did most of the historical research and Calt wrote it up and did the (IMHO very nit-picky) musical analysis. I tend to try my best to ignore the latter to get to the former... The book could (or at least could at one time) be ordered from Yazoo, I believe. It was put out by Rock Chapel Press in NJ in 1988 - I can't find an ISBN in Books In Print so it may be unavailable. I seem to recall that Patton died in 1934 of complications from a lung ailment. -Rob ========================================================================= Date: Tue, 5 Sep 1995 08:12:03 CDT From: L W Subject: Cat's List [was: Re: Blues-L Billboard list] ----------------------------Original message---------------------------- >My, my, my . . . I wonder what all the nay saying Blues purists will >think when they realize Chris Duarte is ranked among some of the >finest Blues artists of today? Purist strength Maalox anyone? I think nothing about it..zero..period...doesn't register...WHO CARES If Pat Boone could sell so can CD, answered like it was asked LW ========================================================================= Date: Tue, 5 Sep 1995 08:17:55 CDT From: L W Subject: Chris Duarte SF concert ----------------------------Original message---------------------------- >I agree he's abtter otally high energy, continuous, kick-ass guitar >playing. He put on a great show, playing almost all of his disk, plus >some Albert King, SRV, and Jimi Hendrix. We stood in front (it was a >small club, so were about 3-4 feet from him) and rocked for 2 1/2 hours >straight. ****** I prefer blues..... LW "to each his own' ========================================================================= Date: Tue, 5 Sep 1995 15:31:37 +0200 From: Peter Gallagher Subject: Promoter Muddy Tribute I hope this is in time to help Jouni and/or others: According to the Vredenburg, in Utrecht, the promoters of the Tribute To Muddy Waters, with Pinetop Perkins et al are: Jazz Me Blue Concerts, Rue de Paris 279 F-095150 Taverny France Phone +33 - 1 - 39950010 contact: Mr. Monestier regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Sep 1995 08:29:28 CDT From: L W Subject: Steady ROCKIN Bob Margolin What a disappointent. I thought he played blues, not Chuck Berry tunes with VERY weak lyrics. He wasn't the worst, James Peterson beat him out for worst. James is exactly what I thought, "All bark and no bite"..... I would rather see TINSLEY ELLIS over Bob Margolin anyday. Bob SUCKED. I would go see the Muddy Tribute cause there would be some blues. I think the person next to me summed it up "Bob done got white"....He wasn't talking about color he was talking about his music taste....SUCKED......As a matter of fact several people came up and said "You wouldn't want to convene to the "Porch" and you do the entertaining would you ?." Anytime someone would rather hear me than the featured act, the featured act sucks. The only other time this has happened is with "Decaf Keb"......Lil Jimmy Reed was very good, up to a point then it was all the same... THE BEST of the SHOW: last minute fill in for the Homewreckers who canceled was Elliot (New) and the Untouchables. Elliot New is on the "net" and is from South Carolina he did well....I liked Lil Jimmy Reed best, but my wife and most people really dug Elliot....GREAT JOB Elliot New !!....Topper Price sat in on one tune and upped the intensity 100 %, but Eilliot was doing fine without him He was just icing on the cake.... The MC announced "The best blues guitarist around Steady Rollin Bob Margolin" GIMME A BREAK he ain't even close.....The only thing I've ever seen that was this bad was Jr. Wells, Jerry Protnoy, Pinetop's Backup band.."Coolerators" ?? LW ========================================================================= Date: Tue, 5 Sep 1995 09:47:02 -0400 From: Tom Freeland Subject: Re: Charlie Patton In a message dated 95-09-05 09:13:29 EDT, rob.hutten@ACADIAU.CA (Rob Hutten) writes: >There's a very badly written and produced book by Steven Calt and >Gayle Wardlow called "King Of The Delta Blues: The Life and Music of >Charlie Patton" which is nonetheless a very worthwhile read, if only >for the details of Patton's life. I get the impression that Wardlow >did most of the historical research and Calt wrote it up and did the >(IMHO very nit-picky) musical analysis. While the Calt and Wardlow book is the only thing recently in print solely devoted to Patton, it should be approached with great caution. While Wardlow has been a remarkable and diligent researcher for years, and actually on the ground in Mississippi, Calt has been the champion of the ungrounded opinion and the unverifiable assertion. He also has a proponsity to factual invention, and to ad hominem attacks on musicians and others, often without giving you a clue as to why he might be in attack mode. Patton is probably better 'approached' through general books that talk about Delta blues. You might look at David Evans chapter in Nothing But The Blues, which is more recent then much of what you might find, but a little on the general side. It is very unfortunate given the breadth of Wardlow's research that it had to be presented in this form. Tom Freeland ========================================================================= Date: Tue, 5 Sep 1995 07:00:07 -0700 From: Eric LeBlanc-CISTI Subject: A TRIBUTE TO SUNNYLAND SLIM SUNNYLAND SLIM (aka ANDREW LUANDREW) 5 SEPTEMBER 1907, VANCE, MS. - 17 MARCH 1995, CHICAGO, IL =============================================================================== Today is SUNNYLAND SLIM's birthdate. I've been on holidays, so I never got to writing something up on SUNNLAND SLIM, so instead I'm just going to repost Bonnie The K'S as always wonderful stories (I hope you don't mind, Bonnie?) and the Chicago Tribute feature that Lee Spector posted (Lee, I hope YOU don't mind :-)). I've also include a CD discography, which includes the 2 recent EVIDENCE CDs of his Red Beans albums. Wonderful stuff, especially the solo piano set : EVIDENCE CD 26066 : SUNNYLAND SLIM - SUNNYLAND TRAIN. He was one of the most recorded blueman but because of lack of time, this will have to be a selected discography! By the way, his very first recordings - as DOCTOR CLAYTON'S BUDDY - will be found on the OLD TRAMP CD. Next year, I'll do a better job. I actually saw Sunnyland Slim a few times & everytime he would invite local blues (amateur) players up on stage. SELECTED CD DISCOGRAPHY ======================= DELMARK CD 655 : SUNNYLAND SLIM - HOUSE RENT PARTY (w friends) EARWIG CD 4915 : SUNNYLAND SLIM - BE CAREFUL HOW YOU VOTE EVIDENCE CD 26052 : HUBERT SUMLIN/WILLIE DIXON/SUNNYLAND SLIM - BLUES ANYTIME! EVIDENCE CD 26053 : SUNNYLAND SLIM - DECORATION DAY EVIDENCE CD 26066 : SUNNYLAND SLIM - SUNNYLAND TRAIN EVIDENCE CD 26067 : SUNNYLAND SLIM BLUES BAND - CHICAGO JUMP FANTASY OBCCD 558 : SUNNYLAND SLIM - SLIM'S SHOUT MAPLESHADE CD 6302 : SUNNYLAND SLIM - LIVE AT THE D.C. BLUES SOCIETY OLD TRAMP CD 05 : DOCTOR CLAYTON & HIS BUDDIES inc SS complete 1947 cuts SEQUEL CD 212 : SUNNYLAND SLIM - SLIM'S GOT HIS THING GOIN' ON SOUTHLAND CD 10 : SUNNYLAND SLIM/LITTLE BROTHER MONTGOMERY STORYVILLE CD 8008 : SUNNYLAND SLIM - V. 8 - BLUES MASTERS Tributes ======== "I enjoyed meeting and talking to Sunnyland a number of times. Once of my favorite memories - and I did post this awhile back, I know, occured after I had interviewed him on air. We were sitting out in the station lobby and he said, you know, my main man just passed. "Who was that, Sunnyland?" I asked. "Bing Crosby", he replied shaking his head. "BING CROSBY!!" I rejoined. Yes, it was true, as a number of people afterward confirmed. My kid endeared himself to Sunnyland by telling him that he was the tallest man he had ever seen. In turn, the legendary barrel house piano player regaled him with a number of Woody Woodpecker calls. A couple of years ago, at the Mississippi Valley Blues Festival, he told us that he had started to attend church and read the Bible (cramming for the finals, one might suppose). A teen-aged couple had asked him for an autograph. As he started to write he asked them "shall I sign your record "Sunnyland Slim" or Albert Luandrew? The young folk just stared back blankly. I saw him just a year ago at the Earwig anniversary bash. He played a set with Willie Johnson with great vigor. As most of you know Sunnyland got Muddy his first recording session with Chess and had met Robert Johnson. I'm sure there will be many informative posts to follow on the life of this legend in his own time. One of my favorite Sunnyland albums is a recent one - "Past Life" with Hubert Sumlin - on the Earwig label." ~ Bonnie Kalmbach , 19 Mar 1995 "This was in Friday's Chicago Tribune and I thought many would be interested in reading it. Please excuse any typing problems. Headline: Sunnyland Slim's gone, but his blues plays on by Paul de la Garza Albert Luandrew, better know as "Sunnyland Slim" was laid to rest Thursday afternoon in an exquisite, song-filled ceremony befitting the "undisputed patriarch of Chicago blues." The list of approximately 300 mourners, who came from places like New Orleans, Nashville and San Francisco, read like a Who's Who of the blues world. Buddy Guy was there. So was Otis Clay. And Big Time Sarah. They came to say goodbye to one of the founders of urban blues, which flourished in Chicago after World War II. Luandrew, 87, who learned to play piano on his own while growing up in Vance, Miss. died of inflammation of the kidney March 17 at Thorek Hospital and Medical Center on the North Side. Thursday afternoon, he was honored with religious songs during an hour long ceremony at Cage Memorial Chaptel, 7651 S. Jeffery Blvd. Saxophone player Marcus Johnson began the service with a delicate rendition of "How Great Thou Art." Not much later, chapel soloist Wanda Bishop had everyone wiping away tears with the song "I Decided To Make Jesus My Choice," which she sang in a strong, heart-wrenching voice. The crowning moment - actually, there were two - came when Clay performed the Negro spiritual, "When the Gates Swing Open." That was followed by the jazz standard, "Body and Soul" performed by Sam Burckhart, who played tenor saxophone with Luandrew's latest and longest lasting band, The Big Four. Then came time for words of praise. Burckhardt asked the gathering not to mourn Luandrew's death, but to celebrate and cherish is memory. "He may not be with us any longer, but he is truly within us," Burckhardt. "On future days, when you feel blue, let his music warm you..... After all, he not just passed away, he left a profound legacy." Rev. Elisha Williams of the Cathedral of Love Missionary Baptist Church told the gathing: "We didn't come here to cry. We came to celebrate a legend." "We didn't come today because he died." Williams said. "We came here because he lives. He just changed shows on us." Before the ceremony began, the family gathered in a back room and greeted guests. Luandrew's wife, Geraldine, looked frail but graciously addressed folks in conversation. When someone asked her to talk about her husband, she smiled. It's been a wonderful life," she said, noting the two married in 1982. "He was a very nice man. That's the best I can say." Buddy Guy stopped briefly on his way to his father-in-law's funeral. He said he had shed tears upon hearing of Luandrew's death. "He contributed so much - to myself, Muddy Waters." he said. "It's just a great loss. Nobody like that is ever going to come again- not in my lifetime." Otis Clay, meanwhile, referred to Luandrew as "the teacher." I have the utmost respect for Sunnyland." Guitarist Michael "Black Mike" Henderson, who flew in from Oakland for the funeral, and for a jam session Thursday night at B.L.U.E.S. Etc. to honor Luandrew, said "Sunnyland brought out the best in everyone." Henderson last played with him in 1994 at Slim's in San Francisco, a nightclub named after "Sunnyland" and owned by musician Boz Scaggs. "The moment he put his hands on the piano, that was the music," said Henderson, dressed in a black suit and black sunglasses. "It was like turning on a water faucet. "He'd say, "Okay, boys, let's do it. Let's ride.' It would take you to a different place." Thursday afternoon, the legend was burried at Mount Vernon Memorial Estates in Lemont." ~ Lee Spector <00lcspector@BSUVC.BSU.EDU>, 27 March 1995 ========================================================================= Date: Tue, 5 Sep 1995 09:59:09 -4 From: "P.W. Fenton" Subject: Re: Barbecue & Blues On 4 Sep 95, Craig Edmundson had this to say... > P.W., > > Are we talking about cooking with indirect heat at a low temperature for a > long time, or quickly grilling meat directly over the heat source? If you > are talking real barbecue this would be a fascinating thread - > historically and culturally. I don't mean to insult you by asking for a > definition of "barbecue," but some people say they are "barbecuing" when > what they are doing is "grilling." Personally, I enjoy cooking both > ways...I have two grills and two smoke cookers. As Dana Carvey > impersonating Regis Philbin would say, "I'm outta control!" > > Regards, > > ce What I'm talking about is ALL of it. What I do personally is sort of "grillecue-ing". Combined slow cooking and grilling. But I wasn't looking to start Barbecue-L. I was looking to explore the association between Blues & barbecue (and as someone else added - beer). P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 5 Sep 1995 09:59:09 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 5th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARNES, GEORGE (g) d. 1977-0905, CONCORD, CA 56 BOLLIN, A. D. "ZUZU" (g/ANTONES REC) b. 1922-0905, FRISCO, TX BOYSON, CORNELIUS (BOYSAW) (el. b) b. 1936-0905, TUNICA, MS BROWN, EARL (asax/LOWELL FULSON) b. 1931-0905, ELRADO, AR BROWN, LAWRENCE (tbn/ELLINGTON) d. 1988-0905, LOS ANGELES, CA 81 FORD, WALTER (of THE RAYS) b. 1931-0905, LEXINGTON, KY FRAZIER, JOE "SPEEDO" (lead/THE IMPALAS) b. 1943-0905, BROOKLYN, NY KILLIAN, AL (tpt/JACK MCVEA/BASIE) d. 1950-0905, LOS ANGELES, CA 33 LAWS, ROBBIE (g/URBAN ALL-STARS) b. 1953-0905, PORTLAND, OR MILES, GEORGE "BUDDY" (d/HENDRIX) b. 1946-0905, OMAHA, NE NEGRONI, JOE (of TEENAGERS) d. 1978-0905, NY 38 POWELL, RICHIE (p/CLIFFORD BROWN) b. 1931-0905, NEW YORK CITY, NY RUPE, ART (founder: SPECIALTY REC) b. 1917-0905, GREENSBURG, PA SPRINGS, JIMMY (lead/THE 5 RED CAPS) b. 1911-0905, MATTOON, IL SUNNYLAND SLIM [ALBERT LUANDREW] (p) b. 1907-0905, VANCE, MS TROMPETER, F. JAY (dj/DOO WOP) d. 1983-0905, CHICAGO, IL 61 WHITE, JOSH (g) d. 1969-0905, MANHASSET, NY 55 ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Sep 1995 11:07:14 -0300 From: Rob Hutten Subject: Re: Charlie Patton > While the Calt and Wardlow book is the only thing recently in print solely > devoted to Patton, it should be approached with great caution. While Wardlow > has been a remarkable and diligent researcher for years, and actually on the > ground in Mississippi, Calt has been the champion of the ungrounded opinion > and the unverifiable assertion. He also has a proponsity to factual > invention, and to ad hominem attacks on musicians and others, often without > giving you a clue as to why he might be in attack mode. I agree with everything Tom writes about Calt, and I guess I regret recommending the book because of this, but am I right in thinking that the historical details of Patton's life were based almost solely on research done by Wardlow? I admit Wardlow's research is very poorly presented by Calt, but if this is the only available collection of this research, then isn't it worthy of a read? Did Calt actually twist the facts as researched by Wardlow? Are there any other sources of Wardlow's work? I found no books listing him as author in Books In Print. -Rob "Man of many questions" Hutten :-) ========================================================================= Date: Tue, 5 Sep 1995 09:13:00 CDT From: Joe Mayes Subject: Re: Chris Duarte SF concert ----Original message---- From: "Linda L." >> He was fantastic! Totally high energy, continuous, kick-ass guitar >> playing. He put on a great show, playing almost all of his disk, plus >> some Albert King, SRV, and Jimi Hendrix. We stood in front (it was a >> small club, so were about 3-4 feet from him) and rocked for 2 1/2 hours >> straight. ****** > I prefer blues..... > LW "to each his own' LW, Please note: Linda L. stated that SHE "rocked" to Chris Duarte's playing. She did NOT say Duarte "rocked". :) So if Linda "rocked" to some superb Duarte Blues over the week-end, more power to her! Best Regards, Joe Mayes ========================================================================= Date: Tue, 5 Sep 1995 09:15:19 CDT From: L W Subject: Steven Calt & Attack Mode ----------------------------Original message---------------------------- >ground in Mississippi, Calt has been the champion of the ungrounded opinion >and the unverifiable assertion. He also has a proponsity to factual >invention, and to ad hominem attacks on musicians and others, often without >giving you a clue as to why he might be in attack mode. I've wanted to bring this up, but for obvious reasons I'd like PRIVATE response unless you think it's OK to discuss on Blues-l. Mr Calt said some very hateful (don't know the right words) and accusations abut "certain" people we "know" My wife and I were totally shocked at what he said in the Skip James book about you-know-who and I'd like to know others opinion of what he said. I'd really like to hear from those who actually know...Private mail between you and I LW 'sorry if this is not proper, I just couldn't believe it" ========================================================================= Date: Tue, 5 Sep 1995 09:25:32 -0500 From: Bruce Roberts Subject: Lady Day How would you like to see Billie Holiday in a small club in South Philadelphia? Of course that's impossible, but the next best thing is to go see the play "Lady Day at Emerson's Bar & Grill" by Lanie Robertson. My wife and I saw this play at the Capital City Playhouse on Friday. The theatre was set up like a small club with tables around the stage. Veteran broadway actress Ernestine Jackson plays Billie Holiday and Clem Moorman plays pianoman Jimmie Powers. The play is set in March of 1959, four months before her death. Ms. Jackson's portrayal of Billie Holiday is superb. This play is very intimate. You feel like your really watching Billie Holiday in a small club. It will be in Austin until Oct.4. It is travelling around the country and if it comes to your city, go see it. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 5 Sep 1995 09:24:04 CDT From: L W Subject: Re: Chris Duarte SF concert >> He was fantastic! Totally high energy, continuous, kick-ass guitar >> playing. He put on a great show, playing almost all of his disk, plus >> some Albert King, SRV, and Jimi Hendrix. We stood in front (it was a >> small club, so were about 3-4 feet from him) and rocked for 2 1/2 hours >> straight. ****** > I prefer blues..... > LW "to each his own' >LW, >Please note: Linda L. stated that SHE "rocked" to Chris Duarte's playing. >She did NOT say Duarte "rocked". :) So if Linda "rocked" to some superb >Duarte Blues over the week-end, more power to her! Your right my apologies for not reading it correctly.... Very sincere apologies, LW 'don't blame I voted for Donald Kinsey" ========================================================================= Date: Tue, 5 Sep 1995 10:36:33 -0400 From: "Bluzman Ed@Aol.Com." Subject: WFBE Playlist The playlist for David Boyd's Blue Highway program, aired on Sept.2, 1995, and hosted by yours truly, on WFBE 95.1 FM, Flint MI, is now available. The "theme" of the show was to honor blues people who have been inducted into the Rock and Roll Hall Of Fame, and the Fat Possum Juke Joint Caravan who will be appearing at The AnnArbor Jazz and Blues fest later this month. Also, new music, and other "stuff". Anyone interested, e-mail privately, and I will send a copy. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 5 Sep 1995 10:43:05 +0600 From: Rage 'n Records Subject: Keep Playlists I only post this so that my vote is cast. I actually responded privately when told to but I don't want to have people afraid to post there playlists. Should we make radios without all the frequencies on them so that people who don't want to pay for the manufacturing of the dial can get their radios cheaper? Should we not print the sports section in Newspapers in case you don't like sports. Just use the delete key! Thanks ========================================================================= Date: Tue, 5 Sep 1995 10:42:40 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Playlists.... My private mail has run in favor of the lists, and those posting to the list have expressed a variety of opinions, and many subscribers obviously have no opinion, or just don't care one way or the other. A big concern of mine is to those who do not have access to a delete function, and have to scroll through every post whether they want to or not. Therefore to, try to accomplish something that will work for everyone, I have decided to just announce when a playlist is ready, and anyone who wants to read it can send a private E-mail, and I will send it to them. I hope this will make everyone happy. Thanks, and BLUZ! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Tue, 5 Sep 1995 10:40:09 -0400 From: Tom Freeland Subject: Re: Steven Calt & Attack Mode In a message dated 95-09-05 10:28:41 EDT, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: > >I've wanted to bring this up, but for obvious reasons I'd like PRIVATE >response >unless you think it's OK to discuss on Blues-l. Mr Calt said some very >hateful >(don't know the right words) and accusations abut "certain" people we "know" > >My wife and I were totally shocked at what he said in the Skip James book >about >you-know-who and I'd like to know others opinion of what he said. I'd really >like to hear from those who actually know...Private mail between you and I > >LW 'sorry if this is not proper, I just couldn't believe it" > I know that, for understandable reasons, LW asked for a private response, but this should be said out loud: Calt's Skip James book is mean-spirited, badly written, and, in much of what it says, maliciously false. A careful reader will see on internal evidence that much of the book cannot be true-- Calt states facts only pages apart that are complete contradictions, apparently in efforts to make points (as distinct from telling the reader what happened). Finally, the book is quite literally libelous, and a listmember we know, Dick Waterman, has sued him for libel (this is not a secret-- its public record in that it is a court file in Memphis, TN, and has been noted in the news column of Living Blues). Calt's primary defense is apparently going to be not that the statements about Waterman are true (they aren't) but rather that Waterman is a public figure and must therefore show that Calt's statements are malicious (they are). Calt's liner notes for Yazoo were almost invariably an embarassement connected with otherwise great reissues. His books (the Patton book and then the Skip James book) have been successively worse. I have no idea what the guy is so mad about (apparently he doesn't even know Dick Waterman) but it is clear from his attacks on bluesmen and the blues community (and even, in the Skip James book, on Calt himself) that he is mad about something to the point that he will say anything. And not say it very well. It is truly sad that a figure as complex and interesting as James got this for a biography. Sorry for not staying private, LW, but this seems too important...... Tom Freeland ========================================================================= Date: Tue, 5 Sep 1995 09:45:40 CDT From: L W Subject: Re: Steven Calt & Attack Mode ----------------------------Original message---------------------------- >written, and, in much of what it says, maliciously false. A careful reader >will see on internal evidence that much of the book cannot be true-- Calt >states facts only pages apart that are complete contradictions, apparently in >efforts to make points (as distinct from telling the reader what happened). We found those contradictions, also > Finally, the book is quite literally libelous, and a listmember we know, >Dick Waterman, has sued him for libel (this is not a secret-- its public >record in that it is a court file in Memphis, TN, and has been noted in the >news column of Living Blues). Calt's primary defense is apparently going to >be not that the statements about Waterman are true (they aren't) but rather >that Waterman is a public figure and must therefore show that Calt's >statements are malicious (they are). "Has sued" implies to a non-legal mind like myself, that the case is over. "Is suing" him would mean (to me) that he is in the process. We met Dick in Clarksdale and I can't say Calt is not right...I do find it very hard to believe, cause I'm usually a good judge of people and the feeling that WE got from Dick Waterman was not the same as whats in the Skip James book....Thanks for responding it's been HEAVY on our minds in our household.. LW 'glad we brought it up..." ========================================================================= Date: Tue, 5 Sep 1995 09:56:37 -0500 From: Bruce Roberts Subject: Re: Yes, Anyone Can Dig Rap (VAnilla Ice isnt a rapper because he' > How can you claim to love the music started by AFrican-Americans, and totally > disregard a musical form which shares so much common ground with the reason > this list exists?? IF you dislike it, fine, but dont question its status as > music. So because we like the Blues we're supposed to like every other form of music made by African-Americans? I don't think anyone is questioning rap's status as music, but you can't put it in the league as Blues. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 5 Sep 1995 10:30:12 -4 From: "P.W. Fenton" Subject: Re: Steady ROCKIN Bob Margolin On 5 Sep 95, L W had this to say... > What a disappointent. I thought he played blues, not Chuck Berry tunes with > VERY weak lyrics. He wasn't the worst, James Peterson beat him out for worst. > James is exactly what I thought, "All bark and no bite"..... > > I would rather see TINSLEY ELLIS over Bob Margolin anyday. Bob SUCKED. I would > go see the Muddy Tribute cause there would be some blues. I think the person > next to me summed it up "Bob done got white"....He wasn't talking about color > he was talking about his music taste....SUCKED......As a matter of fact several > people came up and said "You wouldn't want to convene to the "Porch" and you > do the entertaining would you ?." Anytime someone would rather hear me than > the featured act, the featured act sucks. The only other time this has happened > is with "Decaf Keb"......Lil Jimmy Reed was very good, up to a point then it > was all the same... > > THE BEST of the SHOW: last minute fill in for the Homewreckers who canceled > was Elliot (New) and the Untouchables. Elliot New is on the "net" and is from > South Carolina he did well....I liked Lil Jimmy Reed best, but my wife and most > people really dug Elliot....GREAT JOB Elliot New !!....Topper Price sat in on > one tune and upped the intensity 100 %, but Eilliot was doing fine without him > He was just icing on the cake.... > > The MC announced "The best blues guitarist around Steady Rollin Bob Margolin" > GIMME A BREAK he ain't even close.....The only thing I've ever seen that was > this bad was Jr. Wells, Jerry Protnoy, Pinetop's Backup band.."Coolerators" ?? > > > LW LW... what's the point of a post like this? I thought you were a Blues lover. Why are you acting like a 10 year old who's main goal is to enflame people. Do you have anything more informative in your vocabulary than "SUCKED"? > I think the person next to me summed it up "Bob done got > white"....He wasn't talking about color he was talking about his > music taste So "white" = poor musical taste? Who are you trying to offend there? ...and why? > He wasn't the worst, James Peterson beat him out for worst. > THE BEST of the SHOW: last minute fill in for... So is music a "competitive sport" for you? ...where someone is "the best" and the rest "suck"? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 5 Sep 1995 08:09:28 -0700 From: Chris Lesher Subject: RE- Blues Cruise West Coast Leaving from LA area January 28-February 4, 1996 to Puerto Vallarta, Mazatlan and Cabo San Lucas on the Carnival Funship. Scheduled performers: Canned Heat Terrance Simien Rod Piazza & the Mighty Flyers Maria Muldaur Coco Montoya Guitar Shorty Mitch Woods & his Rocket 88's Richard Berry Bright Eyes The Lifters For information call 714.631.0300 ========================================================================= Date: Tue, 5 Sep 1995 10:12:21 -0500 From: Bruce Roberts Subject: Re: Barbecue & Blues > But I wasn't looking to start Barbecue-L. I was looking to explore > the association between Blues & barbecue (and as someone else added - > beer). I think the association has to do with people getting together to have a good time. It could be a gathering on someone's front porch or a house- rent party. There's usually some combination of music, food, and booze. It's a good time to try new songs and for different musicians to play together. I think the Blues is more about having a good time than anything else and what better way to have a good time than a plate full of barbecue, a cold frosty one, and a band playing the Blues... Bruce Roberts Austin, TX ========================================================================= Date: Tue, 5 Sep 1995 10:03:07 CDT From: L W Subject: ----------------------------Original message---------------------------- >LW... what's the point of a post like this? I thought you were a >Blues lover. Why are you acting like a 10 year old who's main goal >is to enflame people. Do you have anything more informative in your >vocabulary than "SUCKED"? I thought sucked fit in this case. No I don't want to enflame people, but I also believe in honesty. I don't want someone to pay hard earned money thinking they are fixing to see a blues guitar player, when what they actually get is is a terrible ROCK show.....I was being honest. I even said I'd go see the Muddy tribute cause I think Bob would play more blues and less ROCK...... >So "white" = poor musical taste? Who are you trying to offend there? >...and why? It has nothing to do with RACE , lemme make that clear. It has to do with havin feeling and soul. I use the term "white" as a musical term to say no soul. Gregg Allman used the exact same term to describe the surf/beach music he used to listen to, he did it on National TV...Don't read something into a WORD > He wasn't the worst, James Peterson beat him out for worst. > THE BEST of the SHOW: last minute fill in for... >So is music a "competitive sport" for you? ...where someone is "the >best" and the rest "suck"? Absolutely not that's why there are no awards like Best Blues Artists or Best Vocals....That's why the Handys and the Living Blues are imaginary... Did you write Living Blues complaing cause they said "so & so" was best player of the year, have you complained to the the Blues Foundation and told them that it's not a contest and it's not right to say so and so was the best guitar player of the year.....Until you do get off my back....I'm a little guy they reach far more people than I do......Sorry If I offened you, I didn't intend to offend. I see no reason to lie about my feelings.... LW 'really sincerely sorry for any offense, but I stand by my comments' ========================================================================= Date: Tue, 5 Sep 1995 10:36:25 -0600 From: Ranko Vujosevic Subject: Satan and Adam in Iowa City Satan and Adam played a gig in Iowa City last Saturday, in front of about 120 people. Now, I've seen many concerts, some of them full of energy, but I have not seen anything like that night. I saw Satan and Adam twice before, but could not compare with what they gave us this time. They played for 2 and 1/2 hours and you know how they PLAY - no much talking - just plain energy and lots of funky beat. Adam said after the gig that he hasn't seen Satan playing with so much energy for a long time. It took Satan good 20 minutes to get up from his chair after the show. He was completely crashed. I got to hang out with these two wonderful guys for 3-4 hours before the show, went together to the student radio (they were guests in the Kyle and Dave's "Blues Explosion" show (both Blues-L members). In dealing with musicians you meet lots of huge egos, but it was quite a pleasent experience meeting these two guys. With this, I fulfilled the goals I had in mind before founding our society, which were bringing Honeyboy Edwards, R.L. Burnside, and Satan and Adam to Iowa City. I am happy these guys turned out to be great people and concerts were just wonderful. Now, if I could just get Otis Rush to come here, but man he is just too expensive for us. Ranko ps. First Winter Folk and Blues Festival in Iowa City is in preparation. Stay tuned. ========================================================================= Date: Tue, 5 Sep 1995 10:40:48 CST From: JBards Subject: Re: Blues & Barbecue For my $.02 worth, Mary's in Nashville, Tenn, across the street from Meharry Medical School is one of the best. Take-out only, and a fresh bun filled with steaming hot chopped barbecue will be handed out the window to you with signature thumb-print in the middle of the fresh white bread. You can go acrossthe street to the liquor store, get a cold one, and consume all of the above sitting on the hood of your car. Life is good... -Jim _______________________________________________________________________________ Subject: Blues & Barbecue From: Linden/Powers at INTERNET-SH Date: 9/4/95 6:02 PM This is a thread that I can really sink my teeth into. (Sorry) If the Blues had a taste, it'd be barbecue. If barbecue had a sound, it'd be blues. I'd lov to get a comprehensive list of Bluezellers' favourite barbecue joints. I have many of them. I'd love to discover more. Thanks, Colin Linden Toronto, Canada ========================================================================= Date: Tue, 5 Sep 1995 08:43:35 -0700 From: Mary Katherine Aldin Subject: Re: Steven Calt & Attack Mode If this helps to relax your mind any, I have known Dick Waterman for 30+ years and I can speak from absolute certainty. I was there *on the spot* in many cases when he was dealing with the musicians he represented, including but not limited to Skip James, as during the mid 60s I worked at a club where his artists often performed. I know Dick personally and very well, and while he does have his eccentricities, and although we have had personal disagreements over the years (as friends will inevitably do), I know that he has always been transparently honest in his dealings with the artists he represented. To suggest anything else is ludicrous. The problem he faced, and the reason he filed the libel suit, is that *while anyone who knows him* can tell you these allegations are not true, the people who read that book for the most part do *not* know him, and will come away believing the stories are true. That's why he decided to file the suit. Btw, do you have any idea how expensive and protracted libel litigation is? It may end up costing Dick literally everything he has to pursue this matter and vindicate his name. But he's determined to see it through. Mary Katherine ========================================================================= Date: Tue, 5 Sep 1995 10:43:33 CST From: JBards Subject: Re[2]: Barbecue & Blues (& beer) For sauce alone JOhnny Harris's in Svaannah is hard to beat. I agree about the chicken, BTW. While chicken may BE barbecued, chicken cannot be "barbecue". I'd vote in favor of the pork position, but arguments may be made, especially in Texas, that brisket is barbecue. -Jim, a fan of all of the above. _______________________________________________________________________________ Subject: Re: Barbecue & Blues (& beer) From: Skipjames@AOL.COM at INTERNET-SH Date: 9/4/95 6:17 PM In a message dated 95-09-04 18:14:11 EDT, toz@IX.NETCOM.COM (Jonathan Duttweiler) writes: > I assume, Paul, you being in the South >(geographically as well as, hopefully, culturally) by barbecue you mean >(I *will* allow this much latitude) pork, chicken or beef This is probably a debate for another list, but consider it part of blues culture: Chicken ain't barbecue. And at least for someone from the east of the Mississippi, beef is pushing it..... I could use a some bbq from Payne's in Memphis, right now. As far as I've been able to tell (having tried Alabama, Mississippi, Tennessee, a little Kentucky, a little Texas, but not the Carolinas) Payne's is the barbecue center of the barbecue center of the universe. Tom Freeland ========================================================================= Date: Tue, 5 Sep 1995 11:56:20 EDT From: Toby Levy Subject: What's the Best Mail Order Place? All you "industry" guys who get the cds flowing in the mails for free can press the "next" button right now, this message is for us poor folk who have to buy all their music. Over the weekend I was pleased to receive a catalog from Strategy Records in the mail. They have the best prices I have ever seen: All Document CDs, all Alligator cds, all BlackTop cds, all Arhoolie cds are $13.99 each. JSP and Wolf are $14.99 each. But the kicker is that these prices INCLUDE shipping and handling! To quote the catalog: "I don't believe in ripping people off with excessive shipping charges - a low price is a low price!" So I ask the quesiton: Does anyone know of a more economical place? I guess I am obligated to announce I have no fiscatory or other reason to support Strategy. Just looking to stretch my blues bucks as far as they will go. And my order for Luther Allison's Blue Streak is in the mail! I can hardly wait. If you want to contact Karl of Strategy Records, you can call him at 1-800-838-7774 or write to him at Strategy Records P.O. Box 517 Bethlehem CT 06751 Tell him you saw it on the Blues-List!!! Toby ========================================================================= Date: Tue, 5 Sep 1995 15:43:39 GMT From: David Alan Hammel Subject: Youngblood/Hendrix Does anybody know anything about some Lonnie Youngblood/Jimi Hendrix recordings in Abtone studios, New York 1966? The tracks in question are Good Feeling, Hot Trigger, and Psycho. I read somewhere that these may not be Hendrix at all, but simply a Youngblood recording. Or does anyone happen to know if any blues players are on two Hendrix tracks entitled Night Life and You Got It? I don't have a date, band or studio/club listed for either. Thanks in advance, da ========================================================================= Date: Tue, 5 Sep 1995 11:28:00 CDT From: Bonnie Kalmbach Subject: RnR Hall 0f Fame tidbit One of the blues history books mentioned often on Blues-L - but I forget which one - says that then Cleveland DJ Alan Freed who (allegedly/falsely) coined the term "rock n' roll" (or more accurately - applied it to the music) had LITTLE WALTER as a featured guest at one of his big bashes/sock hops in the early 50's. -Bonnie the K. (missed St.Louis/crushed by Colorado) "Rock n' Roll is just blues speeded up" - I also forget who said that! ========================================================================= Date: Tue, 5 Sep 1995 12:53:10 -0400 From: Ross Whitwam Subject: Re: Steven Calt & Attack Mode Mary Katherine Aldin wrote: >If this helps to relax your mind any, I have known Dick Waterman for >30+ years and I can speak from absolute certainty. ..... > I know that he has always been >transparently honest in his dealings with the artists he represented. >To suggest anything else is ludicrous. The problem he faced, and the >reason he filed the libel suit, is that *while anyone who knows him* >can tell you these allegations are not true, the people who read that >book for the most part do *not* know him, and will come away believing >the stories are true. > >Mary Katherine Well, if it helps set Mr. Waterman's mind at ease, I *don't* know him personally, nor any of the others Calt discusses in his Skip James and Charley Patton biographies, but by the time the typical reader, such as myself, gets to point where Dick Waterman makes an appearance in Calt's book, Calt has very little credibility left. You just take it for granted Calt is going to make some embittered attack. Just part of the same transparent pattern -- Calt clearly has some axe to grind, but he is never honest enought to reveal what it is. He damages himself, not the recipients of his bile. Calt seems to want to position himself as the Albert Goldman of the blues scene. He seems to come to his subjects from an intial enthusiasm that gets twisted into a weird combination of contempt and defensiveness when he starts to learn about their all too-human weaknesses. His books come across as attempts to punish his subjects for not living up to Calt's vision of them. Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University ========================================================================= Date: Tue, 5 Sep 1995 09:46:05 -0700 From: Corinne Subject: Harvey Mandel Harvey's name came up last week. If you'd to know more about his music, the Jul/Aug issue of Blues Revue has a nice interview with him, and includes a selected discography. Harvey is the master of controlled feedback and amplified sustain. He is the granddaddy of the psychedelic bluesmen. Don't expect to hear standard blues coming from him. His early recordings (Cristo Redentor, Baby Batter, The Snake) are very personal and eclectic. His Latest releases (Twist City, Snakes & Stripes) are more blues oriented, but totally unique and individual. "I don't consider myself a blues play by any means. That's just one aspect of the many thing I do. Although my music is based on blues, I've gone many other places since those days." -HM Harvey Mandel is COMPOSER and guitarist who deserves far more recognition. /Corinne ========================================================================= Date: Tue, 5 Sep 1995 12:46:58 CDT From: L W Subject: Harvey Mandel ----------------------------Original message---------------------------- >Harvey is the master of controlled feedback and amplified sustain. He is the >granddaddy of the psychedelic bluesmen. Don't expect to hear standard blues >coming from him. >personal and eclectic. His Latest releases (Twist City, Snakes & Stripes) >are more blues oriented, but totally unique and individual. >"I don't consider myself a blues play by any means. That's just one >aspect of the many thing I do. Although my music is based on blues, >I've gone many other places since those days." -HM For some reason I had assumed he was "standard/traditional" blues and I just recently listened to Twist City and I have to agree with Harvey himself. He's gone many other places...He's happy , so more power to him.. LW ========================================================================= Date: Tue, 5 Sep 1995 13:01:09 -0400 From: Jerry Zolten Subject: Waterman Having been away from the list all summer, I was surprised to see Calt's slam of Dick Waterman still a subject of discussion. So, along the same logical lines that governed the "50,000 Elvis Fans Can't be Wrong" album, let me add support to the pro-Waterman bandwagon. I, too, worked with Dick years ago when he was at the helm of Avalon Productions and came to know him as totally honest, forthright, but most importantly, respected by the blues artists he represented. I remember chatting with Skip James prior to a concert event and James saying that it was hard to trust people in this managing business. He griped in general terms about being ripped off over the years, but that Dick Waterman was someone he trusted to handle his engagements and negotiations. This same faith in Waterman was echoed by a couple of the other blues artists he represented at the time. On a related note, I remember a time through a misunderstanding when the price we paid was less than Dick had, in his belief, negotiated for an artist. He made a deal that to make up for it, next time out he wanted us to use an up and coming "blues" performer as an opener for one of his main acts. (I think that's how it went) We balked because we couldn't see how a white college girl could hold her own against a blues great. We were, of course, wrong, and glad that we took the chance. As it turned out, Bonnie Raitt with Freebo on bass (and tuba) kicked off the show in style. ========================================================================= Date: Tue, 5 Sep 1995 18:38:09 CST6CDT From: Sara Oxton Subject: Blues Heaven? I was wondering if the Blues Heaven Foundation has a web site. I seem to recall seeing one when the Blues Line was deciding what to do with t-shirt proceeds. Thanks! Sara ========================================================================= Date: Tue, 5 Sep 1995 19:20:37 GMT From: Craig Metrick Subject: Shows in NYC 9/9-11? I will be visiting NYC Sat Nite 9/9 thru Mon 9-11. Can anyone recomend some good venues or particularly good act sthat will be in town those dates. Thanks in advance and perhaps I'll see ya Carig That's Craig ========================================================================= Date: Tue, 5 Sep 1995 14:34:37 -0500 From: Roger Struve Subject: Re: Steven Calt & Attack Mode -Reply Hi, Never did get to buy you that diet soda yet. :-) Methinks this is another occasion where BLUESellers can contribute to the Dick Waterman Defense Fund. Seems like a worthy cause to me. regards, d.d.r. ========================================================================= Date: Tue, 5 Sep 1995 12:40:36 -0700 From: Eric LeBlanc-CISTI Subject: ARHOOLIE RECORDS : new releases (mini-reviews) Here are mini-reviews of the new ARHOOLIE releases : ARHOOLIE 422 : BIG JOE DUSKIN - CINCINNATI STOMP (1977-1978) This is a straight reissue of the 1979 album [F1080] plus 6 extra (unissued) cuts, including "Slidell Blues" - 5 minutes of just voice & piano. 14 of the cuts feature just voice and/or piano with the rest featuring a young Bob Margolin (gtr), Jimmy Johnson (gtr) and the legendary Chicago drummer, S. P. Leary. Fans of Albert Ammons, Pete Johnson & Meade Lux Lewis will like this set. (64 minutes) ARHOOLIE 425 : CHULAS FRONTERAS & DEL MERO CORAZON - SOUNDTRACK The soundtrack from 2 TEX-MEX musics films directed by Les Bank, now available one VHS or PAL video cassette. Legends like Flaco, Santiago & Santiago Jr. Jimenez, Narciso Martinez, Lydia Mendoza are featured. If you're new to this music, this is a great introduction. (78 minutes) ARHOOLIE 429 : ELDER ROMA WILSON - THIS TRAIN (1948,1994) I tell you, leave it to ARHOOLIE to do it right. Here's an 84 year old harmonica gospel player/singer, who just now being (re-) discovered. His rare 1948 JVB Recordings (6) titles) are all included along with new 1994 recordings. If you've ever wondered how 3(!) harmonicas sound together, give this a listen. A must for gospel/blues fans! And yes, ARHOOLIE pays royalties! (69 minutes) ARHOOLIE 436 : CALIFORNIA CAJUN ORCHESTRA - NONC ADAM TWO-STEP Here we have 1994 recordings by this hot West Coast cajun band featuring Louisian-born creole accordianist & singer, Danny Poullard. The repertiore is pure cajun, taken from the works of Amede Arboin, Rodney Balfa, Boozoo Chavis, Joe Falcon, Shorty LeBlanc (no relation :-)), Ivy LeJeune, and Aldus Roger. (68 minutes) ARHOOLIE 437 : THE MADDOX BROTHERS & ROSE - V. 2 (1947-1951) Fans of V. 1 (CD 391) will know what to expect from "America's Most Colorful Hillybilly Band" - 30 more cuts (8 unissued) from their first recordings, a mixture of blues, boogie, folk & oldtimey western. Reissued with the help of Roseea Arbana "Rose" Maddox. (77 minutes) ARHOOLIE 441 : FRED MCDOWELL - THIS AIN'T NO ROCK 'N' ROLL (1968/69) This is a straight reissue of the "Fred McDowell & His Boys" album [F1046] plus 10 extra (unissued) tracks taken from a completely new (to me) March 1968 session. 5 of the cuts feature a drummer, so fans of the famous Capitol album "I Don't Play No Rock 'n' Roll" (soon to be on CD) - recorded 3 months after this set - should take note. (77 minutes) ARHOOLIE 7006 : SEXTETOS CUBANOS - V. 2 (1926-1928) Along with V.1 (CD 7003), here we have 24 more examples of this afro-cuban "rhumba"-type music. It's quite infectious, especially the four 1927 cuts by SEXTETO NACIONAL, featuring wonderful 3 part harmonies. (77 minutes) "UNCLE" eRIC "I saw Son House in about 1970 and he was on his last legs then! The story told of him was that he got out of the train at Edinburgh Waverley and looked up at the castle and said "MY, that's a big church...."" ~ private e-mail, Lindsay Marshall, (0ctober 20, 1994) ========================================================================= Date: Tue, 5 Sep 1995 11:34:00 CDT From: Bonnie Kalmbach Subject: Re: Dan Penn & Spooner Oldham >Someone told me that Dan Penn amd Spooner Oldham were playing in St. Louis >in early Sept., does anyone know for sure amd where? Cat > >Catbauer@vivanet.com They were advertised as being at the St. Louis Blues Heritage Festival last weekend. But when I called the info number to see who was playing on what day, the young woman reading off the list didn't mention them. Did anyone at St. Louis see them? (How about Big George Brock, Big Bad Smitty, Bennie Smith, the Hi Records folk tell me please - I want to know...) -Bonnie ========================================================================= Date: Tue, 5 Sep 1995 15:43:00 -0500 From: "Henry Busse Jr." Subject: Birthdays 9/6/95 Name:MALACHI, JOHN Born:1919 RED SPRINGS, NC Died:02 / 11 / 1987 WASHINGTON, D.C Age:68. Occupation: PIANO Worked With:TRUMMY YOUNG / BILLY ECKSTINE Style:JAZZ / BIG BAND Name:REED, JIMMY (JAMES REED) Born:1925 DUNLEITH, MS Died:08 / 29 / 1976 OAKLAND, CA Age:50 Occupation:SINGER / HARMONICA / GUITAR Worked With:EDDIE TAYLOR Style:BLUES BLUES FOUNDATION HALL OF FAME 1980 / ROCK & ROLL HALL OF FAME 1990 Name:SCHLINGER, SOL Born: 1926 NEW YORK, NY Occupation:BARITONE SAX Worked With:TOMMY DORSEY / JIMMY DORSEY / CHARLIE BARNET / BENNY GOODMAN / NEAL HEFTI / SAUTER-FINEGAN / AL COHN / PHIL WOODS Style:JAZZ / BIG BAND Name:THORNTON, CLIFFORD ( CLIFFORD EDWARD III ) Born: 1936 PHILADELPHIA, PA Died:??/??/1989 PHILADELPPHIA, PA Age:53 Occupation:TROMBONE / TRUMPET Style:JAZZ Name:WHITE, ANDREW ( NATHANIEL III ) Born: 1942 WASHINGTON, D.C. Occupation:TENOR SAX Worked with:FIFTH DIMENSION / WEATHER REPORT / ELVIN JONES Style:JAZZ / ROCK Name:RANN, BOB ( ROBERT R. RANN ) Born:1936 BERWYN, IL Occupation: TUBA Worked With:1954-57 Salty Dogs Jazz Band /1956 Turk Murphy Jazz Band 1966 South Frisco Jazz Band / Kid Ory's Band / Louis Armstrong & his All Stars / George Lewis' Band / Bay City Jazz Band / Uptown Lowdown Jazz Band Sty le:TRAD ========================================================================= Date: Tue, 5 Sep 1995 16:57:20 -0400 From: Tom Morgan Subject: Playlist: Labor Day Salute Here is the playlist from yesterday's show. Since it was Labor Day here in the US, I decided to put together a theme show in which all the songs were about some kind of profession. Title Group Year Label -------------------- -------------------- ---- -------------- Every Man To His Own Jordan, Louis 47 Juke Box Lil Profession Juice Head Bartender Big Three Trio 52 Columbia You're The Doctor Davis, Martha 51 Juke Box Lil Oh Ambulance Man Memphis Jug Band 30 Yazoo Police Cole, Eddie 50 Krazy Kat My Attorney Bernie Frishberg, Dave 82 Omni Sound Bartender's Just Gaillard, Slim 47 Verve Like A Mother, The But Officer Solomon, King OKeh Charlie Was A Sailor Hampton, Lionel 40 Bluebird Barnacle Bill The Jordan, Louis 38 Contact Sailor Three Ball Sam (the Traylor, Pearl OKeh Pawnshop Man) Hey Mr Landlord Witherspoon, Jimmy 47 Route 66 Call The Police Cole, Nat King 41 MCA Hey Bartender Give Williams, Joe OKeh That Man A Drink Hair Dressin Women Big Maybelle 54 OKeh Big Boss Man Reed, Jimmy Vee Jay Gas Station Man Boyack, Pat 94 Rounder Rockin Is Our Treniers 94 Edsel Bizness Hatchet Man, The Robins Rhino Please Mr Johnson Cadillacs 59 Dr Horse House Cleaning Spaniels Charly Call A Doctor Crows 53 Murray Hill Elevator Operator Sheppards Solid Smoke Bad Detective Coasters Rhino C Percy Mercy of Marathons Ace Scotland Yard Shopping For Clothes Coasters Rhino Chicken Spaceman Marathons Ace Laid Off Esquerita Official Ice Man, The Bartholomew, Dave 54 Imperial Please Mr Jailer Carr, Wynona 56 Ace Taxi Blues Treniers 52 Edsel Working in the Coal Dorsey, Lee Charly Mine Fortune Teller Spellman, Bennie Bandy Hey Western Union Butler, Jerry Mercury Man Chain Gang Cooke, Sam Premier Tips Pfister Sisters 85 Great Southern ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Tue, 5 Sep 1995 09:23:51 -0700 From: Corinne Subject: Tommy Castro It's time to toot this guy's horn. The Tommy Castro Band is local to the Bay Area. He won't be for long. He plays straight blues, is a wonderful guitarist, has a great voice. He's backed by a bass guitarist, sax player and drummer. He prefers dance blues, but can sing and play ballads just as well. He has one CD out, a collection of live recordings done at The Saloon (if you'd like a copy, contact me....). He's just signed a three-record deal with Blind Pig Records. His second CD will be out in January and in February the band goes on tour. Keep a lookout for him. The second CD will include a killer song he's been playing at the local clubs, "Had Enough (of the blues)". This song makes even the die-hard, bar-hugging beer drinkers get up and dance. /Corinne ========================================================================= Date: Tue, 5 Sep 1995 17:27:15 -0400 From: James Leftwich Subject: Re: Steven Calt & Attack Mode Hey, This may be prying a bit but would one of you be willing to tell us what was so inflammatory? Jim ========================================================================= Date: Tue, 5 Sep 1995 14:38:00 -0700 From: Ned Kraft Subject: Tommy Castro I'll second Corinne on Tommy Castro - he puts on a good live show. Bring earplugs if you want to sit front and center - his amp can be cutting. I think the die hard bar huggers are whiskey drinkers though. Ned a.k.a. hoosier.daddy@rockhouse.com ========================================================================= Date: Tue, 5 Sep 1995 22:20:54 GMT From: Rennie Selkirk Subject: Re: Geoff Muldaur(also Koerner, Glover, Ray) In article <950815155517_75280545@aol.com> Jinxblues@AOL.COM writes: >.... Bonnie Raitt listened the grooves right off of that sucker > [Runnin' Jumpin' Standin' Still by Spider John Koerner and > Willy Murphy] and covered I Ain't Blue" on her first > album which Willy produced. > >dick waterman Wasn't Snaker Dave Ray also involved in Bonnie's first LP? Perhaps as recording engineer? Done in some summer camp in northern Minnesota if memory serves. Rennie Selkirk ========================================================================= Date: Tue, 5 Sep 1995 15:23:19 -0700 From: Mary Katherine Aldin Subject: Re: Blues Heaven? You wrote: > >I was wondering if the Blues Heaven Foundation has a web site. I seem to >recall seeing one when the Blues Line was deciding what to do with t-shirt >proceeds. > >Thanks! >Sara > Not a web site yet that I know of, but they are online at BluesHvn@aol.com Mary Katherine ========================================================================= Date: Tue, 5 Sep 1995 17:42:00 CDT From: Paul Garon Subject: Calt and Waterman If I may throw a little cold water on this romance: I don't even know Dick Waterman, and I've never liked Calt, as is clear from a number of my writings. Yet I'm not the only person in the blues community--although I am apparently the only one on this list--who was deeply disappointed by the news of Waterman filing suit against Calt and DaCapo. Many blues fans, blues scholars, and blues journalists feel that when you are attacked in print, you attack back in print, or ignore it, and that trying to settle such matters by law suit introduces a sickening (but not unfamiliar) precedent in blues matters. I know Dick is well-liked and probably deservedly so, but I think that talk of a defense fund is way out of hand! How about a "free speech" defense fund? Or are we all given to say, "I'm for free speech, BUT...." Further, I think we are going overboard describing someone who is seeking $3 million dollars as a hero "determined to see it through." He's risking "everything he owns" to get $3 million, although the heroic version is he's doing it "to clear his name." I'm one of those who departs drastically from the heroic version. I've NEVER heard of a libel suit that I didn't think was sleazy. Ever! Even now! Calt was sleazy, all right, but for many of us, he's being fought with something just as sleazy, a libel suit. A community of scholars????!!!! "If a man didn't ever study, awww, he wouldn't have no blues." Yank R. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Tue, 5 Sep 1995 18:24:28 +0000 From: Ian Angus Subject: Motor Scooter Ever have a sudden insight of the "Why didn't I realize that before? variety. I did, yesterday. I was preparing the playlist for my show, and I was trying to pick a Roosevelt Sykes song. I played "Kickin Motor Scooter" and suddenly realized: All those blues references to someone being a "mean Motor Scooter" and the like REALLY mean the same as ... Dirty Red or BB King singing: "dirty Mother Fuyer" Zora Young singing: "Mean Mama Jama" Sticks McGee and others singing "Spo Dee O Dee." I'll never be able to say Motor Scooter with a strauight face again. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 5 Sep 1995 18:24:28 +0000 From: Ian Angus Subject: Blue Soul Playlist If you don't like playlists, please hit delete now .... Here is the Playlist for BLUE SOUL, CKLN-FGM, 88.1, Toronto, for September 6. I'm hosting this week. As you'll see, the emphasis is on piano blues. BB King: I Gotta Move Out of this Neighborhood Paul James Band: Lazy Crazy Blues T Bone Walker: Too Lazy John Brim: Going Down Slow Willie Mabon: Seventh Son Colin Linden: Singing this Song Colin James: Three Hours Past Midnight Professor Longhair: Ball the Wall Huey Piano Smith: Rockin Pneumoni & Boogie Woogie Flu Ivory Joe Hunter: Rocking Chair Boogie Lloyd Glenn: Fat Meat and Greens Amos Milburn: After Midnight Doc Fungers: Cakewalk Saffire: Baby I'm Wise Katie Webster: Two Fisted Mama Booker T. Laury: Slop Jar Story / Disco Strut Roosevelt Sykes: Kickin Motor Scooter Big Moose Walker: Would You Baby Lovie Lee: Lovie's Boogie Ray Charles: What'd I Say Shirley Horn: Hit the Road Jack Otis Spann: The Blues Never Die Earl Hooker: Blue Guitar Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 5 Sep 1995 18:24:28 +0000 From: Ian Angus Subject: Re: Rock'n'Roll Hall of Fame "Why Cleveland?" Notice that it is "rock and roll" we are talking about, not the various cities where blues, r&b and other great pre-rock musics were created. And if the dividing line between blues/r&b on side and R&R on the other is its mass appeal to white teenagers., then Cleveland has a strong claim to it. --The term r&r was first used as a generic term for this type of Music by Alan Freed, in a Cleveland radio show which had a predominantly white audience. The term itself is much older, but this particular *meaning* is important. --The first big r&r concert -- r&b artists playing for white teenagers -- was in Cleveland. Organized by Freed. And, of course, there is the fact that civic officials in Cleveland have been organizing and fundraising for this thing for YEARS, while the other "birthplaces" have done little or nothing. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Tue, 5 Sep 1995 22:50:24 GMT From: Rennie Selkirk Subject: Re: OHSC In article Jacquelin Katz writes: > What does OHSC stand for? All that comes to mind for me, the >electrically challenged, is Overhead Single Cam. OHSC = original hard shell case ========================================================================= Date: Tue, 5 Sep 1995 23:03:54 GMT From: David Goldstein Subject: Blues & Barbecue I have the opportunity to travel around the country, and the best barbecue that I have come across is: Damon's - Columbus, OH Harold's - Atlanta, GA Now, these are ribs in OH, and smoked pork and beef at GA. Regionally, there are more good barbecue places (smoked meats) in Dallas and Houston as far as my tastebuds are concerned. As I recall, the reason that I may have enjoyed Harold's so much was that I had a portable player with Mourning In The Morning playing while I was dining. It was also in a place in Atlanta that would have been too dangerous to be at night for me. I ate at a place called Michelbob's in Naples, FL which had banners all over the dining room which claimed 1st place in over 30 cookoffs around the country, and although the ribs came off the bone perfectly, without shredding and without any carbonization, the taste was just OK to me. ========================================================================= Date: Tue, 5 Sep 1995 17:43:59 CDT From: L W Subject: Calt and Waterman ----------------------------Original message---------------------------- >deeply disappointed by the news of Waterman filing suit against Calt and DaCapo Haven't you had some stuff published by DaCapo................? >I know Dick is well-liked and probably deservedly so, but I think that talk >of a defense fund is way out of hand! How about a "free speech" defense >fund? Or are we all given to say, "I'm for free speech, BUT...." Well it's fact WE do not have free speech. I just read the other day that one of the police officers involved in the OJ case used the N word....If we had free speech there would be no reason to even mention that.....Free Speech has been lone gone....Just ask Wedowee residents I agree on the defense fund, I thought it was said in humor....? I think in some cases punishing someone can send a message. If Waterman were to win, then Calt would be less likely to trash the next person....Could be you....You never know....If someone wrote a book and said I cheated someone or stole someone's money, treated someone "sub human"...You damn right I would sue for everything the fellow had. I wouldn't do it for the money, I don't worship money....If you think money is the answer, you have the wrong question... I don't blame Dick and if Free Speech really existed I would agree with Mr Garon....We can't even fly a confederate flag here in Alabama, No such thing as free speech........ LW 'with all due respect to Paul & Beth Garon" ========================================================================= Date: Tue, 5 Sep 1995 23:03:38 GMT From: Lucy Dueck private account Subject: Ronnie Earl's schedule Could someone in the know please post Ronnie Earl's upcoming performance schedule for September & October? Thanks. ========================================================================= Date: Tue, 5 Sep 1995 23:05:46 GMT From: Lucy Dueck private account Subject: King Biscuit Festival - Helena, Arkansas Could someone please post the lineup and other details for the King Biscuit Festival in Helena, Arkansas, held in early October? Thanks. ========================================================================= Date: Tue, 5 Sep 1995 23:31:01 GMT From: Curtis Hewston Subject: Re: Barbecue & Blues On Mon, 4 Sep 1995 11:29:51 -4, you wrote: >The connection between the Blues and barbecue. Red, Hot & Blue in Jackson, Mississippi. It's a chain, but great BBQ, and the walls are covered with outstanding Delta blues memorabilia. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 5 Sep 1995 16:57:14 -0800 From: Don Cicchetti Subject: Re: Calt and Waterman Paul Garon said: >I'm one of those who departs drastically from the heroic version. I've NEVER >heard of a libel suit that I didn't think was sleazy. Ever! Even now! Calt >was sleazy, all right, but for many of us, he's being fought with something >just as sleazy, a libel suit. This view equates seeking redress for slander with the orginal act of slander. Do you think this is fair? Do you really think "free speech" includes slander? Slander and libel have NEVER been legally protected speech in this country. In other words, if slander/libel is not protected speech because it is an attack on the good name and character of the victim of that speech, and the law recognizes the right to seek redress, it becomes grossly unfair for you to equate the two, especially with so few facts in hand.... Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 5 Sep 1995 21:05:42 -0400 From: Clint Pulley Subject: Re: Love is definitely strange Ian Angus wrote: > > Jeff J wrote: > > My girlfriend has been driving me nuts for months with this: "What's the > > tune on the flip side of Mickey and Sylvia's 'Love is Strange?'" > > > I believe it was "I'm Going Home" Absolutely correct! > > I'd like to claim I remembered this without help. but my source is > the discography in the booklet accompanying the Bear Family 2CD set > called Love is Strange. My source is even more authoritative - an original, dusty 45 from my "haven't played it in years but can't bear to throw it out" collection. Clint (aka PackRat ;) -- Clint Pulley, Head of Computer Services National Water Research Institute, Environment Canada (905) 336-4930 Canada Centre for Inland Waters, Burlington, Ontario Minds are like parachutes. They only function when they are open. -James Dewar ========================================================================= Date: Wed, 6 Sep 1995 01:06:44 GMT From: Art Schuna Subject: Re: Calt and Waterman In article Paul Garon writes: >Many blues fans, blues scholars, and blues journalists feel that when you >are attacked in print, you attack back in print, or ignore it, and that >trying to settle such matters by law suit introduces a sickening (but not >unfamiliar) precedent in blues matters. Some time ago I picked up a copy of Calt's Skip James book at a used bookstore (no royalties to the author that way). Just never got around to reading it until tonight. After this discussion, I picked out the Dick Waterman sections from the index and read them to judge for myself. I don' t know much about Dick except for the posts he's made recently to this list. It seems in reading this that the comments go way beyond fair and certainly would seem to qualify as libel (I'm no attorney so can't say I'm an expert). Calt can say what he wants about Skip - the poor man's not around to defend himself and not in a condition to care at this point in his career. On the other hand, Dick is still with us and still scratching around to make a living at doing whatever it is that he does. The comments in this book might make someone think twice about hiring him as a manager, booking agent or even photographer as I recall from my read. To the extent that this book could be injurious to his career, it would seem reasonable that he should seek redress and should be entitled to it. The unfortunate thing is that this book is now out there, bought by 100s to 1000s of people. It was probably purchased by many schools and libraries and everyone will know Dick Waterman for the portrait of him in this unfortunate biography. No attack in print is going to change that... too many people would never see anything in print. You won't see letters to the editor in blues magazines (unless they report on the outcome of the lawsuit), even if they were published most people wouldn't have the same access to them they will from a bound volume that sits on a library shelf. Why, even long after it's long out of print, copies will probably be offered at Paul Garon's book store. Is what's printed really a $3 million lawsuit? That's hard for me to judge, but given that Dick is in a business that depends very much on reputation and of course you probably have to pay the lawyers $1 mill, that may not be too far off. >Calt was sleazy, all right, but for many of us, he's being fought with something>just as sleazy, a libel suit. >A community of scholars????!!!! It would seem that when something presented as fact is this far off base that it would be hard to count Mr. Calt among that community of scholars. There needs to be a way to hold people accountable for intentional misrepresentation of fact, particularly when it has the potential to seriously affect their career. Art Schuna ========================================================================= Date: Tue, 5 Sep 1995 21:05:00 -0400 From: Tommy Rape Subject: Re: Question about M.J. Hurt/Avalon Blues Another good Mississippi John Hurt album is "The Best of Mississippi John Hurt" from Vanguard Records. It is a live recording at Oberlin College in 1965 and has the best album cover of all time. He does a great version of "Make Me a Pallet on the Floor". Make me a pallet down soft and low Make me a pallet on your flo' ========================================================================= Date: Tue, 5 Sep 1995 18:13:12 -0700 From: Carol Ayres Subject: Washington DC Blues To Catch I'm going to be in the Washington DC area Thursday (9/7) through Tuesday (9/12). I'm planning on going to the DC Blues Fest on Saturday. I'm looking for suggestions as to clubs/acts to catch while I'm there. I know Deana Bogart is from that area, does anyone know if she'll be playing anywhere nearby that weekend? Thanks! - Carol ========================================================================= Date: Wed, 6 Sep 1995 01:40:46 GMT From: "Linda L." Subject: Re: Chris Duarte SF concert OK, everyone, you're right. I *did* mean to say in my original post that Chris was not really "bluesy," and therefore if you are a "blues only" person I could understand not liking him. But I was so carried away with how much I liked him I forgot that part.... thanks for being relatively polite ... Linda -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Tue, 5 Sep 1995 19:10:23 -0800 From: Michael Hewitt Subject: Tommy Castro I'll side with Corinne and Ned when it comes to Tommy. He is outstanding and one to keep an eye on. Another favorite from the Bay Area is Johnny Nitro. I nearly died laughing (a good thing) at his singing "I'm having trouble with my girlfriend...that trouble is my wife." Johnny also has a couple of cd's out, but as far as I know I've only seen them available at The Saloon in San Francisco. Maybe one of you SF locals will know of other avenues for them. "Keep drinkin' triples till your seein' double and feelin' single" - J. Nitro Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Tue, 5 Sep 1995 21:52:44 -0500 From: Rob Varak Subject: Re: Calt and Waterman Free speech is wonderful, but to deny that damage can result from hateful, false or malicious speech is naive in the extreme. There are valid reasons that libel is difficult to prove, especially for public figures. On the other hand, merely chanting "free speech" and opening the floodgates is utterly irresponsible. Libel suits serve an important and useful function. Paul, I understand your position, but it should be noted for the sake of fairness that you are in the book business. Rob PS OBC: Any reviews of the BB King Extravaganza in Chicago. They were giving tix away. Wish I could've made it! Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 5 Sep 1995 23:48:34 -0600 From: Tom Rossen Subject: Re: Charlie Patton >> Anyone out there know much about the life and times of Charlie Patton?? How >> did he die?? > There's an art comic (I think you'd call it that - one of those slick cardboard-covered things) by Robert Crumb about the blues and a longish story devoted to Charlie Patton in it. This is not the insanely weird Crumb, but the reverent-in-the-presence-of-great-music Crumb. Worth a look. Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 6 Sep 1995 04:42:30 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 6th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELOW, FRED (d/CHESS REC) b. 1926-0906, CHICAGO, IL BENSON, AL (ARTHUR B. LEANER) (prod/dj) d. 1978-0906, BERRIEN SPRINGS, MI 70 BOLDEN, CHARLES JOSEPH "BUDDY" (cnt) b. 1877-0906, NEW ORLEANS, LA BROOKS, SHELTON (songw) d. 1975-0906, LOS ANGELES, CA 89 DARBY, IKE BIG (v/prod) d. 1988-0906, MOBILE, AL 54 DELMORE, LESTER "PICK" (d/LARRY GARNER) b. 1953-0906, NEW ORLEANS, LA FOGERTY, TOM (of CREEDENCE CLEARWATER) d. 1990-0906, SCOTTSDALE, AZ 48 JOHNSON, VERNARD (asax/gospel) b. 1948-0906, KANSAS CITY, KS LETMAN, JOHNNY (tpt/TINY GRIMES) b. 1917-0906, MCCORMICK, SC LITTLE HUDSON (HUDSON SHOWER) (g) b. 1919-0906, ANGUILLA, MS MALACHI, JOHN (p/arr) b. 1919-0906, RED SPRINGS, NC MONTGOMERY, EURREAL "LITTLE BROTHER" (p) d. 1985-0906, CHICAGO, IL 79 ORTA, PAUL (hca) b. 1957-0906, TX OWENS, JAY (g/CODE BLUE REC) b. 1947-0906, LAKE CITY, FL REED, JIMMY (g/hca/songw) b. 1925-0906, DUNLEITH, MS ROSE, BILLY [WILLIAM S. ROSENBERG](songw) b. 1899-0906, BRONX, NY SYLVESTER (SYLVESTER JAMES) (v) b. 1946-0906, LOS ANGELES, CA WARREN, BILL (v/JUMP JACKSON) b. 1930-0906, CLAYTON, AL WHITE, ANDREW (tsax/ssax) b. 1942-0906, WASHINGTON, DC WILLIAMS, LEON "POP"(ofTHE WILLIAMS BROS) d. 1989-0906, MCCOMB, MS 79 WILSON, EDITH GOODALL (v/DELMARK REC) b. 1896-0906, LOUISVILLE, KY WILSON, TOM (arr/prod/DYLAN) d. 1978-0906, LOS ANGELES, CA 47 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 6 Sep 1995 09:57:00 BST From: Mr P R Munro Subject: Due South - The Sidemen Hi I was watching 'Due South' on the telly last night and they had song in the background that I really liked. Missed what the title was but it was by a band called The Sidemen. Anybody know anything about this band? Also does anyone know of a soundtrack album for the series 'cos they've had quite a few good songs as incidental music? I've tried a couple of the major stores but with no luck. On a different note.. If you are going to have a pop at someone for using the term 'sucked' you probably shouldn't use the 'word' enflame. Assuming you mean rouse up, incite, it should really be inflame. Enflame ain't(!) in my dictionary but maybe it's one of those cute colonial words!! Enflamingly yours. Pete ========================================================================= Date: Wed, 6 Sep 1995 07:03:49 -4 From: "P.W. Fenton" Subject: Re: Due South - The Sidemen On 6 Sep 95, Mr P R Munro had this to say... > On a different note.. > > If you are going to have a pop at someone for using the term 'sucked' you > probably shouldn't use the 'word' enflame. Assuming you mean rouse up, > incite, it should really be inflame. Enflame ain't(!) in my dictionary but > maybe it's one of those cute colonial words!! > > Enflamingly yours. > > Pete > Ahhh, what could a Brit know about talkin' American? They put three syllables in MILITARY, and 5 syllables in ALUMINUM ;^) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 6 Sep 1995 11:17:43 +0000 From: Pat Hertel Subject: Re: Rock'n'Roll Hall of Fame > > --The term r&r was first used as a generic term for this type of > Music by Alan Freed, in a Cleveland radio show which had a > predominantly white audience. The term itself is much older, but this > particular *meaning* is important. > Correct me if I'm wrong but didn't Freed also "invent" payola? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/9/95 7:10 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Sep 1995 07:27:04 -0400 From: CATBAUER Subject: Keb' Mo' On the BlueHighway Just a reminder that Sept. 6, Keb' Mo' and several of the other artists on the Okeh label will be online tonight to chat. Visit Muddy's Cabin (photo, courtesy of Denise Tapp, Can you see Charlie Musslewhite peeking out the door?) at 9pm eastern to say "Hi." The Blues Highway http://www.vivanet.com/~blues Curtis@magicnet.net Catbauer@vivanet.com ========================================================================= Date: Wed, 6 Sep 1995 11:29:58 +0000 From: Pat Hertel Subject: Re: Due South - The Sidemen On Wed, 6 Sep 1995, Mr P R Munro wrote: > Hi > > I was watching 'Due South' on the telly last night and they had song in the > background that I really liked. Missed what the title was but it was by a > band called The Sidemen. Anybody know anything about this band? Also does > anyone know of a soundtrack album for the series 'cos they've had quite a > few good songs as incidental music? I've tried a couple of the major stores > but with no luck. > The Sidemen is a band from Toronto, Canada. They have two CDs The first (The Sidemen) is an "indie" the second (When The Sun Goes Down) was produced by Joe Louis Walker (Walker is also on one of the cuts) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/9/95 7:10 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Sep 1995 07:14:26 +0000 From: Ian Angus Subject: Re: Due South - The Sidemen Mr P R Munro said .. > I was watching 'Due South' on the telly last night and they had song in the > background that I really liked. Missed what the title was but it was by a > band called The Sidemen. Anybody know anything about this band? Also does > anyone know of a soundtrack album for the series 'cos they've had quite a > few good songs as incidental music? I've tried a couple of the major stores > but with no luck. I didn't see the show, but since this is a Canadian-made show, I assume this is the Toronto band called The Sidemen. They have a CD which was produced by Joe Louis Walker available, but it doesn't have much distribution. To contact them: Sidemen, 51 Bulwer St, Toronto, Ontario, M5T 1A1. Tel: 416-977-9859. Fax 416-977-8700. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 6 Sep 1995 12:55:00 BST From: Mr P R Munro Subject: Language (little blues content, well none actually) P.W. Fenton said >Ahhh, what could a Brit know about talkin' American? They put >three syllables in MILITARY, and 5 syllables in ALUMINUM ;^) The only decent words the Americans have introduced into the English(hate to call it that 'cos I'm half Scots) language are the 3 B's, basketball, baseball and BLUES! The UK and the US 2 countries divided by the same language. P. ========================================================================= Date: Wed, 6 Sep 1995 12:08:05 +0000 From: Pat Hertel Subject: English usage lesson #2 On Wed, 6 Sep 1995, P.W. Fenton wrote: > On 6 Sep 95, Mr P R Munro had this to say... > > > On a different note.. > > > > If you are going to have a pop at someone for using the term 'sucked' you > > probably shouldn't use the 'word' enflame. Assuming you mean rouse up, > > incite, it should really be inflame. Enflame ain't(!) in my dictionary but > > maybe it's one of those cute colonial words!! > > > > Enflamingly yours. > > > > Pete > > > Ahhh, what could a Brit know about talkin' American? They put > three syllables in MILITARY, and 5 syllables in ALUMINUM ;^) > Ahhh what would an Amerikanski know about the Queen's English. They've come up with abominations like "nite" and mispell "colour" all the time. They can't spell "inflame" either ;) In England a "lootenant" is a guy that takes care of the toilets :):):) phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/9/95 8:01 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Sep 1995 08:17:30 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Barbecue & Blues In a message dated 95-09-06 07:36:03 EDT, Curtis Hewston wrote: >Red, Hot & Blue in Jackson, Mississippi. It's a chain, but great BBQ, >and the walls are covered with outstanding Delta blues memorabilia. > > After a couple of places in Memphis, I'd have to agree with Red Hot and Blue. When I visited Waldoxy Records last year, Paul Lee and Tommy Couch Jr. took me there, and I literally "pigged out". Also, at the Red Hot and Blue in Louisville Ky, with AOL's HippieLady (Bev Howell), the BBQ was just as good. Of course Payne's in Memphis still outshines all of the rest, followed closely by a little BBQ joint on Summer and Graham called Bryants. Bluz!(and BBQ's) Bluzman Ed aka Ed Tremewan ========================================================================= Date: Wed, 6 Sep 1995 12:24:31 GMT From: Lucy Dueck private account Subject: Re: Due South - The Sidemen The Sidemen are an upcoming ~Toronto band with a recent album out produced by Joe Louis Walker (& on which Mel Brown plays some keyboards). ========================================================================= Date: Wed, 6 Sep 1995 08:40:06 -0400 From: Greg Kimbell Subject: Barbecue & Blues (& beer) (Dinosaur BBQ, Syracuse, NY) The best connection between Blues and Barbeque can be found at the Dinosaur BBQ in Syracuse, NY. They have live blues (almost) every night without a cover charge, except for the bigger national acts on Sundays (showtime at 8:00 pm). It's a real down home place where the townies, the students, the biz people, and the bikers drop any and all pretensions over great food and great music. Greg ========================================================================= Date: Wed, 6 Sep 1995 12:34:48 GMT From: Lucy Dueck private account Subject: Re: Barbecue & Blues You want REAL barbeque?! There's no better place than Texas, often one joint in every little country town. Just ask a local in Austin , for example, which their favorite is! ========================================================================= Date: Wed, 6 Sep 1995 12:43:44 GMT From: Lucy Dueck private account Subject: Booking agent contact Could someone email me privately the FAX number for booking agent David Hickey? Thanks. ========================================================================= Date: Wed, 6 Sep 1995 10:24:10 -0230 From: Alex PEnney Subject: b b king fan club does anybody know the address of the b. b. king fan club or if indeed there is one? ========================================================================= Date: Wed, 6 Sep 1995 09:00:10 -0400 From: Steve Levine Subject: Re: Blues & Barbecue Red Hot and Blue (a chain in the DC area which I think first opened in Arlington) is a good one. They have blues, rock and r&b memrobelia on the walls and usually play blues cds. The one in Laurel, MD used to have a cool jukebox with 45s but they got rid of it a couple of years ago. ========================================================================= Date: Wed, 6 Sep 1995 08:06:31 CDT From: L W Subject: Re: Due South - The Sidemen ----------------------------Original message---------------------------- On 6 Sep 95, Mr P R Munro had this to say... > On a different note.. > > If you are going to have a pop at someone for using the term 'sucked' you > probably shouldn't use the 'word' enflame. Assuming you mean rouse up, > incite, it should really be inflame. Enflame ain't(!) in my dictionary but > maybe it's one of those cute colonial words!! With all due respect to both of you. I agree with Paul, my use of the word "sucked"....sucked..ooops...I mean it was a terrible choice of words and I apologize to anyone I offended, seriously LW 'good guy with a bad mouth :-)' ========================================================================= Date: Wed, 6 Sep 1995 15:10:53 +0200 From: Peter Gallagher Subject: Taking a vacation :-) :-) I'm off to Dublin for two weeks holidays as of Saturday. So I'll be going "no-mail" or "digest" before the end of the week. I will, of course, still be receiving private e-mail. Any bluezellers (native or otherwise) like to meet for a pint? Slainte! PeterG "Well I believe I'll go down to Dublin..." --Muddy (well, sort of ;) ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Wed, 6 Sep 1995 08:09:23 CDT From: L W Subject: Re: Rock'n'Roll Hall of Fame ----------------------------Original message---------------------------- > > --The term r&r was first used as a generic term for this type of > Music by Alan Freed, in a Cleveland radio show which had a > predominantly white audience. The term itself is much older, but this > particular *meaning* is important. > > Correct me if I'm wrong but didn't Freed also "invent" >payola? Now that you mention it Didn't he co-write Ida Mae (aka Mabylene (sp)) :-) LW ========================================================================= Date: Wed, 6 Sep 1995 12:45:35 +0000 From: Martin Adamson Subject: Re: Calt and Waterman > > I don't even know Dick Waterman, and I've never liked Calt, as is clear from > a number of my writings. Yet I'm not the only person in the blues > community--although I am apparently the only one on this list--who was > deeply disappointed by the news of Waterman filing suit against Calt and DaCapo. > > Many blues fans, blues scholars, and blues journalists feel that when you > are attacked in print, you attack back in print, or ignore it, and that > trying to settle such matters by law suit introduces a sickening (but not > unfamiliar) precedent in blues matters. I'm not familiar with the case, or the allegations, but there are attacks and attacks. If you were to write in a newspaper "Martin Adamson is a fat lazy bastard", that is a matter of opinion, and of course I would attack back or ignore it. If you were to write "Martin Adamson is personally responsible for the massacres at Srebrenica", well, then you are making a factual claim which, if uncontested, could well seriously jeapordise my professional and private life. Martin ========================================================================= Date: Wed, 6 Sep 1995 13:29:54 +0000 From: Pat Hertel Subject: Re: Language (little blues content, well none actually) On Wed, 6 Sep 1995, Mr P R Munro wrote: > > The only decent words the Americans have introduced into the English(hate > to call it that 'cos I'm half Scots) language are the 3 B's, basketball, > baseball and BLUES! > AHEM! You will find that Mr Naismith(sp?) the inventor of basketball was CANADIAN. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/9/95 9:27 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Sep 1995 13:34:36 +0000 From: Pat Hertel Subject: Re: Due South - The Sidemen On Wed, 6 Sep 1995, Lucy Dueck private account wrote: > The Sidemen are an upcoming ~Toronto band with a recent album out > produced by Joe Louis Walker (& on which Mel Brown plays some > keyboards). > This is Mel Brown ex of Austin TX and "Silent Partners" who now makes his home in Kitchener Ontario. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [6/9/95 9:32 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 6 Sep 1995 09:38:25 -0400 From: Jim McGlynn Subject: Re: Lady Day at Emerson's Bar & Grill About this play Bruce Roberts wrote: >You feel like your really watching >Billie Holiday in a small club. It will be in Austin until Oct.4. It is >travelling around the country and if it comes to your city, go see it. Absolutely. I saw it at Trinity Rep in Providence a couple years ago with Rose Weaver playing Billie Holiday and it was superb -- for me the most involving production I'd seen in three years as a Trinity Rep subscriber. For me, there's something about the live theater experience (probably the usual "staginess" of it) that destroys the liklihood of achieving that "suspension of disbelief" that we all crave in a dramatic experience. Good films do that better for me. But this play done right is flat-out transcendant. Jim -- ========================================================================= Date: Wed, 6 Sep 1995 08:44:56 CDT From: L W Subject: Calt vs Waterman I have a question: One of the considerations in "the case" is whether or not Dick Waterman is a "public figure". Is it OK to slander a public figure, is a public figure fair game....I have no idea. If Dick Waterman's name and quotes from him are used in a large amount of books on the blues, would that not qualify him as a public figure....? I guess I don't really know the meaning of public figure..... LW btw: Is public figure the correct term ========================================================================= Date: Wed, 6 Sep 1995 13:04:52 +0000 From: Martin Adamson Subject: Re: Language (little blues content, well none actually) > > >Ahhh, what could a Brit know about talkin' American? They put > >three syllables in MILITARY, and 5 syllables in ALUMINUM ;^) > > The only decent words the Americans have introduced into the English(hate > to call it that 'cos I'm half Scots) language are the 3 B's, basketball, > baseball and BLUES! Well, wasn't basketball invented in Canada, baseball is the name of an old English game - it's referred to in one of Jane Austen's novels - and blues, in the sense of depressed, was a common term in 18th century English, so I'm afraid we will have to look elsewhere for good American words. How about "cheeseburger"? Martin ========================================================================= Date: Wed, 6 Sep 1995 08:49:27 CDT From: L W Subject: B'ham Jam I'm excited about the upcoming B'ham Jam (in Oct I think)... Luther Allison Etta James John Hammond Topper Price Little Milton To name a few (that's enough for me) Keb Mo will also be there. That doesn't excite me, but it obviously excites others.... I forget who else LW ========================================================================= Date: Wed, 6 Sep 1995 13:06:08 +0000 From: Martin Adamson Subject: Re: Charlie Patton > I agree with everything Tom writes about Calt, and I guess I regret > recommending the book because of this, but am I right in thinking that > the historical details of Patton's life were based almost solely on > research done by Wardlow? I admit Wardlow's research is very poorly > presented by Calt, but if this is the only available collection of > this research, then isn't it worthy of a read? Didn't John Fahey (famous acoustic folk-blues-jazz guitarist) write a biography of Charlie Patton? Martin ========================================================================= Date: Wed, 6 Sep 1995 13:07:37 +0000 From: Martin Adamson Subject: Re: Rock'n'Roll Hall of Fame > Correct me if I'm wrong but didn't Freed also "invent" > payola? Although Freed did take payola he didn't invent it, he didn't make as much out of it as lots of other people who got off scot-free, and it certainly didn't die with him. Martin ========================================================================= Date: Wed, 6 Sep 1995 09:00:47 CDT From: L W Subject: Charlie Patton & Caldonia I read that Charlie Patton got expelled from Dockery's Farm for beating the women so badly they could not work in the fields the next day....Is that true I've also read two accounts of who wrote Caldonia.....Louis Jordan (of course) and Sippie Wallace.....They must be two different songs.....Is that right... Thanks LW ========================================================================= Date: Wed, 6 Sep 1995 09:06:33 CST From: William Shute Subject: next Blues-l South Texas get-together From: Bill Shute Jeff Seale and I would like to invite all blues-l persons and their friends and anyone else WITHIN DRIVING DISTANCE to our next get- together in San Antonio, on Friday night, October 6-- an evening with Houston's bossman of the blues, the great JOE 'GUITAR' HUGHES @ Billy Blues Broadway and Grayson San Antonio, TX for choice seating, try to be there by 8:30-8:45 cover is approx. $7.00 Friday, October 6 MARK THAT DATE ON YOUR CALENDAR I've seen Mr. Hughes three times in the last two years, and he never fails to satisfy. Like Texas Johnny Brown, he plays with an authority that can only come from decades of playing blues to real, demanding audiences, and he is also a fine songwriter, as evidenced by his albums IF YOU WANT TO SEE THE BLUES (BLack Top) and DANGEROUS: DOWN AND DEPRESSED (Munich, The Netherlands) among many other fine recordings. I will be doing a piece on him and his recordings some time soon, but Mr. Hughes doesn't really need MY endorsement. All you Austin folks, we'll be lookin' for ya (bring friends along too)...and what about those Austin LURKERS? I know there's a bunch of you,' cause I met a few at the Antone's anniversary, and heard about MANY others. You all in San Marcos (will we get the honor of meeting MB? I hope so!), Wimberley, and you San Antonians reading this (and now I know there ARE others besides Jeff and yours truly!), please come out and support the blues. We had 20 people last time, let's beat that this time! I will buy a bottle of Frio beer for anyone reading this (whom I don't already know!) who shows up at the gig. We need more Houston blues in SA--very few Houston artists make it up to Austin either. Here's our chance to support Houston artists, so we can demand more of them after this gig gets a big crowd as Texas Johnny Brown did (TJB was signed up for TWO more shows before he left Billy Blues the night of the last TJB show). IF YOU WANT TO SEE THE BLUES, you'll want to see, hear, and experience J O E 'G U I T A R' H U G H E S Bill Shute San Antonio, TX who, now that he has fixed his car, wants to check out these Texas BBQ places Dana White turned us on to. Dana, when I see you next, there will probably be MORE OF ME to greet you two after all the BBQ I'll be eating! RIP Sterling Morrison, former University of Texas faculty member and Velvet Undergrounder anyone for a rousing chorus of "Bring Me The Head of Jerry Garcia"? ========================================================================= Date: Wed, 6 Sep 1995 09:23:01 CDT From: L W Subject: Mojo Hand Lyrics Anyone got the lyrics to the many versions of "Mojo Hand" or "Goin To Louisiana as done by Lightnin' private mail thanks LW ========================================================================= Date: Wed, 6 Sep 1995 10:07:00 CDT From: Paul Garon Subject: Re: Calt vs Waterman Public figures have a tendency to be "fair game," BUT in this case, no one will agree about whether or not Waterman is a public figure, or if he's enough of one to merit exclusion, etc. There will be a contradiction contained in the whole thing since the case that Waterman has a HUGE reputation that stands in danger of being destroyed will also make it sound like he's a public figure. OTOH, if he diminishes his own reputation in order not to seem a public figure, the size of the reputation he's trying to protect will be thus diminished and therefore worth less in $$ in a potential award. Perhaps it was unwise of me to open this discussion, but I am glad to see what opinions exist on the list, and it's nice to see that Dick is so highly thought of. Further, I learn that many people--including my wife Beth(where was she when I went wild at the keyboard?)--feel that libel is quite justified in some cases. >I have a question: One of the considerations in "the case" is whether or not >Dick Waterman is a "public figure". Is it OK to slander a public figure, is a >public figure fair game....I have no idea. > ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Wed, 6 Sep 1995 08:23:59 -0800 From: James Carmin Subject: End discussion of Dick Waterman While not wishing to quash anyone's right of free speech, I think all this discussion of Mr. Waterman on this public forum of BLUES-L might prove a bit much for Mr. Waterman. I don't know him and have never even posted to him. But I know if I was a party in the Calt/Waterman issue and a whole lot of discussion was taking place here, I would shy away from the whole thing. And I would MUCH RATHER hear FROM Dick Waterman on issues of the blues that he knows so much about than to read posts that involve him and perhaps keep him out of what we really love talking about here. No offense intended to anybody. James Carmin jcarmin@teleport.com ========================================================================= Date: Wed, 6 Sep 1995 10:00:33 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Pigmeat Jarrett Dies in Cincinnati Blues/boogie pianist Pigmeat Jarrett passed away yesterday (Tuesday, 9/5) here in Cincinnati at the reported age of 95. His last public performance was at Allyn's Cafe on Wednesday, August 23. He also made a memorable weekend even more so when he performed at the Queen City Blues Fest '95 over the weekend of July 8-9. I had heard in June that he was suffering from liver failure (or cancer) and wouldn't live much longer; the newspaper attributes his death to colon cancer. He will certainly be missed in the Cincinnati Blues community. (And I hope he's making the acquaintance of my father, who passed away unexpectedly on Sunday, August 27, and who was a damn fine dixieland banjo player and harp player in his own right. I can just see the two old guys up there jammin' now....) Shannon ========================================================================= Date: Wed, 6 Sep 1995 08:42:42 -0700 From: Mary Katherine Aldin Subject: blues film soundtrack A new film is bring released shortly (or may have already been released in some aras) called Devil In a Blue Dress. The movie stars Denzel Washington. (I have not seen it). It is set in Los Angeles, on Central Avenue, at the end of WWII (Washington plays a returning soldier); anyhow, (here comes the blues stuff) the soundtrack (which I *have* heard) features original classic blues recordings by T-Bone Walker, Big Joe Turner, Pee Wee Crayton, Jimmy Witherspoon and many others who were part of the seminal Central Ave. blues scene in Los Angeles at that time. Since blues-lers might not always check the soundtrack bins of their local record store, I thought I'd mention this one in advance so those interested can check it out when it is released. Longtime collectors will probably already own most of this stuff, as there are no rarities here, but the rest of us might want it!! I have no affiliation of any kind with the film, actors, soundtrack or record label (though I did get an advance cassette thanks to a friend who was writing the liner notes and needed a bit of background). Mary Katherine ========================================================================= Date: Wed, 6 Sep 1995 11:58:17 EDT From: Oded Maron Subject: BB King and Skip James - seperated at birth? So I finally shelled out the cash for the Japanese import of BB King's "King of the Blues/My Kind of Blues", mainly because My Kind of Blues is supposed to be BB's favorite album, with a small combo and no horns. Anyway, I'm listening to the song "Understand", when suddenly I hear a familiar chorus: Cause I'm a poor man, But I'm a good man, Please understand. This is the same chorus that Skip James uses on "Hospital in Washington D.C. Blues" (I have it on a Biograph CD). So what's the deal? Has this chorus been around forever, or has Skip been listening to BB, or did BB listen to Skip? Oded ========================================================================= Date: Wed, 6 Sep 1995 12:00:52 -0400 From: Rick Miller Subject: Barbecue & Blues God, I'm so jealous of all you guys in the south who really KNOW barbecue. We here in those northeast (New England) can only try to "get it". We grill a lot. Fact, we grill damn near everything that ain't tied down, but we just don't "barbecue". I know in the south, it's a whole 'nother ball game, and from having listened and learned, it's a noun, not a verb. (mostly) My mouth is watering just thinking about abig pile of juicy, fatty, reddish- brown barbecue oozing out of some kind of bun with a cold beer. I'd like to do a barbecue/blues tour of the US sometime....starting of course from NOrth Carolina. :) For what it's worth, at my house, where I grill (as in, use the barbecue to cook meat over an open flame) nearly every day, winter included, my wife and I ALWAYS have blues moaning out of the stereo. It's the only music to play while engaged in that endeavor. My neighbors must LOVE me! As a point of interest, my band played for a Hell's Angels pig roast back in the Spring, and this was damn near the closest thing to "barbecue" I've had here in Massachusetts in a long time. They slow cooked four whole hogs, split down the middle into halves, over an enormous hot coal bed for something like 18 hours, along with a whole deer done the same way. Venison barbecue is awesome, by the way. :) Oh, man, is it lunch time yet? Yes! Riffin Rick (((( oo-) /- I'm gonna buy a hundred pounds of catfish, cook em all up on the grill. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Sep 1995 12:05:17 EDT From: "George C. Gerhold" Subject: Re: Rock'n'Roll Hall of Fame Speaking of Alan Freed, I don't know what took place in the case of Chuck Berry's songs, but sometimes DJs were given writer's credit on records so they could profit - although they really had nothing to do with the actual writing. I was doing some research over the weekend for a writing project, and saw that in 1954, Alan Freed produced a concert in Brooklyn, NY that featured Fats Domino, Muddy Waters, Buddy Johnson, Little Walter, the Orioles and the Clovers. Although he was know for, or at least given credit for coming up with the term "rock n' roll", he also introduced the teenagers that listened to his radio show to REAL R&B. George Gerhold yyg@cu.nih.gov Washington, DC ========================================================================= Date: Wed, 6 Sep 1995 12:15:59 -0400 From: Leo Aspiras Subject: King Biscuit Blues Festival Lineup Hi Y'all: Somebody had asked earlier for the lineup at this festival scheduled for October 6-8. This is the lineup that comes with the Guide to Area Lodging phamplet which I had sent to me: FEATURE BLUES STAGE Friday, October 6 12:00-12:30 Sonny Boy Blues Society Blues Contest Winner 12:45-1:30 Famous Unknowns 1:45-2:30 Mary Ann Brandon 2:45-3:30 Frank Frost & Sam Carr with Fred James 3:45-4:40 Lynn White 5:00-6:00 Billy Branch & The SOB's with special guest Pinetop Perkins 6:15-7:15 Luther Allison 7:30-8:30 Charlie Musselwhite 8:45-9:45 Jimmy McCracklin 10:15-12:00 Irma Thomas Saturday, October 7 12:00-12:30 Blues Foundation National Contest Winner: The Hardway Connection 12:45-1:30 John Weston 1:45-2:30 Radio Kings 2:45-3:45 Otis Clay 4:00-5:00 Rod Piazza & thye Mighty Flyers 5:15-6:00 Anson Funderburgh & The Rockets with Sam Myers 6:15-7:15 Joe Lewis Walker & The Bosstalkers 7:30-8:15 Robert Jr. Lockwood 8:30-9:45 James Cotton 10:00-11:30 Buddy Guy THE HOUSTON STACKHOUSE ACOUSTIC STAGE Saturday, October 7 1:00-1:45 Mr. Downchild 2:00-2:45 Fruteland Jackson 3:00-3:45 Paul Rishell with Little Annie Raines 4:00-4:45 Jack Owens 5:00-6:00 John Hammond THE FIRST EVER FESTIVAL FINALE Sunday, October 8 2:00 Dr. John & The New Island Social & Pleasure Club (Line-up subject to change) There is a Gospel Stage also with numerous groups on Friday and Saturday. If anybody wants a list of those, please e-mail me in private. There is also going to be a 'King Biscuit Blues' run (8K run, 2-mile Walk, 1-Mile Fun Run) held on Saturday the 7th. This is scheduled from 8:00 to 10:30 am that morning. Entry fees are $15.00 until September 8th and $20.00 after the 8th. All entrants will receive a long sleeve T-shirt. To gurantee T-Shirt size, you must preregister by the September 8th deadline. For further information, contact Carolyn or Frank Clancy at 501-338-6351 (evenings, weekends). Several of us from the D.C. area are planning to go. As of the last week of August most of the recommended places for lodging were filled (we ended up getting into a Best Western in Forrest City, AR on Route 40 35 miles from Helena). If you want some phone numbers for other places, e-mail in private. Hope to meet some other bluezellers there and on the way....... Leo 'The Scatman' Aspiras from D.C. ========================================================================= Date: Wed, 6 Sep 1995 12:13:07 CDT From: L W Subject: Helena...Did You Overbook ? Did anyone reserve an extra room somewhere close that you will not be using It doesn't hurt to ask LW btw: Rod Piazza will be in Huntsville at the end of September in a club about the size of a bathroom in most clubs. I have no idea how this is going to work. He will not be able to walk around while playing.....I think I'll get there really early ========================================================================= Date: Wed, 6 Sep 1995 08:50:40 GMT-6 From: Eliot Williams Subject: Re: Alan Freed/payola (was:Rock'n'Roll Hall of Fame) > From: Pat Hertel > Correct me if I'm wrong but didn't Freed also "invent" > payola? No, he certainly didn't. Paying disk jockeys to play your records was a time-honored practice among independent record companies long before Freed got involved in it. Freed was no angel, but in this case he seems clearly to have been made a scapegoat, probably because he was playing music that The Man didn't want his kids listening to. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 6 Sep 1995 14:12:57 -4 From: "P.W. Fenton" Subject: B.B. News Reprinted without permission from some other source;-) B.B.'s Birthday - B.B. King turns 70 on Sept. 16 but the big party is this Saturday in Nashville, Tenn. The Gibson guitar company, maker of King's Lucille, is hosting the event and Jimmie Vaughan, Elvin Bishop and Etta James are on the guest list. King has another big date Dec. 3, when he'll be feted at the annual Kennedy Center Honors in Washington. Also scheduled for tributes are opera diva Marilyn Horne, dancer-choreographer Jacques D'Amboise, playwright Neil Simon and actor Sidney Poitier. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 6 Sep 1995 11:22:20 -0700 From: Adrian Spidle Subject: Re: Barbecue & Blues (& beer) (Dinosaur BBQ, Syracuse, NY) No substitutions, no vegetarians, no snitching on spouses! Ah, I miss it out here in the fern-laden northwest... Adrian On Wed, 6 Sep 1995, Greg Kimbell wrote: > The best connection between Blues and Barbeque can be found at the Dinosaur > BBQ in Syracuse, NY. They have live blues (almost) every night without a > cover charge, except for the bigger national acts on Sundays (showtime at > 8:00 pm). > It's a real down home place where the townies, the students, the biz > people, and the bikers drop any and all pretensions over great food and > great music. > Greg > > ========================================================================= Date: Wed, 6 Sep 1995 11:17:03 -0700 From: Corinne Subject: Playing Positions There's the LEAD guitarist, there's the BASS player, there's the DRUMMER, and then again..... =========================================================================== Police were called to a laundromat in H-- (somewhere in the U.P.) in the middle of the night. When they arrived they found a nude man playing the accordion, and two men & two women dancing in their underwear. Apparently the five had gathered to do laundry & listen to music, but the accordion player said he could only play the accordion when completely nude. No explanation was given for the dancers' state of undress. Try to imagine this same scenario with a guitar providing the music. Doesn't work, does it? One more example of the sheer exuberance of accordion music. Cynthia Teague PS - I must say that one reason I took up concertina rather than PA is that I felt too shy to live up to a PA. ============================================================================= I guess I'm not shy - I play a PA. /Corinnne ========================================================================= Date: Wed, 6 Sep 1995 15:08:04 -0400 From: Rick Miller Subject: Colin James- fledgeling Canuk bluesman. While I was up in Ontario for the Labor Day weekend, I picked up the new cd by Canadian guitarman Colin James. I haven't heard more than passing mention of him here by the group, so I thought I'd give my impression of his stuff and maybe get more input from you Canajuns out there on his bio. Ian? Pat? Some of you Torontonians? Feedback pleeze. Anyway, the album, titled "Bad Habits" is a mix of original material, mostly but not all straight blues, and features some cool guests, among them, Kim Wilson and oddly, Lenny Kravitz playing clavinet. Hmm. I don't know if this is his first album, but it's nicely done, IMHO. Colin is a young, white dude with good guitar chops and a good feel for blues. His playing style ranges widely from song to song, and shows his versatility and knowledge of his instrument. He can swing from clean, tasteful Robert Cray- like rhythms and Strat licks, to something more ballsy like a northern Tab Benoit, and then altogether different with dirty, crunchy overdriven slide-work reminiscent of early Billy Gibbons or Johnny Winter. The album is dedicated to his inspirations, Albert King and Albert Collins by name, and their influence on his style is not missed, to my ear. Particularly ALbert King, who's some- what minimalistic note-playing and phrasing shows up strongly in Colin's work. He has a nice voice for blues and sings like he means it. Among the cover tunes, he does an admirable job on Elmore's "I Can't Hold OUt" and a gutsy version of Chester Burnett's "Forty Four", as well as an up-tempo Robert Johnson's "Walkin' Blues". I also like his vocals on "Atlanta Moan", where he also shows us some nice, soulful dobro playing. HOwever, he actually shines better on his original material, where it's clear he's done his home-work from the fewer-notes-are-better school of guitar playing, and he tends to play cleaner. In all, it's a nice album. Purists may not like it, particularly the more rock-ish cover versions, but it's a real solid piece of modern blues from a young guy who could do well to continue to pull the modern blues genre thru the 90's with class and taste, his roots deep and influences solid. I like it. If you like Tab Benoit, you might get into Colin James as well. Respectfully submitted, Riffin Rick (((( oo-) /- I wore my forty-four so long, it made my shoulder sore. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 6 Sep 1995 19:19:04 GMT From: Eric LeBlanc-CISTI Subject: Re: Alan Freed/payola (was:Rock'n'Roll Hal I agree. It was just the way business was done in those days. DAVE CLARK, the pioneer record promoter, tells a story (which I didn't include in the obit I posted) about the time he was the 'advanced man' for Lunceford. It seems that radio in those days (late 30s/ealt 40s) was 'lily white'. Anyway, Lunceford was coming to NYC, so Clark decides to dress up as 'driver' and pretends that the boss of the radio station had sent him to make sure that the on-air DJ play this Lunceford record. It got played. Moe Gale (of Gale Agency) was listening, and noticed that a 'black' record was played! He hired Clark to promote Louis Jordan, etc., and there we have it. Dave Clark wrote the book on promoting records. Alan Freed was the fall guy. eRIC In article 288@heme.medicine.wisc.edu, Eliot Williams writes: > > From: Pat Hertel > > Correct me if I'm wrong but didn't Freed also "invent" > > payola? > > No, he certainly didn't. Paying disk jockeys to play your records > was a time-honored practice among independent record companies long > before Freed got involved in it. Freed was no angel, but in this > case he seems clearly to have been made a scapegoat, probably because > he was playing music that The Man didn't want his kids listening to. > EW > > > > Eliot Williams > University of Wisconsin Medical School > ecwillms@macc.wisc.edu ========================================================================= Date: Wed, 6 Sep 1995 15:42:38 -0400 From: Tom Freeland Subject: Tower Records urban blues "essentials" list A couple of days ago, I posted the Tower Records rural blues essentials list. I've had some requests for the urban and other blues-related lists; with this post and the next two I'll post the urban blues, the 2 R&B lists, and the zydeco list with Cajun-related excerpts from the Cajun / Celtic / Klezzmer list (you read that right). What do ya'll think? The urban blues list gets off to a disconcerting start (missing some transitions maybe?)-- Bessie Smith to Louis Jordan to T.Bone to Muddy-- and seems unaware of Chicago recordings pre-Muddy. There are a couple of Mosaic boxes, expensive and not expected from a record stores list. Somewhere in the last ten (I won't say exactly *where*) there *has* to be something that could have been omitted in favor of the MCA Chess Box, right? The list (as was the blues and the zydeco lists) was done by Ted Drozdowski Tom Freeland Here it is: 1. Ma Rainey, MA RAINEY (Milestone) ***** 2. Bessie Smith, THE COMPLETE RECORDINGS, VOLUME 2 (Columbia/Legacy) ***** 3. Louis Jordan, THE BEST OF LOUIS JORDAN (MCA) ***** 4. T-Bone Walker, THE COMPLETE RECORDINGS OF T-BONE WALKER 1940-1954 (Mosaic) ***** 5. Muddy Waters, MUDDY WATERS (Chess/MCA) ***** 6. Elmore James, KING OF THE SLIDE GUITAR (Capricorn) ***** 7. Howlin' Wolf, HOWLIN' WOLF (Chess/MCA) ***** 8. Sonny Boy Williamson, THE CHESS YEARS (Green Line, import) ***** 9. Little Walter Jacobs, THE BEST OF LITTLE WALTER (Chess/MCA) ***** 10. Guitar Slim, THE THINGS THAT I USED TO DO (Specialty) **** 11. John Lee Hooker, THE ULTIMATE COLLECTION (Rhino) ***** 12. Amos Milburn, THE COMPLETE ALADDIN RECORDINGS OF AMOS MILBURN (Mosaic) ***** 13. B.B. King, KING OF THE BLUES (MCA) ***** 14. Bobby Bland, I PITY THE FOOL: THE DUKE RECORDINGS, VOL. 1 (MCA) ***** 15. Jimmy Reed, BRIGHT LIGHTS, BIG CITY (Chameleon) **** 16. Otis Rush, COBRA RECORDINGS 1956-1958 (Paula) ***** 17. Junior Wells and Buddy Guy, HOODOO MAN BLUES (Delmark) ***** 18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** 19. Etta James, TELL MAMA (Chess/MCA) ***** 20. Magic Sam, WEST SIDE SOUL (Delmark) ***** 21. Albert King, BORN UNDER A BAD SIGN (Stax) 22. The Butterfield Blues Band, EAST-WEST (Elektra) ***** 23. Albert Collins, ICE PICKIN' (Alligator) ***** 24. Z.Z. Hill, DOWN HOME (Malaco) *** 25. Stevie Ray Vaughan, COULDN'T STAND THE WEATHER (Epic) ***** 26. The Robert Cray Band, STRONG PERSUADER (Hightone/Mercury) ***** 27. Ronnie Earl, GUITAR VIRTUOSO LIVE IN EUROPE (Bullseye Blues) ***** ========================================================================= Date: Wed, 6 Sep 1995 15:42:47 -0400 From: Tom Freeland Subject: Tower R&B "essentials" lists Tower has two R&B lists that have some odd duplication and raise some definition questions. One is Essential R&B Albums 1940s-1970s. It was compiled by Jeff Tamarkin, the editor of Goldmine. It is all collections, beginning to end. There's some awesome stuff on here, from Sam Cooke to Stax to Funkadelic, but also....a disco compilation from Rhino?!? Since he titled it "1940s-1970s" it is clear he shortchanges the 40s and 50s a bit. The other list is Contemporary R&B, compiled by Martin Johnson. I'm not even going to attempt to comment on that one, other than note the odd chronology and overlap of the two lists, and to note that you have to wonder about a list that picks, from the Neville Brothers' entire career (as the Neville's and in other combinations) the album Brothers Keeper. Tom Freeland Here they are: ESSENTIAL R&B ALBUMES 1940s - 1970s 1. James Brown, STAR TIME (Polydor)***** 2. Ray Charles, THE BIRTH OF SOUL: THE COMPLETE ATLANTIC RHYTHM & BLUES RECORDINGS, 1952-1959 (boxed set) (Atlantic)***** 3. Sam Cooke, THE MAN AND HIS MUSIC (RCA)***** 4. Bo Diddley, THE CHESS BOX (Chess/MCA)**** 5. Fats Domino "THEY CALL ME THE FAT MAN..." ANTOINE "FATS" DOMINO: THE LEGENDARY IMPERIAL RECORDINGS (boxed set)(EMI) ***** 6. Aretha Franklin, QUEEN OF SOUL: THE ATLANTIC RECORDINGS (boxed set) (Rhino/Atlantic)***** 7. Marvin Gaye, THE MASTER 1961-1984 (boxed set) (Motown)***** 8. Louis Jordan, LET THE GOOD TIMES ROLL (boxed set) (Bear Family) (German import)**** 9. Curtis Mayfield and the Impressions, THE ANTHOLOGY 1961-1977 (MCA)**** 10. Parliament Funkadelic, TEAR THE ROOF OFF (Casablanca)**** 11. The Platters, THE MAGIC TOUCH - AN ANTHOLOGY (Mercury)**** 12. Otis Redding, OTIS! THE DEFINITIVE OTIS REDDING (Boxed set) (Rhino/Atlantic)***** 13. Smokey Robinson and the Miracles, THE 35TH ANNIVERSARY COLLECTION (Motown)***** 14. Sly and the Family Stone, ANTHOLOGY (Epic)**** 15. The Temptations, EMPERORS OF SOUL (Motown)***** 16. Tina Turner, THE COLLECTED RECORDINGS: SIXTIES TO NINETIES (Capitol)**** 17. Various Artists, ATLANTIC RHYTHM AND BLUES 1947-1974 (Boxed set) (Atlantic)***** 18. Various Artists, THE NEW ORLEANS HIT STORY: 20 YEARS OF BIG EASY HITS, 1950-1970 (Instant) (English import)**** 19. Various Artists, THE COMPLETE STAX/VOLT SINGLES 1959-1968 (boxed set) (Atlantic)***** 20. Various Artists, THE DISCO YEARS (Rhino)**** 21. Various Artists, THE DOO-WOP BOX--101 VOCAL GROUP GEMS FROM THE GOLDEN AGE OF ROCK 'N' ROLL (boxed set) (Rhino)***** 22. Various Artists, HI TIMES: THE HI RECORDS R&B YEARS (Hi/The Right Stuff)**** 23. Various Artists, HITSVILLE U.S.A.: THE MOTOWN SINGLES COLLECTION 1959-1971 (boxed set) (Motown)***** 24. Various Artists, THE R&B BOX: 30 YEARS OF RHYTHM & BLUES (boxed set) (Rhino)***** 25. Jackie Wilson, MR. EXCITEMENT! (Boxed set) (Rhino)***** CONTEMPORARY R&B The numbers do not reflect a hierarchical sequence. 1. Stevie Wonder, THE WONDER YEARS 1972-74: THE COMPLETE MUSIC OF MY MIND, TALKING BOOK, INNERVISIONS AND FULFILLINGNESS FIRST FINALE SESSIONS (Tamla) ***** 2. Janet Jackson, CONTROL (A&M) ***** 3. Michael Jackson, OFF THE WALL (Epic) ***** 4. Prince, THE HITS & THE B-SIDES (Paisley Park) ***** 5. Anita Baker, RAPTURE (Elektra) ***** 6. Marvin Gaye, THE MASTER 1961-1984 (Motown) ***** 7. Mary J. Blige, WHAT'S THE 411? (Uptown) ***** 8. Sly and the Family Stone, THERE'S A RIOT GOIN (Epic) ***** 9. Bell Biv Devoe, POISON (MCA) 10. The O'Jays, LOVE TRAIN: THE BEST OF THE O'JAYS (Epic Associated/Legacy) ***** 11. Soul II Soul, KEEP ON MOVIN (Virgin) ***** 12. Jody Watley, JW (MCA) ***** 13. Aretha Franklin, YOUNG GIFTED AND BLACK (Atlantic) ***** 14. Al Green, GREATEST HITS (Hi/Motown) ***** 15. James Brown, STAR TIME (Polydor/U.K.) 16. Luther Vandross, THE BEST OF... (Epic) ***** 17. Massive Attack, BLUE LINES (Virgin) ***** 18. Sade, STRONGER THAN PRIDE (Epic) ***** 19. Fishbone, TRUTH AND SOUL (Columbia) ***** 20. The Family Stand, MOON IN SCORPIO (East/West) 21. Parliament/Funkadelic, TEAR THE ROOF OFF 1974-1980 or ONE NATION UNDER A GROOVE (Casablanca & WB) ***** 22. Madonna, THE IMMACULATE COLLECTION (Sire) ***** 23. Barry White, ALL TIME GREATEST HITS (Mercury) ***** 24. Tina Turner, PRIVATE DANCER (Capitol) ***** 25. The Neville Brothers, BROTHERS' KEEPER (A&M) ***** ========================================================================= Date: Wed, 6 Sep 1995 15:42:56 -0400 From: Tom Freeland Subject: Tower Records Zydeco and Cajun "essentials" lists I can't comment in an informed way on the Zydeco list, other than to observe that it seems odd that Zydeco and "Cajun" are split into to lists so that Cajun can share a list with Klezmer and Celtic music. Cajun may be different than Zydeco, but it seems closer that *that* than to Klezmer or Celtic.... Is this residual segregation? Tom Freeland On the Cajun/Klezmer/Celtic list you find: 1. Various Artists, LE GRAN MAMOU/RAISE YOUR WINDOW/GRAN PRAIRIE (Country Music Foundation) ***** 2. Various Artists, ALLIGATOR STOMP VOLUMES 1-3 (Rhino) 3. Hackberry Ramblers, JOLIE BLONDE (Arhoolie) 4. Clifton Chenier, ZYDECO DYNAMITE: THE CLIFTON CHENIER ANTHOLOGY (Rhino) **** 5. Clifton Chenier, BOGALUSA BOOGIE (Arhoolie) ***** 6. Beausoleil, LA DANSE DE LA VIE (Rhino/Forward) **** On the Zydeco list you find: 1. Amadee Ardoin, HIS ORIGINAL RECORDINGS, 1928-1938 (Old Timey) **** 2. Clifton Chenier, ZYDECO DYNAMITE: THE CLIFTON CHENIER ANTHOLOGY (Rhino) ***** 3. Boozoo Chavis, THE LAKE CHARLES ATOMIC BOMB (Rounder) ***** 4. Rockin' Dopsie & the Twisters, FRENCH STYLE (Sonet) **** 5. Buckwheat Zydeco, ON A NIGHT LIKE THIS (Island) ***** 6. C.J. Chenier, LET ME IN YOUR HEART (Arhoolie) *** 7. Zachary Richard, ZACK'S BON TON (Rounder) **** 8. Queen Ida, COOKIN' WITH QUEEN IDA (GNP) *** 9. Boozoo Chavis, Nathan Williams, John Delafose and Willis Prudhomme, ZYDECO LIVE! (Rounder) ***** 10. Beau Jocque and the Zydeco Hi-Rollers, GIT IT, BEAU JOCQUE! (Rounder) ***** ========================================================================= Date: Wed, 6 Sep 1995 14:44:20 CDT From: L W Subject: Tower Records urban blues "essentials" list ----------------------------Original message---------------------------- >18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** I'm probally the biggest Mayall fan on blues-l, but IMHO this album, is one of the most overated albums I've ever heard. I own almost every thing Mayall has done and this is one of my least favorites....I don't think it belongs here >25. Stevie Ray Vaughan, COULDN'T STAND THE WEATHER (Epic) ***** He always makes "The List" ..I may favor "Texas Flood" over CSTW...It's close >27. Ronnie Earl, GUITAR VIRTUOSO LIVE IN EUROPE (Bullseye Blues) ***** I've only gave this one a "courtesy" listen, is it that good ?????? I'm going to have to give it another listen LW ========================================================================= Date: Wed, 6 Sep 1995 19:29:55 GMT From: Tony Burke Subject: MERCURY R&B BOX SET Got the news from a freind in Japan that a SEVEN CD box set of Mercury sides has been issued there, featuring just 1940's recordings. Anyone got anymore info especially a track list. I know there is lotsa stuff by Vinson, Longhair and others but seven CD's. Wow!!! Note to Mary Katherine: Does this fit in with the Mercury series you were involved in a coupla years back? ========================================================================= Date: Wed, 6 Sep 1995 14:57:19 CDT From: L W Subject: Blues Relaxing I read a good review (I disagree with the reviewer, though) about a blues recording and the reviewer said the music was "relaxing". He then said the blues can not be relaxing, otherwise it can't be blues. The blues is not 'spose to be relaxing..... So I'm curious, can you think of blues as "relaxing music"..... LW 'I like Charles Brown, so you know how I feel about it' ========================================================================= Date: Wed, 6 Sep 1995 19:59:00 GMT From: Tony Burke Subject: BLUES & RHYTHM OUT NEXT WEEK B&R 103 OUT NEXT WEEK. Blues & Rhythm 103 will be out in the UK late next week. Europe and USA readers will probably get their copies the following week. B&R 103 features an interview with Muddys last pianner player, Lovie Lee by Blues-Ls own Ed Tremewen; the story behind The Legends Of Specialty Gospel Series written by series co-compiler Opal Louis Nations, The Danceland Years, a feature on the rare Detroit label by sleevenote scribe Jon Levy (plus incisive review by Chris Bentley). Also Tom Freelands Chulahoma The Blues, a nice piece of info this one.! Plus full obits on Eddie Hinton, Jesse Thomas, Floyd McDaniel, Dave Clark, Erbie Bowser, lotsa reviews, Blues Records updates, Chicago News plus other stuff about people you should know about, but probably didnt. Please note there will not be any articles on such blues stalwarts as Hendrix, Clapton, Jerry Garcia, Janis Joplin, The Quicksilver Messenger Service, Jeff Beck, Van The Man, other sixties rock stars now being touted by people who should know better as blues artists. Nope well stick with the real thang. ========================================================================= Date: Wed, 6 Sep 1995 16:24:01 -0400 From: "Abe W. Mathews" Subject: Re: Playing Positions Oh, oh.... > There's the LEAD guitarist, there's the BASS player, there's the DRUMMER, > and then again..... > > =========================================================================== > Police were called to a laundromat in H-- (somewhere in the U.P.) in the > middle of the night. When they arrived they found a nude man playing the > accordion, and two men & two women dancing in their underwear. Apparently the > five had gathered to do laundry & listen to music, but the accordion player > said he could only play the accordion when completely nude. No explanation > was given for the dancers' state of undress. > > Try to imagine this same scenario with a guitar providing the music. Doesn't > work, does it? One more example of the sheer exuberance of accordion music. > That's Hancock, MI. The name of the laundromat is The Washtub. How do I know this? I lived not 20 feet from that laundromat last year, and I still do my laundry there. Well, as you can probably guess, the whole area's abuzz now about the "evils of Polka" on the youth. Sh*t, that just confirms what I've been telling people all along. Polka is Satan's own theme song. :) I thought once I left Northern MN, I'd get away from it, but I guess not. Well, on a blues-related note, a 100+ year old institution in Houghton burned to the ground yesterday, the Library Bar & Grill. What does this have to do with the blues? Well, that was the place where my band had our house gig for over a year, and we were supposed to start back soon. Too bad there's no unemployment for musicians. :( Abe awmathew@mtu.edu ========================================================================= Date: Wed, 6 Sep 1995 14:52:37 -0600 From: Gary Constantine Subject: Re: Tower Records urban blues "essentials" list >----------------------------Original message---------------------------- >>18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** > >I'm probally the biggest Mayall fan on blues-l, but IMHO this album, is one of >the most overated albums I've ever heard. I own almost every thing Mayall has >done and this is one of my least favorites....I don't think it belongs here I would have to agree. IMHO the best Mayall recording is: BLUES FROM LAURAL CANYON Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 6 Sep 1995 16:00:03 -0500 From: Bruce Roberts Subject: Re: Tower Records urban blues "essentials" list > >18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** > > I'm probally the biggest Mayall fan on blues-l, but IMHO this album, is one of > the most overated albums I've ever heard. I own almost every thing Mayall has > done and this is one of my least favorites....I don't think it belongs here What would you recommend for a Mayall CD? I've seen him live and really enjoyed his show, but I don't have any of his CD's. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 6 Sep 1995 15:20:17 -0600 From: Gary Constantine Subject: Barbeque & Blues Not a lot of great barbeque spots here in the Great White North. Anybody got what they figure is the ultimate recipe for great barbeque? Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 6 Sep 1995 18:59:22 -0500 From: Brad Stevenson Subject: Re: Tower Records Zydeco and Cajun "essentials" lists >I can't comment in an informed way on the Zydeco list, other than to observe >that it seems odd that Zydeco and "Cajun" are split into to lists so that >Cajun can share a list with Klezmer and Celtic music. Cajun may be different >than Zydeco, but it seems closer that *that* than to Klezmer or Celtic.... >Is this residual segregation? > >Tom Freeland > Since someone else brought up the topic of Zydeco, has anyone else seen Waylon Tibideau. He played here in Fredericton here last week. I really enjoyed the show. As part of Jazz and Blues festival, C.J. Chenier is playing here next week. Luther Johnson is also playing. I expect both of these shows will definitely be shows to remember. Pretty good little festival we have up here in sleepy little Fredericton! --------------------------------------------------------- Brad Stevenson - bstevens@nbnet.nb.ca NIGHTINGALE MULTIMEDIA The Best Bands You've Never Heard Web Site: http://www.mi.net/night1.html -------------------------------------------------------- ========================================================================= Date: Wed, 6 Sep 1995 16:33:22 -0500 From: Rob Varak Subject: Re: Calt vs Waterman (No BLUES!) L W, You aren't alone in discussing the vagueries of what makes one a public figure. I spent my first year of law school scratching my head about libel. It is safe to say that Mr Waterman is a public figure. Who is or isn't a public figure is actually pretty common sense. If there is media coverage, or especially if one takes action to put himself into the view of the public he or she is a public figure. Mr. Waterman is certainly a public figure in the blues community, b/c you and I have heard of him, know at least a bit about his work and recognize his name. We certainly aren't alone. The kicker is that you can't defame a public figure at will. The distinction involves proving the libel. In addition to the "common" elements of libel (defamatory stmt, falsity, publication and damages off the top of my head), in order to prove defmation of a public figure the plaintiff must prove "malice". This isn't malice in the common sense, but rather that the author knew the information was false or acted in _reckless disregard_ for the truth. This is obviously a pretty high standard. There's a reason that the law does this however. Paul alluded to the free speech considerations. In an effort to encourage free speech about those in public view, courts created the higher standard. The other theory is that those in the public view have access to the media and can best remedy the defamation by explaining their side of the story. (The only cure for bad speech is more speech ie, Holmes' marketplace of ideas) Sorry for the dissertation. Most everybody probably hit by now, but it's hard to explain this in just a few sentences. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke On Wed, 6 Sep 1995, L W wrote: > I have a question: One of the considerations in "the case" is whether or not > Dick Waterman is a "public figure". Is it OK to slander a public figure, is a > public figure fair game....I have no idea. > > If Dick Waterman's name and quotes from him are used in a large amount of books > on the blues, would that not qualify him as a public figure....? > > I guess I don't really know the meaning of public figure..... > > LW > > btw: Is public figure the correct term > ========================================================================= Date: Wed, 6 Sep 1995 17:43:41 EST From: SToney@FRAMATECH.COM Subject: Re: Blues Relaxing LW Wrote... >I read a good review (I disagree with the reviewer, though) about a blues >recording and the reviewer said the music was "relaxing". >He then said the blues can not be relaxing, otherwise it can't be blues. The >blues is not 'spose to be relaxing..... >So I'm curious, can you think of blues as "relaxing music"..... Well, I think it all depends on who you are listening to. I do lots of my blues listening in the car on the way to and from work. In the morning, I enjoy listening to a mellower brand of blues which is a great way to start the day. T-Bone fits that bill for me perfectly. I really enjoy listening to Muddy in the morning too. After work, I enjoy the louder modern electric blues stuff a lot more...roll the window down, let the wind blow, and crank some lbert Collins, Stevie Ray, Rod Piazza, T-Birds, Larry McCray, Buddy Guy ... and yes even Chris Duarte. Yeah, it's relaxing to me cause when I really, really listen to the music, I get so consumed that the other happenings of the day (work, bills, yard, etc) get lost for awhile. Just LOVE cranking some good loud blues on a Friday afternoon, 80 degree day, windows down, no work for a couple days, nothing at home tugging at me but an ice cold beer and a beautiful wife to share some fun with...HEAVEN ON EARTH! Steve Toney PS: Isn't it also funny how, when you're working around the house, maybe doing some cleaning or cooking, putting on a blues CD with a particulat good rhythm can make the work so much more pleasing to do? Maybe the beat gets you into a rhythm that just makes it all go so much smoother. Ah, yes...music is wonderful! ========================================================================= Date: Wed, 6 Sep 1995 18:05:10 -0400 From: Greg Hermanns Subject: Pigmeat Jarrett dies 'Pigmeat' Jarrett dies at the age of 95. Well known locally for his boogie/ragtime/blues piano playing. He was playing all around town up until he died. His last gig was August 23, he showed up in a wheelchair and played like crazy. He also gave a grand performance at the Queen City Blues Fest in Cincinnati in July. He was also seen playing at various nursing in the Greater Cincinnati area. Greg Hermanns ========================================================================= Date: Wed, 6 Sep 1995 15:04:05 -0700 From: Mary Katherine Aldin Subject: Re: MERCURY R&B BOX SET You wrote: > >Got the news from a freind in Japan that a SEVEN CD box set of Mercury >sides has been issued there, featuring just 1940's recordings. > >Anyone got anymore info especially a track list. > >I know there is lotsa stuff by Vinson, Longhair and others but seven >CD's. Wow!!! > >Note to Mary Katherine: Does this fit in with the Mercury series you >were involved in a coupla years back? > Well, not exactly. The set I am working on is called The Mercury Blues Story, and will be eight CDs (four doubles), now due out in April 1996 (we hope). The latest delay is that one of the liner note writers, who has had the assignment for literally over two years, has still never turned in his notes, so I have now got to pick up the slack and write the notes for his set myself, starting basically from scratch. But since I am involved in several other things I am producing *and* annotating, all of which have imminent deadlines (labels want stuff in the stores for Xmas), I am not sure when I can get this done, but it's an asap project as far as I'm concerned. Since I posted the track listing for all 8 CDs in Blues & Rhythm a couple of years ago (!!), things have changed somewhat. But I really don't have time to post it all again, plus which not everyone on this list is interested enough to read through 150+ titles. When I get a chance I'll fax you the update and you can put it in the next issue. Mary Katherine ========================================================================= Date: Wed, 6 Sep 1995 17:27:22 CST From: JBards Subject: Re: Barbeque & Blues, NBC It's not really rocket-science, but more a labor of love which requires some attention to detail. For instance, I used to try to smoke my (pork, baby-back) ribs for 10 or 12 hours at about 250F, turning and spraying them down lightly with water every hour or two. You need to use enough hickory to have a light stream of smoke whispering over said ribs. I found out that the meat was absorbing about all the smoke it could handle in about 2 or 3 hours, so after that I began finishing them in the oven, on a rack over a pan with some water in it ( to avoid drying out) covered by aluminum foil, at about 250-275 for another 2 or 3 hours. The meat falls off the bone and it's perfect. Made some this weekend. There are /lots / of recipes for sauce. Typically they will involve catsup, water, cider vinegar, red pepper, mustard ( preferably Dijon), Worchester, brown sugar or honey, and lemon rind. Proportions vary. Usually you have to cook the sauce to get the flavors to meld and intensify. I'm sure you can look up dozens of variations on this theme. _______________________________________________________________________________ Subject: Barbeque & Blues From: Gary Constantine at INTERNET-SH Date: 9/6/95 4:51 PM Not a lot of great barbeque spots here in the Great White North. Anybody got what they figure is the ultimate recipe for great barbeque? Gary .......... Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 6 Sep 1995 18:34:00 EDT From: edward c liu Subject: NYC Club Dates Pointer Howdy all, The latest New York City Club Dates Pointer is available for the month of September. To receive it, send e-mail to me at: edwick@cc.bellcore.com with a subject line of "NYC CLUB DATES". Thank you for your support! -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Wed, 6 Sep 1995 18:40:27 -0400 From: Owen Okie Subject: Blues in MN and OH? I'm new to the blues and have never seen a blues concert other than AC Reed and the Sparkplugs (who came to my college). Doews anyone know if there anything or anyone to see in the Cleavland area in Ohio or in the St.Paul/Minneapolis MN? Any clubs, people, concerts etc you can point me to would be great. Thanks Owen " One Bourbon, One Scotch, and One Beer" ========================================================================= Date: Wed, 6 Sep 1995 18:32:29 -0500 From: "Henry Busse Jr." Subject: BIRTHDAYS 9/7/95 Name:ALCORN, ALVIN ELMORE Born:1912 NEW ORLEANS, LA Occupation:TRUMPET Worked With: DON ALBERT / TAB SMITH / KID ORY / GOERGE LEWIS Style:JAZZ / DIXIE Name:CAIOLA, AL ( ALEXANDER EMIL ) Born:1920 JERSEY CITY, NJ Occupation:GUITAR Style:POP / BIG BAND Name:KAMINSKY, MAX Born:1908 BROCKTON, MA Died:09/06/1994 CASTLE POINT, NY Age:85 Occupation:TRUMPET / LEADER Worked With: RED NICHOLS / GEORGE WETTLING / EEDDIE CONDON / BENNY CARTER / MEZZ MEZZROW / TOMMY DORSEY / ARTIE SHAW Style:JAZZ / BIG BAND Name:LITTLE MILTON ( MILTON CAMPBELL JR ) Born:1934 INVERNESS, MS Occupation:SINGER / GUITAR Worked With:IKE TURNER Style:BLUES MCINTYRE, KEN ( KENNETH ARTHUR MCINTYRE ) Born:1931 BOSTON, MA Occupation:ALTO SAX / PIANO / TEACHER STYLE:JAZZ NEWMAN, JOE (JOSEPH DWIGHT ) BORN:1922 NEW ORLEANS, LA DIED:07/04/1992 NEW YORK, NY AGE:70 OCCUPATION:TRUMPET WORKED WITH: COUNT BASIE / BENNY GOODMAN / LIONEL HAMPTON / LOUIE JORDAN STYLE:JAZZ / BIG BAND NAME:ROBINSON, JANICE BORN:1951 CLAIRTON, PA OCCUPATION:TROMBONE WORKED WITH:CLARK TERRY / THAD JONES-MEL LEWIS / GIL EVANS / FRANK FOSTER STYLE:JAZZ / BIG BAND ROLLINS,SONNY ( THEODORE WALTER ) BORN:1929 NEW YORK, NY STYLE:TENOR SAX / LEADER WORKED WITH:MILES DAVIS SYLE:JAZZ ========================================================================= Date: Wed, 6 Sep 1995 19:52:19 -0400 From: James Leftwich Subject: Re: blues film soundtrack The film Mary Katherine mentions _Devil with the Blue Dress_ is based on a Walter Mosley novel of the same name. Mosley is a well-respected mystery writer (I think he's president of the Mystery Writer's Association (?) as well). He's one of the only mystery writers around that features a black hero/detective. I'm in the midst of reading _RL's Dream_ which includes much blues reference (I hear that I will encounter Robert Johnson as I read on). Anyway, I've been looking forward to this film. And the soundtrack sounds good to me. Hope I was of help. Jim ========================================================================= Date: Wed, 6 Sep 1995 19:19:00 PDT From: Meridith Farnworth Subject: I'm Back!!! Greetings! After having had no 'net access for over a month, I'm back! As you may recall, my pc was threatening to go toes up on me, and it sure 'nuff did. But I finally got myself a new rig, and undid the no mail command. Yipee! I've missed ya'll. What'd I miss while I was away? :-) Unless I'd received private mail from you (and have therefore already replied) I've lost your address to the hard drive failure demons. If we've been corresponding privately, you can once again e-mail me at the same ol' address. ** It's so very fine to be back on line! ** That's all for now.... -Meri mfarn@fibusa.com ps to ddr: no, I didn't get a mac.... ========================================================================= Date: Thu, 7 Sep 1995 09:23:32 +0900 From: "R.St. Pierre" Subject: Koerner, Glover and RAy Does anyone know of a story or company that will send me airmail to Japan the _Koerner, Glover and Ray_ CD re-release of the old album from the sixties. I looked in at stores in NY, SF, LA and Honolulu but no one had it in stock. Now I'm in Japan and our selection of CDs here is often less than up to par. I'd appreciate, therefore, the adress of someone from whom I can order the CD. Thanks, Sincerely, Ron (The Saint) St. Pierre 8-> ========================================================================= Date: Thu, 7 Sep 1995 01:15:15 GMT From: Onduma Faloon Subject: Re: Charlie Patton Tom Rossen (rossentj@INTERACCESS.COM) wrote: : There's an art comic (I think you'd call it that - one of those slick : cardboard-covered things) by Robert Crumb about the blues and a longish : story devoted to Charlie Patton in it. This is not the insanely weird : Crumb, but the reverent-in-the-presence-of-great-music Crumb. Worth a look. Crumb's "Patton" story first appeared in ZAP #11 in 1984. It's now included (along with Crumb's "Jelly Roll Morton's Voodoo Curse," and other stories) in the compilation you mentioned, R. CRUMB DRAWS THE BLUES, published by Last Gasp in 1993. Your friendly comics dealer should be able to get a copy for you (I think the trade paperback version sells for $16.95). ========================================================================= Date: Thu, 7 Sep 1995 01:22:39 GMT From: Onduma Faloon Subject: Re: Calt and Waterman Art Schuna (aschuna@VMS2.MACC.WISC.EDU) wrote: : It would seem that when something presented as fact is this far off base : that it would be hard to count Mr. Calt among that community of scholars. : There needs to be a way to hold people accountable for : intentional misrepresentation of fact, particularly when it has the : potential to seriously affect their career. The case has already been adjudicated, then? Who found that there was an "intentional misrepresentation of fact"? The judge, or a jury? ========================================================================= Date: Thu, 7 Sep 1995 12:04:31 +1000 From: Greg Heness Subject: BLUES IN GREECE? Am off to a conference in Corfu next week, I know, it's hard but someone has to do it. I was just wondering if anyone on the list might know where I could catch some Greek blues either in Athens or Corfu? Perhaps some blues boUzouki? Thanks in advance. Greg. P.S. Please note I have written this in Australian. SAD, SAD DAYS IN THE PACIFIC! ========================================================================= Date: Thu, 7 Sep 1995 02:15:30 GMT From: Lucy Dueck private account Subject: Re: Tower Records urban blues "essentials" list I like Mayall's "A Sense of Place" CD -- it has a distinct Louisiana flavor, likely thanks to Sonny Landreth. ========================================================================= Date: Wed, 6 Sep 1995 21:38:00 -0600 From: David Silberberg Subject: Re: I'm Back!!! At 8:19 PM 9/6/95, Meridith Farnworth wrote: >What'd I miss while I was away? :-) Well, Meridith, were you here when we unsubscribe everyone who felt that EC was a proper bluesman? (Or did we unsub everyone who DIDN'T think he was a proper bluesman - I forget which.) Welcome back.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Wed, 6 Sep 1995 22:49:06 -0500 From: VT Subject: R.L.Burnside - Johnny Copeland Attended the scheduled World Financial Center Event of the Mississippi Delta Blues Festival at the Plaza (Wed.95.09.06, 7pm) for Junior Kimbrough and R.L.Burnside. An announcement at the start of the show told us that R.L. Burnside was ill in hospital and Junior Kimbrough was so concerned that he and the whole band (Kenny Brown, Cedric Burnside and Gary Burnside) were at the hospital with R.L. This sounded serious. Does anyone have any more news? . For some better news: The last minute replacement was Johnny Copeland - not really Mississippi Delta, he's known more for his Texas blues. Johnny's awaiting a transplant, but he looked fine. He sat and performed with a Gibson flattop acoustic guitar (round hole with a cut-away). His set was more country and folk like. But his voice was in fine form, relaxed but big. His acoustic guitar playing was nice without being outstanding - he mostly strummed. He entertained the crowd well - it wasn't intense blues, but relaxing and enjoyable. It was nice to see Johnny looking well and performing. Vincent p00061@psilink.com ========================================================================= Date: Wed, 6 Sep 1995 23:13:33 +0000 From: Ian Angus Subject: Re: Tower Records Zydeco and Cajun "essentials" lists > I can't comment in an informed way on the Zydeco list, other than to observe > that it seems odd that Zydeco and "Cajun" are split into to lists so that > Cajun can share a list with Klezmer and Celtic music. Cajun may be different > than Zydeco, but it seems closer that *that* than to Klezmer or Celtic.... > Is this residual segregation? When I have worked with real zydeco bands, I find that they object strongly to being identified with cajun music. There are obvious musical differences -- button accordion (cajun) vs keyboard accordion (zydeco, and no fiddle in zydeco -- and the social roots are different. Cajun was created by white musicians, zydeco by black (creole) musicians. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 6 Sep 1995 22:56:43 -0600 From: Tom Rossen Subject: Re: BB King and Skip James - seperated at birth? I'll have to get that Skip James CD - that's my favorite song on My Kind of Blues (of which I own two vinyl copies as well as the import CD). I think the BB sides were recorded pre-'58. When was the Skip version recor= ded? =81 >So I finally shelled out the cash for the Japanese import of BB King's >"King of the Blues/My Kind of Blues", mainly because My Kind of Blues >is supposed to be BB's favorite album, with a small combo and no >horns. Anyway, I'm listening to the song "Understand", when suddenly >I hear a familiar chorus: > >Cause I'm a poor man, >But I'm a good man, >Please understand. > >This is the same chorus that Skip James uses on "Hospital in >Washington D.C. Blues" (I have it on a Biograph CD). So what's the >deal? Has this chorus been around forever, or has Skip been listening >to BB, or did BB listen to Skip? > >Oded Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 6 Sep 1995 22:56:56 -0600 From: Tom Rossen Subject: Re: Barbecue & Blues Hell's Angels pig roast? Was it local cops or state troopers? =81 >God, I'm so jealous of all you guys in the south who really KNOW barbecue. >We here in those northeast (New England) can only try to "get it". We gril= l >a lot. Fact, we grill damn near everything that ain't tied down, but we >just don't "barbecue". I know in the south, it's a whole 'nother ball game= , >and from having listened and learned, it's a noun, not a verb. (mostly) >My mouth is watering just thinking about abig pile of juicy, fatty, reddish= - >brown barbecue oozing out of some kind of bun with a cold beer. > >I'd like to do a barbecue/blues tour of the US sometime....starting of cour= se >from NOrth Carolina. :) > >For what it's worth, at my house, where I grill (as in, use the barbecue to >cook meat over an open flame) nearly every day, winter included, my wife= and I >ALWAYS have blues moaning out of the stereo. It's the only music to play >while engaged in that endeavor. My neighbors must LOVE me! > >As a point of interest, my band played for a Hell's Angels pig roast back i= n >the Spring, and this was damn near the closest thing to "barbecue" I've had >here in Massachusetts in a long time. They slow cooked four whole hogs, sp= lit >down the middle into halves, over an enormous hot coal bed for something >like 18 hours, along with a whole deer done the same way. Venison barbecue >is awesome, by the way. :) > >Oh, man, is it lunch time yet? > >Yes! > > > >Riffin Rick > > > > > (((( > oo-) > /- > > I'm gonna buy a hundred pounds of catfish, > cook em all up on the grill. > > > > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 6 Sep 1995 22:57:14 -0600 From: Tom Rossen Subject: Re: blues film soundtrack [...] > >I'm in the midst of reading _RL's Dream_ which includes much blues >reference (I hear that I will encounter Robert Johnson as I read on). [...] > >Jim I just finished it. It was an interesting read, but kind of disappointing on RL. It's got the flavor of an outsider looking in on the blues and using it as a novelistic element. On the other hand, the descriptions of the Mississippi environs and the characters are riveting.... BTW, I was going to say that the lyrics that are interspersed through the book seemed kind of lame - not the concentrated poetry that you find in real/RL's/Delta blues. Anybody else have an opinion? Jim? =81 Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 6 Sep 1995 23:04:07 -0600 From: Tom Rossen Subject: Re: BLUES IN GREECE? >Am off to a conference in Corfu next week, I know, it's hard but someone > has to do it. I was just wondering if anyone on the list might know where > I could catch some Greek blues either in Athens or Corfu? Perhaps some >blues boUzouki? There's a style of music in Greece called Rebetiko (some Grecophone will correct me if I've screwed up the name, I'm sure) that's a lot like blues in spirit. It's not unlike Portuguese Fado (pronounced fa-DOO). It apparently arose in funky port bars. I'd look for it if I were there.... Anybody back me up on this? > >Thanks in advance. > >Greg. > >P.S. Please note I have written this in Australian. > > >SAD, SAD DAYS IN THE PACIFIC! Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 6 Sep 1995 21:44:13 -0700 From: Linda Eskin Subject: Snooks Eaglin in San Diego? Hello All. Supposedly Snooks Eaglin will be appearing in San Diego (at Street Scene) this Saturday (Sept. 9th). Can anyone confirm or deny this? Street Scene is a huge, crowded, expensive party-concert thing that I have avoided for years, but if it's true that Eaglin will be playing there, I'll go. Thanks for any info. Linda -- | Linda S. Eskin | Guitar - Cats - Fishes - Vegie - Beer | | La Mesa, California | AutoCAD - LISP - DCL - GUI - Tech Pubs | | | Photography - Flying - Woodworking - ... | | lseskin@ix.netcom.com | "If you want it... make it happen!" | ========================================================================= Date: Thu, 7 Sep 1995 00:25:15 -0500 From: Dave Daubard Subject: Re: Playlists.... playing. Anyone who want's to see mine can let me know. "Swingin' Dave" ========================================================================= Date: Thu, 7 Sep 1995 05:48:19 GMT From: "Alex J. Mulcahy" Subject: (no subject) Hi! I publish a monthly music newspaper and I am seeking someone who writes clearly and passionately about the blues. Please write me for more details. alex ========================================================================= Date: Thu, 7 Sep 1995 04:25:23 EDT From: Scott_Wenzel.SSA@NOTES.COMPUSERVE.COM Subject: Re: SAXOPHONE AND THE BLUES Roosevelt Sykes recorded quite a few records in the late Fifties which included the late King Curtis on sax. King Curtis was best known in the pop world for "Soul Twist" and other such instrumentals. The best of them were done in 1959 and 1960, stuff like "Satellite Baby" and "Mistreated Mama" and such. There were also lots and lots of records Willie Mabon made in the early Fifties which featured saxes -- he has several collections out on CD -- and if you like jump blues, check out Louis Jordan, from mayb 1947 to 1953. People also sometimes forget that Ray Charles was a hardcore blues player in his days at Atlantic and plays alto sax on some of these recordings. As far as more recent stuff, somebody correct me if I'm wrong, but the T-Birds and Roomful of Blues have used horn sections extensively, right? Realistically, there aren't too many electric blues niches you can't fit a saxophone into. Sax only sounds out of place (to me) on country blues records and lower-volume acoustic stuff. Turtle _____ Reply Separator _____ Author: INTERNET:BRENTS @ CLEMSON.EDU@CISHUB Received: 08/31/95 04:07:00 PM Subject: SAXOPHONE AND THE BLUES Can y'all clue me into some blues that is heavy on the sax. A friend and I can't think of too much that has it. Thanks in advance for your help. Your brother in the blues, Brent ========================================================================= Date: Thu, 7 Sep 1995 05:34:00 PDT From: Meridith Farnworth Subject: Gary Segal??? (no Blues content) Sorry for sending this'n to the list. Hey...is Gary S. still out there? Tried replying to the private mail you'd sent me while I was away, it bounced. New address perhaps? --Meri mfarn@fibusa.com ========================================================================= Date: Thu, 7 Sep 1995 13:18:22 +0400 From: "Henrik R. Lassen" Subject: Michael Hill Blues Mob - interview The following is translated FYI from an interview with Michael Hill in a Danish newspaper called "Gaffa", available for free throughout the country. The head-line is BLUES MUSIC OF THE FUTURE and the article is by *Peter Widmer*. It is based on an extensive telephone interview with M.H. done from an office telephone kindly provided by Alligator Records in Chicago. (If this is how they treat foreign journalists breezing through, more power to them!) CAVEAT: Since the interview obviously took place in English, the following excerpts translated by me may not necessarily be the exact words of the original interview, so bear with me and take this for what it is - a brief example of how the *Bloodlines* album is viewed and presented over here.... About 67.000 Danes read this paper every month.... "I was born in 1952 and I have a brother and two sisters. My working class parents, who moved here [NYC] from the south in the 1940s, loved music and they had a big collection of records with lots of R&B, jazz and blues artists, so I have always been surrounded by music. Early on, my siblings and myself played together in different small bands with different friends from our neighborhood. At that time we often played at private parties and that kind of thing, and as a matter of fact I and the other members of the Blues Mob still do that, because even though the band has released *Bloodlines*, things can be tough and we all need to make ends meet, so...! "My parents have always taken great pains for us to stick together as a family, and they also made sure that we knew about African American history and culture and about the civil rights movement, the truth about the Vietnam war, etc. They were very conscious of social questions in general, and these things rubbed off on us kids, and are also reflected in my lyrics. I have a number of stories to tell so I make sure of my pronunciation and take pains to have a clear diction, so that people can hear every syllable of what I sing. I regard the blues as an excellent medium of expression for my thoughts about the rising violence in society, about young black people murdering each other, drug abuse, the mounting alienation and so on. "You have to have an opinion and take a stand as regards the things that happen around you. I see myself as much as a songwriter and singer as a guitarist. I also happen to be a member of the Black Rock Coalition, which is a non-profit organization, sponsored by its members, and which actively supports the entire spectrum of "black" music. At home, I listened to (among others) some of the great "black" blues guitarists, people like B.B. King, Albert King, and Buddy Guy, whose music caught my attention even though they were not the ones who inspired me to pick up the guitar. Q: No, your take on blues music could be said to be somewhat non-traditional, or? "Well, actually I did not decide to learn how to play the guitar until I heard Jimi Hendrix - whom I saw play live five times, including Woodstock. Hendrix's "Purple Haze" changed my life completely. Besides Hendrix, I started listening to a number of white blues(rock) [sic] guitarists, such as Michael Bloomfield and Elvin Bishop, because I was excited by their passionate, rock-based take on the blues form. I am also quite taken with the way Jeff Beck plays slide - on the album *Rough and Ready* for example - and he has meant a lot to the development of my own slide style. Carlos Santana's style has been an influence too. He plays in such a wild and beautiful way - he is like Hendrix in that respect. When I first got my own band together with my brother and my sisters in 1973, we played all kinds of "black" venues. We played covers of different rock hits, Rhythm & Blues, and straight blues songs, and I played slide guitar in all kinds of connections because it can really work and something lyrical can come out of that style of playing. Q: [about MH's unusual set-up, Steinberger guitars tuned the regular way and a Paul Reed amplifier]. "Well, it's a set-up that's a bit different from what you usually encounter in blues circles. I don't have a guitar that's tuned for slide-playing only, because I mix things up all the time and I continually try to coax novel and non-traditional sounds out of my Steinberger guitars. Some critics have said that my playing has vocal-like qualities, which is flattering. About our style, I'd say that it is a mixture of all the bands that I've played in, plus all of the musicians that I've listened to. To the above list I might add, also, people like Miles Davis, Pharoah Sanders, John Coltrane, Curtis Mayfield, Arrested Development, and Bob Marley. And by the way, listening to Bob Marley taught me to write socially conscious lyrics. Q: In spite of the fine reception you have gotten, a number of critics criticize you for not playing "real" blues. "As I said to a journalist from "Living Blues", I've come to realize that it *isn't* the audience who say, "That's not real blues".... ======== Henrik Lassen ======== ==== Odense, Denmark ==== 'Tis a new and and unseconded way in History to fornicate at a distance, and much offendeth the rules of Physick, which say, there is no generation without a joynt emission, nor only a virtual, but corporal and carnal contaction. Thomas Browne. "Pseudodoxia Epidemica: Enquiries into Vulgar and Common Errors." 1646. ========================================================================= Date: Thu, 7 Sep 1995 07:12:57 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 7th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AMMONS, ALBERT C. (p/boogie woogie) b. 1907-0907, CHICAGO, IL BREAUX, AMIDIE (v/cajun) b. 1900-0907, RAYNE, LA CAIOLA, AL (g) b. 1920-0907, JERSEY CITY, NJ CASEY, FLOYD (d) d. 1967-0907, NEW YORK CITY, NY 67 DEAN, SARA (v) b. 1912-0907, CAMDEN, NJ DIZZ, LEFTY (WALTER WILLIAMS) (g/songw) d. 1993-0907, CHICAGO, IL 56 DOUGLAS, CLIFFORD "BOOTS"(d/&HIS BUDDIES) b. 1908-0907, TEMPLE, TX GAYNOR, GLORIA (v) b. 1949-0907, NEWARK, NJ GRAY, ARVELLA BLIND [WALTER DIXON] (g) d. 1980-0907, CHICAGO, IL 74 HOLLY, CHARLES HARDIN "BUDDY" (g/songw) b. 1936-0907, LUBBOCK, TX HYNDE, CHRISSIE (:) (lead/PRETENDERS) b. 1951-0907, AKRON, OH LATIMORE (BENJAMIN LATTIMORE) (v/p) b. 1939-0907, CHARLESTON, TN LITTLE MILTON [JAMES MILTON CAMPBELL JR.] b. 1934-0907, INVERNESS, MS MARTIN,BOYD(d/ROBBIE LAWS/URBAN ALL-STARS)b. 1952-0907, WELLINGTON KS MOON, KEITH (d) d. 1978-0907, UK 31 NEWMAN, JOE (tpt/BASIE) b. 1922-0907, NEW ORLEANS, LA STEWART, REX WILLIAM (tpt/ELLINGTON) d. 1967-0907, LOS ANGELES, CA 60 VALENTINE, RAYMOND "SYD" (tpt) d. 1993-0907, INDIANAPOLIS, MN 85 WILLIAMS, ELIOT C. (BLUES L MEMBER) b. 1947-0907, EVANSTON, IL ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 7 Sep 1995 07:21:00 EDT From: Debra Eisert Subject: Pigmeat Jarrett When I walked into work yesterday a coworker showed me the paper. "I thought you'd want to see this," he said. Pigmeat Jarrett had died. Steve Tracy has said that Pigmeat was not a seminal bluesman, and I would have to agree. But he brought his driving piano style into the musical heart of Cincinnati. You couldn't help but respond to him. I will never forget dropping into Cory's, a now defunct bar, and hearing a powerful boogie beat coming from the back room. The old man seemed to be too small and frail to produce the rollicking music. He seemed to alive and vital to produce the dark, brooding blues that followed. "Who is that?" I asked the barkeeper. From then on I went to hear him play any chance I had. And was never disappointed. Pigmeat, we will miss you. */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ debra @ iglou.com Librarians know how Debra Lee Eisert to find the most fun! Cincinnati, Ohio USA */*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/ ========================================================================= Date: Thu, 7 Sep 1995 11:27:55 +0000 From: Pat Hertel Subject: Re: Colin James- fledgeling Canuk bluesman. On Wed, 6 Sep 1995, Rick Miller wrote: I don't think fledgeling quite applies here since ha has been around for some time. I think his first album was about 6 years ago. > > Anyway, the album, titled "Bad Habits" is a mix of original material, mostly > but not all straight blues, and features some cool guests, among them, Kim > Wilson and oddly, Lenny Kravitz playing clavinet. Hmm. I don't know if this is > his first album, but it's nicely done, IMHO. > He has at least 4 CDs under his belt if not more. His earlier stuff was more rock oriented. I think his first "big" hit was "Why'd You Lie" (which by the way was written by journeyman bluesman Morgan Davis) Since you don't know this is not his first album, then YOU DON'T KNOW ABOUT "Colin James And The Little Big Band" !!?? IMHO you're really missing something there. (Its basically CJ backed by Room Full of Blues) They do "big band" versions of stuff like "Cadillac Baby" and "Breakin' Up The House" .... good stuff. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/9/95 7:13 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 7 Sep 1995 06:24:00 -0400 From: "J.E. Downey" Subject: Re[2]: SAXOPHONE AND THE BLUES For modern-day jump blues w/sax, there's always the affable Mitch Woods and His Rocket 88s, first introduced to me by some very kind and well-informed soul on this List. For my rubles, the best of this is Solid Gold Cadillac, lotsa fun indeed! Mitch is an afficianado of Louis Jordan's, of course. Joe Downey Moscow J.E. Downey@bakermck.com ========================================================================= Date: Thu, 7 Sep 1995 07:12:31 EWT From: "CATHI N." Subject: Hoy interview (long) Here's an article on Johnny Hoy (& the Bluefish) scheduled to be printed in October...for your possible interest. ToneCool recording artists Johnny Hoy and the Bluefish are on the prowl. In one of their first, of hopefully what will be many, tours of the Midwest, the popular blues band hit several hot spots and showcased their considerable talent at the Labor Day, St. Louis Blues Festival before heading back toward their home base on Martha's Vineyard Island, Massachusetts. The band features Johnny Hoy on harmonica and vocals, his wife Barbara on bass and vocals, Buck Shank on guitar and vocals, Tauras Biskis on drums and Jeremy Berlin on keyboards. Having witnessed the mayhem their lively show aroused several times when visiting the Island, I was looking forward to the show. Johnny is INVOLVED with the blues and the audience. The 38-year-old bluesman works out like a mad painter rushing to finish the landscape before the moon is full. His harp and vocals build on each other until you HAVE to dance! I caught up with them after a great show at the Junction on Sept. 5th. Cathi: Well, John -- a husband and wife team in the blues! How long have you been with Barbara? John: Jeez...I'm gonna say 17 years! Wow. Cathi: Yes! How did you meet her? John: Well, I went to the Island 18 years ago in a boat. The boat sank. Cathi: (Laughs). That's when you knew you were gonna stay? John: Yeah, we were living under a bridge, but I couldn't leave -- all my stuff went down with the boat. So the guys and me went foraging for food & work. I tell you ....at that point if we had $5 we felt really good. But it's hard to starve in America... Cathi: I'll be callin' you when I lose my job! John: (Laughs), Yeah, you and me at the Pizza Hut dumpster -- 11 p.m.! Cathi: How'd you meet Barbara? John: I saw her in a car (laughs), and I chased that car until it stopped! Cathi: Nadine, honey is that you? (Laughs) John: Yeah....then I got her to go to a party with me that night and we got hooked. Cathi: (Laughs). Great....How'd you get into the blues? John: We didn't have a radio at my house when I was growing up -- don't know why. But my mom had a friend who could play "Pop Goes the Weasel" on harp and I thought that was cool (laughs). My friends had records I got exposed to and at a young age I remember picking up a Sonnyboy Williamson record for fifty cents at a flea market because I liked the cover. Since then he's bveen one of my favorites. I didn't really play harp until I was 18, already sneaking into bars to see James Cotton and Muddy Waters -- really inspirational. Cathi: You saw this band in Connecticut? John: Yeah, the Shaboo Inn was there (Willimantic, CT) and it was THE PLACE. They recorded live albums there and everything. Every six weeks guys like Freddie King, Muddy, and Tom Waits -- when he was starting out -- would come through. Cathi: You said you got into a garage band once you got to Martha's Vineyard. Did you play blues and sing then? John: Well, I screamed a lot...loud too! I gotta say there aren't too many people who can hollar louder than me (laughs). But they weren't into the blues, so I sneaked them in whenever I could...you know "you broke my heart; I couldn't dance..." that kind of thing. Cathi: Is it limiting to be a blues band on an Island? John: Well, for a little place, it's a big scene. It started with a guy called Maynard Silva who went to St. Louis and played with Bukka White and J.B. Hutto before coming back. And he just played that music whether the crowd liked it or not (laughs). Then we came along and it's been building. But I'd say any music that's from the heart is going to find an appreciative audience there. As for it being limiting...it is and it isn't. One one hand in the middle of winter you could be the Fabulous Thunderbirds and people are going to look at you and say "Jesus...not you guys again!" Everybody needs something fresh and new. But on the other hand it's a resort place, so in summer there are always new people. Of course on an island, everyone's got a suggestions. "Maybe you should try this...or that...." And you have to watch out you don't water down your thing too much. But it keeps you moving...bringing in new material all the time. Cathi: How would you characterize your style then? John: I'd say it's a bluesy dance band. Anything you can dance to and still be coming from the blues, we try to do it. As for my personal style -- anything I can learn from...I'm goin'. I don't care where it is...if it's good, I want a piece of it. Cathi: Tell me about your band...how long have the members been with you? John: Well, Buck Shank (guitar) has been with me about four years and Barbara (bass) of course, right from the beginning -- about seven years.... Cathi: And Tauras Biskie on drums? What nationality of name is that? John: Lithuanian and REALLY proud of it!! He's always slippin' polkas into the bluesy stuff (laughs) ...he's great. Then there's Jeremy Berlin on piano. Tauras got with me a little over a year ago and Jeremy's been with me almost three years, so the group's been swingin' just like this for about a year. Cathi: Well, John, I've got to ask you about your influences (laughs). John: (Laughs)...Well, my favorite harp player is Stuart Norton... Cathi: (laughing)...oh please! John: Yeah...I really like Stuart! Anybody good is always...whoever is inspirint who I can get near...is big enough. One of my recent favorites is Sleepy LeBeef, a buddy of Carl Perkins and one of the original rockabilly players. I love all the usual suspects...William Clarke, James Harman...I love listening to them. But the CD that always keeps getting back on the player is Sonnyboy number one. I really dig him. Cathi: Last time I was at your house, you couldn't swing a dead cat without hitting a vintage amp -- are you collecting? John: (Laughs). Well, now you can't swing a dead mouse! But lately my standard rig has been a Rauland PA head -- a '50s PA head, with two 6L6's and a really cool master volume. This master volume is IT...it sounds like a tweed Princeton or a Harvard, but bigger and louder. It's got the sound of a small amp but on a large scale. I run that through a 4-10 bottom. And I play through any good bullet mic I can lay my hands on. Cathi: Your latest CD, "Trollin' the Hootchey" is out on ToneCool which is in the Rounder catalog. Interesting title! John: (Laughs)...Yeah, a hootchey is a good bluefish lure...fish commit kamikaze over it. It's the hootchey troll...a rubber squid thing...works every time. Cathi: I was wondering what that was (laughs). Are you working on another CD soon? John: Yes...I've been trying to make time for writing. I've got about 20 songs ready to present to the label -- we should have another CD out about March. Cathi: One thing that really stands out for me, John, is your rapport with the audience...the contagious fun people have at your shows. Is that a natural thing for you, or do you have to work at it? John: I've had to watch people who are good at it. The biggest thing to me is when it's really natural. It's a complicated question. No matter how you feel, it's your job you know? But when I love it most is when the band and the room sounds good...when all the conditions are right...you know, when Mercury is in retrograde... (laughter), and the stars are right. But to be honest, that's probably my biggest thing I'm trying to work out: how to get that emotional depth and impact into what I do and still be satisfying for the crowd. You know you want everybody to go out that door happy, but in the long run, you've got to go out of it happy yourself. If you're really going to have any career longevity, you've got to figure that one out eventually, you know? I try to be a channel... Cathi: For me it's like getting better at getting out of my own way. John: Yeah...YEAH...that's it! Cathi: What gets to you about the blues John? John: I guess it's the emotional intensity...just about every spectrum of emotion can find you. I mean, all ethnic roots music was designed for emotional release...and often physical release. Whether it's a polka or Bulgarian dance music, the blues or good ol' shit-kickin' honky tonk, bluegrass or cajun -- all of it soothes you or it can excite you. They make you feel something you know?!? Every society all over the world has figured out how to make alcohol and how to make music that'll make you dance. And when they put 'em together (laughs)...look out! ========================================================================= Date: Thu, 7 Sep 1995 08:36:04 -0400 From: Steve Levine Subject: DC Blues Festival/Fleetwood's Contest Just a reminder - the seventh annual free DC Blues Festival is this Saturday (Sept. 9) at the Carter Barron Ampitheater, from noon til 8. Bobby Parker is headlining and also performing are Mississippi Heat, John Weston, Nat Reese, Larry Wise, Darryl Davis and the DC Blues Society Band. There will be free workshops on guitar, harmonica, dance, vocals and percussion for children. Also, the Fleetwood's Foundation Amateur Blues Contest starts this Monday at Fleetwod's, in Alexandria. My band 32-20 will be competing there that night. -Steve ========================================================================= Date: Thu, 7 Sep 1995 08:48:16 EST From: SToney@FRAMATECH.COM Subject: Which Johnny Shines? Well, well, I have just become enlightened about this great big voice of a guy. Blues-L comes through again! The talk about Johnny Shines led me to order the Hey-Hey-Ba-Ba-Re disc from Columbia House, which I received last night...what can I say...whatta voice! The power, the soul! So which one do I get next? Does Johnny play electrified or is he strictly acoustic? I'd love to hear some electric, if he did it. Anybody got a quick bio on him...is he still alive? Thanks for any help. Steve Toney Also got Muddy's box, Joe Turner's Greatest, Buddy and Junior Sing the Blues...I'm in blues heaven at the moment! YES!!! Shake, Rattle and Roll...Shake, Rattle and Roll... ========================================================================= Date: Thu, 7 Sep 1995 08:57:25 -0400 From: Curtis Hewston Subject: OKeh at Muddy's Cabin: Epilogue or should I say post-mortem. It was a wild night. Thanks for all those who were there for keeping me in stitches. Sure, we had a few logistical problems -- like not knowing where the artists were, Popa Chubby tripping over the phone line, Cat not hearing her voice line ring cuz it was so loud there, me not hearing her for the same reason -- but we all had a great time anyway. So we've got some bugs to work out. The good news is the Cabin itself withstood the throng. I did manage to capture the whole transcript and will be posting it in all its hilarity tonight or tomorrow. Next Tuesday we'll have former Muddy Waters' guitarist Bob Margolin. Next Wednesday its Tab Benoit. We'll also be backstage at the King Biscuit Festival in Helena, Arkansas the first week in October. We know Lonnie Shields will be with us at some point and more to be announced. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 14 Aug 1995 13:19:40 -0700 From: Ron Wack Subject: Re: Garcia Item Subject: Message text The insensitive remarks that have been posted on this thread has got me wondering why some people listen to the blues. How many blues songs have a hardship/pain/sorrow theme to them? Listening to the blues instills a certain peace of mind, compassion and empathy in me that no other music can. I can't comprehend how someone who listens to the blues can have such a callous attitude to someone elses feelings. Maybe your listening to too much of the music and not enough of the lyrics. Try both. RW ========================================================================= Date: Thu, 7 Sep 1995 08:18:33 -0500 From: Jeff Seale Subject: Re: Eric LeBlanc's Blues Dates - September 7th On Thu, 7 Sep 1995, P.W. Fenton wrote: > Here's a few dates (b. born, d. death) for today. If you have any > corrections/additions, let me know at leblanc@haida.dao.nrc.ca. > > HOLLY, CHARLES HARDIN "BUDDY" (g/songw) b. 1936-0907, LUBBOCK, TX Couldn't let this one go by without saying Happy Birthday to the hometown boy that started it all (at least for us West Texas boys). And if you want some blues content, check out the wonderful sax playing of King Curtis on True Love Ways. -Jeff (Rave On) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every night. -Joe Ely ========================================================================= Date: Thu, 7 Sep 1995 15:09:18 EZT From: Jean-Pierre Urbain Subject: I'm back from Japan.... Hi everybody, I'm finally back from Tokyo where I spent 9 days and from Prague (5 days). It's good to be back and to be able to read blues-L again. While in Tokyo I was convinced that I could bring back a bunch of P Vine Cds that would be worth talking about... but I was so surprised to see the prices there! While most serious record shops have surprisingly good and complete blues CD departments where you can easily find ALL Documents CDs, Trix, Wolf, Black Top, Orleans, .... at reasonable prices (at least compared to European standards) I was simply shocked by the price of locally produced CDs (about 25-35 $!). So.. I just picked a number of recent US releases that I found in a nice second hand shop. I'll check (still have to go through 17 days of Blues-L !! :-) if these have already been reviews in Blues-L, and if not, I'll send some brief reviews in the near future. BTW, P-Vine has just released a new Hi TIDE HARRIS album. Jean-Pierre Urbain ========================================================================= Date: Thu, 7 Sep 1995 09:23:13 -0400 From: Steve Levine Subject: Who are the "living legends"? I recently saw BB King live for the first (and hopefully not last!) time. When I was watching and listening to him I realized that I was watching one of the few living legends of the blues. Ever since then I've been trying to make a list of the legendary blues men and women who are still alive. By "legend" I mean a genre defining, strongly influental musician, someone distinctive like Muddy, Howlin' Wolf or Bessie Smith. The "living legends" I can think of off the top of my head are: BB King, John Lee Hooker, Otis Rush, Aretha Franklin (for r&b/soul), Hubert Sumlin, Buddy Guy, Jr. Wells, James Cotton, Brownie McGhee, Robert Lockwood, Charles Brown, Pinetop Perkins - I'm sure there are many more I can't think of right now. Who would you add to this list? -Steve ========================================================================= Date: Thu, 7 Sep 1995 09:24:59 -0400 From: "Bluzman Ed@Aol.Com." Subject: Jolliet Il. The Bluzman is off to Jolliet Illinois and Chicagoland with his favorite local blues band for a couple of days. I'm leaving my mailbox open, so hope it don't get choked with list mail, but I sure don't want to miss anything. If any of you are in the area, check out Michigan's fastest rising blues band, "Quick Edwin" They are playing at Harrah's Casino in Jolliet on Friday and Saturday, Sept. 8th and 9th. Hope to see some of you there. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Thu, 7 Sep 1995 14:21:00 BST From: Mr G M Smith Subject: Re: Playing Positions/BBQ Playing the accordian NAKED!!!! Hope the guy wasn't sitting down. Even thinking about the possible consequences make my eyes water!!! I always put BEER in the BBQ sauce (along with finely chopped onion and garlic sweated down in olive oil and butter,tomato puree,cider or wine vinegar,brown baking sugar (with molasses),English mustard (dry) and Tabasco sauce. Salt'n'pepper to taste. Simmer gently until onions disintergrate. If it gets dry,add more beer (same applies to the cook) But the beer is essential,Ruddles County is the usual. Tough on you folks in the States who can't get it!! Its the hops,you know. OBC.... Throw those picks away folks,let yer SKIN sing! Yours, Garry "Now With Callouses on Both Hands" Smith ========================================================================= Date: Thu, 7 Sep 1995 08:34:06 CDT From: L W Subject: I'm back from Japan/P-VINE !!!! ----------------------------Original message---------------------------- I have seen several P-Vine CD's reissued in the US by Delmark...I remeber a Robert Lockwood and Big Joe Willliams (is that right...played a 9 stringer) I'm curious if anyone knows if this is something Delmark is doing with all the P-Vine recordings. I would really like to get P-Vines Muddy Waters box, from what I've heard it's worlds better than the domestic Chess Box... Anyone know for sure about Delmark/P-Vine Thanks LW ========================================================================= Date: Thu, 7 Sep 1995 08:39:48 CDT From: L W Subject: Living Legends Ruth Brown, Honeyboy Edwards (was he mentioned already)...Sam Myers.. I would almost include Clifford Solomon Sax player with Charles Brown and former Ray Charles sax player/band leader Etta James RUFUS THOMAS !! LW ========================================================================= Date: Thu, 7 Sep 1995 10:00:29 -0400 From: Curtis Hewston Subject: Re: OKeh at Muddy's Cabin: Epilogue >Please, Curtis, for the sake of those on the list who do not wish or cannot >handle lengthy posts, offer the transcript via e-mail. Sorry, Michael and all. I meant to say I'll post the transcripts ON THE BLUE HIGHWAY. Man, I'd never subject y'all to 60K of e-mail. My own mailer can't handle that stuff. Thanks for letting me clarify that. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Thu, 7 Sep 1995 10:10:36 -0400 From: Steve Levine Subject: Re: Which Johnny Shines? * So which one do I get next? Does Johnny play electrified or is he * strictly acoustic? I'd love to hear some electric, if he did it. * Anybody got a quick bio on him...is he still alive? * My favorite (so far - I only have three Johnny Shines cds) is Johnny Shines with Big Walter Horton. He plays electric on this one. Another good one is The Roots of Rhythm and Blues: A Tribute to the Robert Johnson Era. This recording was made at the Smithsonian Folklife Festival, I believe in 1992. It has Shines (some of his last recordings - he died in 1992 or 1993), Cephas & Wiggins and some other great performers whom I can't recall right now. -Steve ========================================================================= Date: Thu, 7 Sep 1995 09:13:48 PDT From: rjbauman@IQUEST.NET Subject: Re: Blues Relaxing I was on my way across town to play in my Wed. nite softball league listening to some yet -to -be re-released on CD Luther Allison and I missed my exit to the ball park. This would ordinarily be innocent enough, but it's the fifth time I've done it or nearly done it in recent memory. It's a 30 minute drive. I always listen to blues on that drive. I just go into a "zone." Tina asked me on the way home "What are you thinking about." "Nuttin honey", I said, "just listening to blues." I think the blues is great stress therapy. Very relaxing. It's much easier when you have a spouse that isn't threatened or jealous of that "zone" because she get's it, too. RJ Bauman >I read a good review (I disagree with the reviewer, though) about a blues >recording and the reviewer said the music was "relaxing". > >He then said the blues can not be relaxing, otherwise it can't be blues. The >blues is not 'spose to be relaxing..... > >So I'm curious, can you think of blues as "relaxing music"..... > >LW 'I like Charles Brown, so you know how I feel about it' > ========================================================================= Date: Thu, 7 Sep 1995 09:14:59 CDT From: L W Subject: Honkers & Shouters If you've never read the book "Honkers & Shouters" by Arnold Shaw. I suggest you give it a look see. I read all about Dick Clark, Alan Freed, PAYOLA on the way to work (my wife drove)....GREAT book, covers almost every subject from Muddy Waters to Alan Freed and others that were before Alan, but never got as popular...I love this book Is it still in print..??? LW ========================================================================= Date: Thu, 7 Sep 1995 10:23:24 -0400 From: Peter Welch Subject: Re: Who are the "living legends"? According to Steve Levine: > > The "living legends" I can think of off the top of my head are: > > BB King, John Lee Hooker, Otis Rush, Aretha Franklin (for r&b/soul), > Hubert Sumlin, Buddy Guy, Jr. Wells, James Cotton, Brownie McGhee, > Robert Lockwood, Charles Brown, Pinetop Perkins - I'm sure there are > many more I can't think of right now. Who would you add to this list? > > -Steve > Steve, Some other living legends I can think of: Johnny Otis Lowell Fulson Yank Rachell John Brim Henry Townsend Mac Rebennack (Dr. John) Ray Charles James Brown John Jackson Gatemouth Brown Honeyboy Edwards Eddie Kirkland Snooky Pryor Lazy Lester Ruth Brown Tommy Ridgely Floyd Dixon -Peter ========================================================================= Date: Thu, 7 Sep 1995 09:28:28 PDT From: rjbauman@IQUEST.NET Subject: Re: Who are the "living legends"? ====================The "living legends" I can think of off the top of my head are: BB King, John Lee Hooker, Otis Rush, Aretha Franklin (for r&b/soul), Hubert Sumlin, Buddy Guy, Jr. Wells, James Cotton, Brownie McGhee, Robert Lockwood, Charles Brown, Pinetop Perkins - I'm sure there are many more I can't think of right now. Who would you add to this list? -Steve==================== Go listen to "Mandolin Man" and "Chicago Style" and then add Yank Rachell to your list. He's had the blues so long, "they done turned into the blacks." He easily meets your criteria. RJ Bauman ========================================================================= Date: Thu, 7 Sep 1995 10:25:06 -0400 From: "David L. Prychitko" Subject: Koerner, Ray & Glover Somebody in Japan asked how to obtain the Koerner Ray & Glover release (I presume it is "Blues, Rags, and Hollers"). Contact Red House Records, P.O. Box 4044, St. Paul, MN 55104 or call 1-800-695-4687. This is a really nice set of country-acoustic blues, which moved me to write a short review of it in BLUES CONNECTION a couple months ago, mentioning that "The latest thing among alternative rock musicians is an appreciation and something of a return to the "roots" of rock (witness bands like Wilco and Blues Traveler). Tony Glover in his updated liner notes jokes that in this sense, Koerner, Ray and Glover must have been thirty years ahead of their time. Actually, there's no comparison. These blues are woody and folky, and so true to their roots that it's hard to believe Koerner, Ray and Glover were just 24, 19, and 23 years old (respectively) when they faithfully pounded out these tracks...." Dave Prychitko ========================================================================= Date: Thu, 7 Sep 1995 10:30:48 EST From: SToney@FRAMATECH.COM Subject: Re: Who are the "living legends"? Steve Levine asked: >BB King, John Lee Hooker, Otis Rush, Aretha Franklin (for r&b/soul), >Hubert Sumlin, Buddy Guy, Jr. Wells, James Cotton, Brownie McGhee, >Robert Lockwood, Charles Brown, Pinetop Perkins - I'm sure there are >many more I can't think of right now. Who would you add to this >list? How about: Etta James Koko Taylor Bobby Bland Bo Diddley Cary Bell Ruth Brown Gatemouth Brown My personal Legends honorable mention list would also include: Lonnie Mack Johnny Clyde Copeland Luther Allison Charlie Musslewhite ========================================================================= Date: Thu, 7 Sep 1995 12:06:22 -0230 From: Alex PEnney Subject: b.b. king fan club is there a b.b king fan club and if so does anybody know the address? ========================================================================= Date: Thu, 7 Sep 1995 10:38:43 -0400 From: Tom Freeland Subject: Re: I'm back from Japan/P-VINE !!!! In a message dated 95-09-07 09:43:31 EDT, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I'm curious if anyone knows if this is something Delmark is doing with all >the >P-Vine recordings. I would really like to get P-Vines Muddy Waters box, from >what I've heard it's worlds better than the domestic Chess Box... > My introduction to the "complete" Muddy was through a borrowed copy of the P-Vine Muddy box on vinyl. I don't think one could really say that the P-Vine is "better" than the MCA Chess box-- they are made with different theories about how to make a box. The MCA box is not all-inclusive but rather is intended to give a thorough picture of Muddy at Chess. And it does so. The P-Vine box on vinyl was everything Muddy did at Chess *up to a point* and that point was early-- I think 1955 or 1956, and therefore missed some major work. I do not know if it has been reissued on cd, or, if so, they moved the date. And then there's the other information that comes with the boxes-- the P-Vine has some notes, all right, in Japanese, and a hysterical attempt to transcribe lyrics. Those lyrics are mostly close to what was sung, but close is the operative words. The MCA box has a great booklet (book?) with well-selected photos and informative text. That being said, the experience of listening to that P-Vine box the first time was a religious experience. And the same is true of their box of Elmore James' late recordings and a Chess-piano single album. The available equivalent to the P-Vine Muddy Waters that I know on CD is the Charly box. Just as an aside, I read in a recent NY Times that MCA just got a much-increased judgment for copyright infringement against Charly (like in the $7 million range?), but that MCA says its hard to know just who Charly is to stop them. The Charly box has everything up to the mid-60s. Its booklet is sloppy (lousy editing-- sentences stop in obvious mid-sentence, facts aren't checked) and actually contains photos and captions taken verbatim from the MCA box. I have both the MCA and the Charly, and listen to both. Tom Freeland ========================================================================= Date: Thu, 7 Sep 1995 10:51:57 EDT From: Joseph Leichter Subject: Topcat records email adress? Does anyone have the email adress for Topcat records? I need more info on their FK release..Thanks in advance, Joe Leichter ========================================================================= Date: Thu, 7 Sep 1995 10:58:18 -0400 From: Linden/Powers Subject: Blues & Barbecue I'm really glad to see so many posts on the Blues & Barbecue thread. I"m saving all of them, and in the next few weeks, I'll will post a list of Blues-L's favourite Barbecue joints. Colin Linden Toronto ========================================================================= Date: Thu, 7 Sep 1995 15:00:13 +0000 From: Pat Hertel Subject: Re: Living Legends On Thu, 7 Sep 1995, L W wrote: I can't believe no-one's mentionned JIMMY ROGERS! sheeesh phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/9/95 10:58 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 7 Sep 1995 10:06:42 CST From: William Shute Subject: new CD from NAPPY BROWN! From: Bill Shute NAPPY BROWN "I'm A Wild Man" New Moon Blues NMC 9405 US CD about 40-45 min. No time for a detailed review, but fans of Nappy Brown will LOVE this latest album on the Carolina-based NEW MOON label. I've enjoyed Nappy's recordings for Black Top, Southland, etc. of the last ten years, but this is a solid set with uptempo rockin' material, beautiful slower tunes, an Excello swamp blues flavored piece, and a nice take on "Shake Rattle and Roll" which features Nappy's pal and sometime live accompanist Bob Margolin (by the way, Margolinhas been working with some fine, fine people the last few years, in addition to his own great work---Billy Boy Arnold, John Brim, Nappy, etc.). Supposedly the producer asked Nappy what he didn't like about some of his recent recordings, and he said he didn't like over- dubbing vocals...he liked a REAL band there with him when he would sing. So he emphasized that on this release (although the horns are overdubbed and sound it). I sometimes considered Nappy a "personality" artist a la Little Richard or Wynonie Harris when I first heard his work way back when and didn't know anything about his background, but I was wrong. His background in Gospel, his work with many first rate jazz musicians back in the 50s on his sessions, and the complex sophisticated material he did at Savoy--these things taught me what a really fine singer this man is. His entertaining persona sometimes takes attention away from his fine set of pipes, as they say. Thankfully, producer Randy Friel realizes this and puts Nappy Brown in a number of different musical settings (there's even a country blues piece with a dobro etc.!!! and Nappy is a man who really is not rooted in that genre at all, so he shows his ability to handle different styles convincingly and naturally), all of which are a joy to hear. Nappy Brown, in the "big picture" of past R&B, comes after people like Amos Milburn, yet before Sam Cooke or Lloyd Price, so he's kind of pre-rocknroll, yet post jump-blues. There is now a low-priced collection of Savoy sides, a Japanese reish of a l980s "Savoy Jazz" reissue, that sells for about ten or eleven bucks new: NAPPY BROWN "Don't Be Angry" Savoy Jazz SV-0259 (CD, Japan) Check this out. By the way, it took 2 1/2 months for me to get the New Moon CD after I sent my money to the label. Perhaps you should order it through your record store so you don't have to tie up money like I did while waiting for this. Bill "Lemon Squeezin" Shute San Antonio, TX ========================================================================= Date: Thu, 7 Sep 1995 15:10:40 GMT From: marc borms Subject: New Africa String Band Is there anybody who can give me any info about "the New Africa String Band". Everything like history, musicians, recordings is welcome. Thanks :-) marc@az.vub.ac.be ps. I appreciate private email, if possible. ========================================================================= Date: Thu, 7 Sep 1995 15:35:58 GMT From: Sam Boskey Subject: King Biscuit - Helena Just a reminder for those looking for information on the King Biscuit Blues Festival in Helena Arkansas October 6-8: Call (501) 338-8798. A sechedule and list of lodging in the vicinity is available by fax or mail. ========================================================================= Date: Thu, 7 Sep 1995 10:34:18 CST From: William Shute Subject: another Amos Milburn CD recommendation From: Bill Shute Besides the fine EMI-US 20 track compilation, another good one (IMHO) is the Swedish 'Route 66' label collection called AMOS MILBURN AND HIS ALADDIN CHICKENSHACKERS "Rock Rock Rock" This contains a cross-section of work both slow and fast,both early and later, that I play quite often (Texas Johnny Brown plays on the first three tracks). Yes, the late (57 or so) attempts to "crack" the rocknroll market are not totally successful (I made similar comments about the Imperial Roy Brown sides when I reviewed that) in that it's ridiculous to hear Mr. Milburn getting enthusiastic about "French Fried Potatoes and Ketchup" when scotch, bourbon, and poontang is the diet he seems most comfortable with, but it is interesting to sample that material. If anything, you'll like the earlier stuff even more! I first heard Milburn in depth when French Pathe-Marconi EMI (who did so many fine albums of US music in the late 70s/early 80s) put out a few albums of his material in the early 80s which a good friend of mine owned. Hearing those great proto-rockers a la Chicken Shack Boogie and also his fine mellow Charles Brown styled tunes made me a lifetime fan. By the way, is the Mosaic set still available (and what's their 800 number?)? Is it on CD or just vinyl? I should probably go ahead and get that. Anyway, the Swedish album is now available on CD Route 66 RBD 21 which says made in Czechoslovakia! It's an exact reish of the Jonas Bernholm-produced album, but I don't know if he has anything to do with this release. Maybe he licensed his compilations to someone-- maybe this is just a reissue someone felt like doing and didn't bother looking into who owned the material (which certainly is not YET in the public domain), as is so common overseas (and, I regret to say, here in the US too). Whatever, I've seen these Czech repros at Tower Records, so it shouldn't be hard to find. I don't have the EMI reish handy, so I don't know how much replication/ overlap there is. So here's the track listing of rock rock rock album: drifting blues bow wow i still love you hard luck blues square dance boogie remember two years of torture(great Percy Mayfield composition) flying home (yes, the lionel hampton tune) rock rock rock (composed by peppermint harris) glory of love i done done it that was your last mistake, goodbye i guess i'll go girl of my dreams (from 20s dance band leader Sunny Clapp! there must be a story about why they covered THIS song!) french fried potatoes and ketchup(bill haley should have done this song) dear angel if I could be with you (one hour tonight) Enjoy! I taped mine and play it in the car often... btw, the liner notes contain a fascinating interview with Danny Adler (a name many of you Europeans will know well!), who worked with Amos a lot in the late 60s in the Cleveland/Cincinnati (speaking of Cincy, HI to shannon!!!)area. It really gives you insight into that lesser-known period of his life and some insight into the man himself. Bill Shute San Antonio, TX ========================================================================= Date: Thu, 7 Sep 1995 10:44:07 -0500 From: Bruce Roberts Subject: Blues Postcards I was in the bookstore this weekend and I found this book of postcards called "The Blues". Its really cool. It has some pictures that we all know and love, like Robert Johnson (with cigarette), and it also has some ones I've never seen, like a very young BB King playing in short pants. There's also a volume II, but I haven't found it yet. Next time your in a bookstore check it out. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 7 Sep 1995 11:45:36 -0400 From: Dick Waterman Subject: Re: Which Johnny Shines? Johnny Shines died in Tuscaloosa, Alabama, on April 20, 1992. He would have been 77 on April 26. Among those who gave eulogies were the mayor of Tuscaloosa and writer Peter Guralnick. Note that Shines is a member of "The Class of 1915" along with Willie Dixon, Muddy Waters, Billie Holiday, Memphis Slim, Brownie McGhee, Robert Lockwood, Josh White and many others. Unfortunately, Shines is remembered by many people for being a running buddy of Robert Johnson instead of the great talently musician that he was in his own right. Some of his duets with Robert Lockwood Junior are very nice. However, my own personal favorite Johnny Shines is the few songs that he did on the 1965 set, "Chicago, The Blues Today!" This was recently reissued on CD format by Vanguard/Welk and should be available if you local store gives you soem help. Shines does Johnson's "Terraplane" as "Dynaflow Blues" and it combines his rural roots with a terrific rhythm section. Someone wrote that his vocal was 'like a panther' and that's good enough for me. The original set was three vinyl LPs and I don't know how many CDs have been issued but this is essential stuff. The Otis Rush, Junior Wells, Homesick James, James Cotten, etc. are all well produced by Sam Charters. Taking in context that it was 1965, this was the first LP availability of some artists whose previous work had only been heard on 45s made locally in Chicago. dick waterman ========================================================================= Date: Thu, 7 Sep 1995 08:55:00 PDT From: Gary Joneson Subject: Re: King Biscuit - Helena Or on the WEB at: http://theta.pccc.cc.ar.us/~durrjr/bluefest.html >Just a reminder for those looking for information on the King Biscuit Blues Festival in >Helena Arkansas October 6-8: > >Call (501) 338-8798. >A sechedule and list of lodging in the vicinity is available by fax or mail. ========================================================================= Date: Thu, 7 Sep 1995 10:51:04 -0500 From: Roger Struve Subject: Re: Who are the "living legends"? -Reply GEEZ, don't forget John Hammond...a living legend if ever there was one. regards, d.d.r. ========================================================================= Date: Thu, 7 Sep 1995 12:01:12 -0400 From: Rick Miller Subject: Blues and relaxing I find blues V E R Y relaxing when I'm cooking. I'll pour a glass of nice red wine while I'm getting creative in the kitchen, load up the SONY 5-disc platter with a bunch of my favorite cds, and get good and mellow and unwind. On the other hand, when I'm playing with my band, especially out somewhere where there's a decent crowd, hey, I canget ALL worked up! :) I'm sure concensus will be that blues swings both ways. [heh-heh] ;) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 7 Sep 1995 12:00:30 -0400 From: Lynn Moncrief Subject: John Mayall ( was Re: Tower Records urban blues "essentials" list) In a message dated 95-09-07 06:30:47 EDT, you write: >What would you recommend for a Mayall CD? I've seen him live and really > enjoyed his show, but I don't have any of his CD's. > > Bruce Roberts > Austin, TX I'd highly recommend SPINNING COIN (Silvertone Records) which came out late last winter or early this spring. Favorite cuts on the CD include the title cut, "When the Devil Starts Crying", "Ain't No Brakeman", and "Voodoo Music". BTW, as much as I like this CD, I wouldn't really call all of it true blues. My husband and I both feel some of the cuts, including the title cut, sound more like rockabilly (which we happen to like). "Ain't No Brakeman" is short for Ain't No Brakeman on This Train and get's into a really classic train sound with the rhythm and harp. If you like blues songs with that theme and sound as I do, you'll love this one which I played to death for days when I first got it. Also by John Mayall is DIARY OF A BAND (on Deram) of which I have Vol. II. To be honest, I played it once and nothing really grabbed me about it so I haven't played it again. If you want to check it out, I suggest doing so in a record store where you can listen before you buy. It's from his 1967 recordings, so I guess you can call it "early Mayall". BTW, if you can't find his CDs with the blues in the record store, try looking in "rock" which is where some stores place them. Lynn ========================================================================= Date: Thu, 7 Sep 1995 12:04:42 -0400 From: Lynn Moncrief Subject: Re: Tower Records urban blues "essentials" list In a message dated 95-09-07 06:32:04 EDT, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >>27. Ronnie Earl, GUITAR VIRTUOSO LIVE IN EUROPE (Bullseye Blues) ***** > >I've only gave this one a "courtesy" listen, is it that good ?????? >I'm going to have to give it another listen > >LW Good enough, IMHO, that I've been trying to find it for months now--in Tower Records no less! ;-D Lynn ========================================================================= Date: Thu, 7 Sep 1995 12:03:00 EDT From: edward c liu Subject: Open Mike Night Tips (and some English) Howdy all, Pat Hertel wrote: > In England a "lootenant" is a guy that takes care of the toilets >:):):) I would have thought a "lootenant" was a homeless guy living in a portajohn =8^). And boy am I glad I wasn't born and raised in England with a last name like mine.... On a blues note, I attended my first open blues jam on Sunday night. I've set it as a goal for myself to participate in one before the end of the year, but this past weekend was the first time I had ever actually been to one. Much to my surprise, it seemed like the trend was to bring your whole friggin band up there instead of having one person with guitar/ keyboard/whatever playing with the house band. So, I guess I'm asking the folks on the list if there are any tips, tricks, ground-rules, or hints that y'all have for doing an open mike night sans band. I remember one hint was "have lots of your friends in the audience," but beyond that I've no idea what's the best way to go about doing this open mike thing. Thanks muchly!! -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Thu, 7 Sep 1995 09:18:51 -0700 From: Adrian Spidle Subject: Re: Living Legends Slightly off the topic, is Big Daddy Kinsey a living legend or a new kid on the block? Adrian ========================================================================= Date: Thu, 7 Sep 1995 11:23:41 -0500 From: Roger Struve Subject: Re: Who are the "living legends"? -Reply How about: John Jackson(71 years old, W.Virginian bluesman) Warner Williams (playing blues for over 50 years, and he's great-Maryland/Wash. DC area!) regards, d.d.r. ========================================================================= Date: Thu, 7 Sep 1995 12:24:06 -0400 From: Barry Silverberg Subject: Re: Which Johnny Shines? SToney@FRAMATECH.COM wrote: : So which one do I get next? Does Johnny play electrified or is he : strictly acoustic? I'd love to hear some electric, if he did it. : Anybody got a quick bio on him...is he still alive? Sorry if this is a double post - prior one seems not to have made it through. Highly recommended Johnny Shines CD's - 1. Traditional Delta Blues - Biograph Last side Jim String is a heart tugger. 2. Too Wet To Plow - Tomato With Sugar Blue (at his bluesiest), Louisiana Red and Ron Rault. An exceptional session to listen to and qualitat- ively a well mastered CD. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 7 Sep 1995 12:31:22 -0400 From: Willy Evans Subject: Re: Open Mike Night Tips (and some English) On Thu, 7 Sep 1995, edward c liu wrote: > On a blues note, I attended my first open blues jam on Sunday night. > (stuff deleted) Much to my surprise, it seemed like the trend was to bring > your whole friggin band up there instead of having one person with guitar/ > keyboard/whatever playing with the house band. So, I guess I'm asking > the folks on the list if there are any tips, tricks, ground-rules, or > hints that y'all have for doing an open mike night sans band. I remember > one hint was "have lots of your friends in the audience," but beyond that > I've no idea what's the best way to go about doing this open mike thing. > > Thanks muchly!! If there is no house band. Just ask one of the participating bands if you can sit in on a number when they've done their set. I'm sure somebody will be glad to have you. Sounds like a good way to meet players! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 7 Sep 1995 13:08:33 +0000 From: Ian Angus Subject: Re: Who are the "living legends"? -Reply If we are going to discuss "Living Legends" I think itys important to set some limits. Steve originally said: >> By "legend" I mean a genre defining, strongly influental musician, >> someone distinctive like Muddy, Howlin' Wolf or Bessie Smith. I thinks that's a useful limit. Many of the posts on this subject have featured artists who can be described as excellent performers, popular, and old -- but not "genre defining." (Rufus Thomas, for example, is a great performer, but hardly defines a genre.) I think there are only a handful of perforers whose work defined a genre. Of the ones named so far, I'd include BB King, John Lee Hooker, Otis Rush, Aretha Franklin Buddy Guy, Charles Brown, Johnny Otis, Ray Charles, James Brown, Bobby Bland. I might add Yank Rachell, but mandolin-blues is a pretty small genre, and he pretty much fills it up. And a case could be made for Brownie McGee, but I think others defined Piedmont Blues before he came along. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 7 Sep 1995 13:08:33 +0000 From: Ian Angus Subject: Re: Who are the "living legends"? Add to Living Legends list: Johnny Otis Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Thu, 7 Sep 1995 17:28:34 +0000 From: Pat Hertel Subject: Re: Topcat records email adress? On Thu, 7 Sep 1995, Joseph Leichter wrote: > Does anyone have the email adress for Topcat records? I need more info > on their FK release..Thanks in advance, Joe Leichter > TOPCAT RECORDS, P. O. BOX 670234, DALLAS, TX 75367-0234 tel/fax: (214) 484-4141 e-mail: topcat@computek.net www: http://www.texasblues.com/topcat phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [7/9/95 13:26 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 7 Sep 1995 12:35:00 CDT From: Joe Mayes Subject: Re: Topcat records email adress? Richard Chalk, TopCat Records, <---- Begin Included Message ----> Date: Thu, 7 Sep 1995 10:51:57 EDT From: Joseph Leichter Sender: Blues Music List Subject: Topcat records email adress? Does anyone have the email adress for Topcat records? I need more info on their FK release..Thanks in advance, Joe Leichter <---- End Included Message ----> , ========================================================================= Date: Thu, 7 Sep 1995 13:41:21 -0400 From: Barry Silverberg Subject: More Columbia House Offers. If anyone is interested I just got a new batch of CH offers. The deal is you get 5 CD's for approximately $20. If you're interested or need the list of CH blues CD's e-mail me and I will forward the details and/or the list. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 7 Sep 1995 13:30:07 -29900 From: Michael Kaloyanides Subject: Re: BLUES IN GREECE? On Thu, 7 Sep 1995, Greg Heness wrote: > Am off to a conference in Corfu next week, I know, it's hard but someone > has to do it. I was just wondering if anyone on the list might know where > I could catch some Greek blues either in Athens or Corfu? Perhaps some > blues boUzouki? Greg, I don't know if you'll be able to find BLUES in Greece, but you should definitely take the opportunity to hear the REBETIKA, the Greek equivalent of the blues. It has a history and ethos remarkably similar to those of the blues. It is a music that was developed by the underclass of the urban greek ghettoes around the turn of the century and expressed both the pain and the pride of ghetto life. During the second World War it became the music of the resistance movement in Greece. Initially an acoustic tradition, after World War II an electric form developed. The primary instrument of the tradition is the bouzoukee and a pop form of the music is known as bouzoukee music. Seek out the authentic "heavy" REBETIKA, a rich and significant greek urban musical tradition. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Thu, 7 Sep 1995 12:44:09 CDT From: L W Subject: Blues Geniuses I've heard different artists called a legtitmate "Musical Genius"..I won't repeat who they are, but they were all in bascially "popular" music. I don't ever recall hearing about too many living Musical Geniuses in the blues world. I know we all disagree on what a genius is, but IYHO are there any artists in the blues word today that YOU consider a "muscial genius" ?? (WHY would help)..... Just curious LW 'I have no clue.... ' ========================================================================= Date: Thu, 7 Sep 1995 12:52:40 -0500 From: Bruce Roberts Subject: Pianorama This sunday is Pianorama at Antone's with Marcia Ball, Johnny Nicholas, and Floyd Domino. This will be a tribute to Erbie Bowser, who performed in many of the past Pianoramas. Should be a great show. Bruce Roberts Austin, TX ========================================================================= Date: Thu, 7 Sep 1995 10:52:13 -0700 From: Eric LeBlanc-CISTI Subject: RED HOUSE VERSION re: Koerner, Ray & Glover I agree. This new RED HOUSE CD of their first album is actually the AUDIOFILE version. The ELEKTRA version had 3 less tracks. By the way the recording quality is outstanding when you consider it was recorded in 1963 and by a bunch of blues players. It will take you back! It did for me :-) eRIC >From "David L. Prychitko" Newsgroups: bit.listserv.blues-l Date: Thu, 7 Sep 1995 10:25:06 -0400 Subject: Koerner, Ray & Glover Somebody in Japan asked how to obtain the Koerner Ray & Glover release (I presume it is "Blues, Rags, and Hollers"). Contact Red House Records, P.O. Box 4044, St. Paul, MN 55104 or call 1-800-695-4687. This is a really nice set of country-acoustic blues, which moved me to write a short review of it in BLUES CONNECTION a couple months ago, mentioning that "The latest thing among alternative rock musicians is an appreciation and something of a return to the "roots" of rock (witness bands like Wilco and Blues Traveler). Tony Glover in his updated liner notes jokes that in this sense, Koerner, Ray and Glover must have been thirty years ahead of their time. Actually, there's no comparison. These blues are woody and folky, and so true to their roots that it's hard to believe Koerner, Ray and Glover were just 24, 19, and 23 years old (respectively) when they faithfully pounded out these tracks...." Dave Prychitko ========================================================================= Date: Thu, 7 Sep 1995 13:56:43 -0400 From: Tom Freeland Subject: Re: Who are the "living legends"? -Reply In a message dated 95-09-07 13:42:47 EDT, ianangus@DIS.ON.CA (Ian Angus) writes: >I thinks that's a useful limit. Many of the posts on this subject >have featured artists who can be described as excellent performers, >popular, and old -- but not "genre defining." (Rufus Thomas, for >example, is a great performer, but hardly defines a genre.) > Gee, I thought you were talking about John Hammond! Rufus Thomas' longevity as a performer and contributor (not just age) in Memphis music makes him entitled to legend status. A founding DJ at the first black radio station in the *country*, a performer going back to the Rabbit's Foot Minstrel in the 30s, and a singer who recorded critical recordings on Sun and Stax (and even recorded at Hi) is not merely somone who has been around a long time. His performances at stax in the early-middle sixties were defining and influential; you may just not have a lot of regard for the particular genre. BUT he was performing and DJing and recording in an influential way at a critical transition from R&B to soul. And, who knows, perhaps his use of nonsense and nursery rhymes is defining-- look at the ways George Clinton uses similar tools. Rufus Thomas' appeal is so humor-based it is easy to dismiss him but I don't think you should so quickly. I'm with LW on Rufus Thomas, although I agree that 'legend' is way to easily thrown around. Tom Freeland ========================================================================= Date: Thu, 7 Sep 1995 19:45:19 +0200 From: Peter Gallagher Subject: Re: Which Johnny Shines? I second that, third it, fourth it... I have vols, 1 and 3 and as Dick says - "essential stuff" regards, PeterG "now if I can only get my hands on vol. 2 ..." > personal favorite Johnny Shines is the few songs that he did on the 1965 set, > "Chicago, The Blues Today!" > This was recently reissued on CD format by Vanguard/Welk and should be > available if you local store gives you soem help. -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Thu, 7 Sep 1995 12:55:29 -0500 From: David Silberberg Subject: Re: Living Legends At 03:00 PM 9/7/95 +0000, Pat Hertel wrote: >On Thu, 7 Sep 1995, L W wrote: > > I can't believe no-one's mentionned >JIMMY ROGERS! sheeesh > >phertel@cmc.doe.ca Or Jimmy RoDgers David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 7 Sep 1995 13:31:58 EST From: shannon oconnor Subject: Blues & Barbecue Cincinnati Style Because I missed a week of keeping up and had to mass-delete a ton of BLUES-L postings, I'm not sure if anyone mentioned the (in)famous Cincinnati blues-and-barbeque restaurants....Burbank's Real Bar-B-Que. There are five locations in the Greater Cincinnati area (and a brand-new one in Dayton). They each feature blues bands four nights a week and keep a lot of the local bands working on a steady basis (as well as bringing in regional names, like Duke Tumatoe and Lonnie Mack). Since I'm a native New Englander I'm not a barbeque expert, and more often than not when I'm there I eat a salad or a burger or a chicken sandwich, so I can't comment on the comparative quality of the barbeque itself. I know the ribs are popular and the restaurants are often crowded. (Personally, I do love the sweet cornbread.) The music is aleays excellent! :) I'm at a Burbank's usually three nights a week, average, and quite honestly, there are times I just want a plate of spaghetti instead of something hickory-smoked. With that in mind, I wrote a song lyric one night on the back of a placemat entitled "The Barbeque Blues," and although a friend of mine promised to set it to music, he has not done so. If anyone would like to take my lyric (be warned, it's silly), set it to a bluesy tune, and send it back to me on a cassette, I'd reward that person with a prize (a Greater Cincinnati Blues Society t-shirt, or a Cincinnati t-shirt, or a CD from my favorite local band....). I don't have the lyric with me, but I remember it began: Give me the blues with no barbeque I want spaghetti and juice from the moo.... I can have the lyric with me tomorrow. Any takers? :) Shannon ========================================================================= Date: Thu, 7 Sep 1995 13:22:26 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: barbecue For those interested in barbecue places in the midwest, I have been to approximately 75 of them in Indiana, Ohio and Iowa and I have (for what it's worth) declared Jim's Rib Haven in Rock Island, Illinois (across the river from Davenport, Iowa) as the best. My preferences are for ribs and not sandwhiches so you might keep that in mind. Order the back ribs and whatever you do, do not forget to order the fries. Lee Lee C. Spector Department of Economics ========================================================================= Date: Thu, 7 Sep 1995 14:28:09 -0400 From: Barry Silverberg Subject: Re: Blues Geniuses L W (ISTS024%UABDPO.BITNET@VTBIT.CC.VT.EDU) wrote: : I don't ever recall hearing about too many living Musical Geniuses in the : blues world. I know we all disagree on what a genius is, but IYHO are there : any artists in the blues word today that YOU consider a "muscial genius" ?? : (WHY would help)..... Piano - James Booker Harp - Sugar Blue My perspective on genius is - Someone who pushes the envelope & someone who makes that thang do what others only dream of. Short list, short criteria, but works for me. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 7 Sep 1995 13:45:00 CDT From: Bonnie Kalmbach Subject: Playlist for Labor Day One one the tunes I like to use for this occasion is Otis Rush's "Working Man" : "Oh, I'm a working man, I just use one simple tool..." (x2) I fergit the rest - it goes something like "I keeps my baby cool..." -Bonnie ========================================================================= Date: Thu, 7 Sep 1995 14:27:12 -0400 From: Willy Evans Subject: Re: Blues Geniuses On Thu, 7 Sep 1995, L W wrote: > any artists in the blues word today that YOU consider a "muscial genius" ?? > (WHY would help)..... > > Just curious > > LW 'I have no clue.... ' > Joe Louis Walker! His sound is basically blues/r'n'b but if you listen, there is a lot more going on with him than you realize at first! Listen to his song _Powerline_ on JLW. That is a one chord song. But boy is it happening!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 7 Sep 1995 15:35:54 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Living Legends How about Etta Baker? I think she'd still with us. How about someone compiling a "master list" from all of the replies. Jim Smith ========================================================================= Date: Thu, 7 Sep 1995 15:37:43 -0400 From: bob unger Subject: blues & the R&R HOF For those wondering if the R&R Hall Of Fame acknowledges the blues in anyway, you can check it out at there web site - http://www.rockhall.com I just virtually visited and listed in there 'highlights of the collection' is Big Joe Turners passport - Wilson Picketts Gibson j200 acoustic guitar and jump suit - Jimi Hendrix, Buddy Holly..etc. If you click on 'The Exhibits" you'll find 'Got My Mojo Workin: The Blues Influence..." and in the '500 songs that shaped R&R' they acknowledge Louis Armstrong, Bobby Blue Bland, Charles Brown, Ruth Brown, Solomon Burke, etc... Has anybody physcially been there yet? Maybe give us a report? BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 7 Sep 1995 14:39:12 -0500 From: Bruce Roberts Subject: Re: Blues Geniuses > I've heard different artists called a legtitmate "Musical Genius"..I won't > repeat who they are, but they were all in bascially "popular" music. > > I don't ever recall hearing about too many living Musical Geniuses in the > blues world. I know we all disagree on what a genius is, but IYHO are there > any artists in the blues word today that YOU consider a "muscial genius" ?? > (WHY would help)..... I know a lot of people will disagree with me, but I think Ry Cooder falls into the musical genius cateogory. He's innovative and willing to take chances. And maybe Taj Mahal also, now that I think about it. They're both willing to take the music now new paths (and those paths might not always end being the Blues, but its different). Bruce Roberts Austin, TX ========================================================================= Date: Thu, 7 Sep 1995 14:50:27 -0500 From: David Silberberg Subject: Re: Living Legends At 12:55 PM 9/7/95 -0500, David Silberberg wrote: > > >Or Jimmy RoDgers > > Sorry, guys - in an attempt to be clever, I lost track of the thread.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 7 Sep 1995 16:07:19 -0400 From: Steve Levine Subject: Re: Who are the "living legends"? -Reply *If we are going to discuss "Living Legends" I think itys important to *set some limits. Steve originally said: * *>> By "legend" I mean a genre defining, strongly influental musician, *>> someone distinctive like Muddy, Howlin' Wolf or Bessie Smith. * *I thinks that's a useful limit. Many of the posts on this subject *have featured artists who can be described as excellent performers, *popular, and old -- but not "genre defining." Yeah, I meant someone who is truly huge in the blues world and who shapes or defines the genre. At first I didn't even want to include Jr. Wells and James Cotton because they are almost second generation to Little walter, who was one of the true blues harmonica legends. I think that Kim Wilson is one of the best harp players ever but I wouldn't call him a legend and put him with Little Walter since he didn't have as much impact as Little Walter did. But some of the responses I got have been interesting and informative. -Steve ========================================================================= Date: Thu, 7 Sep 1995 16:33:01 -0400 From: Tom Freeland Subject: Re: barbecue with some blues content! Honest! Starting with something on point, there is a fun BBQ song on the first Stax box co-authored by Steve Cropper and sung by Wendy Rene, called "Bar-B-Q." She thought she was recording a radio jingle-- "I like Bar-B-Q" she sings. Since someone out there is compiling a list, I've got to put my two cents in about barbecue. My preference (by miles) is for pork barbecue, sliced, with hot sause and slaw. In barbecue heaven the place will sell beer and have excellent baked beans, battered-on-premises (as in not frozen) onion rings and lemon meringue pie (NOT ICEBOX PIE). This is about bbq, though-- my favorite place has none of the above, only the best porked shoulder sandwhich I've eaten. One other observation. Most books about barbecue are really, really lousy, not written by or for serious cooks, and full of recipes that verge on joke. One that I've had a little while that seems good, has reliable info, and also some notes about where to eat the stuff is "The Ultimate Barbecue Sause Cookbook" by Auchmutey and Pucket. Here are some places well known and otherwise: PAYNE'S Memphis, TN This is my favorite by miles. In the 1600 block (I think?) of Lamar. Not the best neighborhood in the world. Not open on Sundays or Wed. night (church time). The ONLY things to eat really are chopped or sliced shoulder and hot smoked sausage sandwich. You really want the hot sause and the sliced shoulder, although on the later I have trustworthy friends who disagree. There is a drink machine and bags of chips, and that's it. I've seen Shelby Foote there and been told that Willie Dixon once ate there, for what that's worth. MIDTOWN BARBECUE Memphis, TN (I THINK this is there current name? Someone in Memphis confirm this?) Once was Brady's & Lil's, and has had a bunch of names and moved all over the place. Currently on Madison west of Overton Square. I haven't been there in a couple of years, but they once had a perfectly reasonable bbq (it was once really great, competitive with Paynes, and on a menu that included BBQ spaghetti, something better in concept than execution), and they do sell beer and take credit cards and other stuff you would expect from a restauarant (unlike Payne's, where all they do is the best sandwhich). Other Memphis 'great barbecue places' I find lesser-- Interstate Barbecue, for instance, I don't get. And I don't care for the Rendevous. In Arkansas, when you are going to Helena if you are coming down from Little Rock, you should consider a detour to a little place called DeVall's Bluff. (It's not far off the interstate). They have a good barbecue place that is well-known called Craigs. They have good sause and acceptable meat, and put apples in the cole slaw (which I like and have adopted). The best thing about it is that across the highway is the Family Pie Store (it is in a ladies back yard in a shed, but go there, really) which at least one book I've seen labels the best pie-maker in the country. I understand why. AWESOME fried pies and cream pies. Get a fried pie there. Or a coconut pie. Or anything. The barbecue places in Mississippi come and go. There is one in Oxford that is ok-- in a drive through convenience store (you couldn't eat there, its all takeout). There is a guy named Deke Baskin here in Oxford who does bbq special order from his home (he used to have a place but it got closed...) and does great goat barbecue. I *hate* Abe's in Clarksdale, which is a place people will send you there. Jim O'Neal recommends another place that I haven't tried yet; I'm going to sometime (sorry I can't remember the name). I'm told the goat barbecue at the all-weekend-fife-and-drum-picnics at Como should be experienced (there, that's blues content). Bob Sykes in Bessemer Alabama is famous, and quite good. It has opened a branch in downtown Birmingham, which is very convenient to the City Stages festival entrance. I don't know a lot about Texas bbq, but you need to experience Sonny Bryan's in Dallas; its been there forever (and looks it-- I don't think it was ever painted or cleaned) and has good beef bbq. We've heard nothing from Kentucky (in west Kentucky BBQ goat is king. What about it folks?) and I haven't heard anyone talking about Kansas City and Arthur Bryant's I don't think? Tom Freeland ========================================================================= Date: Thu, 7 Sep 1995 15:37:03 PDT From: rjbauman@IQUEST.NET Subject: B.B. Soundalikes I was listening to some older Luther Allison and it struck me how much he sounded like B.B. King on some songs. I'm speaking of his guitar sound and style. I don't think it's a knock on a player to say he sounds just like B.B. King. I thought I'd go to you folks for a list of players who have recorded songs where you could easily mistaken the guitar player for B.B. King. It doesn't have to dominate a player's style. Just on certain songs. What do you think? RJ Bauman (Everybody's (players) learned certain phrases that are distinctly BBesque. That's not what I'm going for.) ========================================================================= Date: Thu, 7 Sep 1995 15:51:28 CDT From: L W Subject: B.B. Soundalikes ----------------------------Original message---------------------------- >I thought I'd go to you folks for a list of players who have recorded songs >where you could easily mistaken the guitar player for B.B. King. It doesn't >have to dominate a player's style. Just on certain songs. >What do you think? I think we should say who sounds like T-Bone and include BB King, then go from there. LW ========================================================================= Date: Thu, 7 Sep 1995 16:56:13 -0500 From: Erica Wissolik Subject: Kennedy Center Open House `95 FYI - This year's theme is *Routes* of American Music. It runs from 12-6 on Sunday, rain or shine, and its FREE! The lineup includes Luther "Guitar Junior" Johnson, Fontella Bass, The Subdudes, Leroy Jones, Chuck Brown, The Orioles (yeah Cal Ripken - yeah I know, different group of guys), The Blind Boys of Alabama, Bill Kirchen & Too Much Fun, Tom Prasada-Rao, etc...... More info is at ... http://artsedge.kennedy-center.org/KC-OpenHouse95.html ========================================================================= Date: Thu, 7 Sep 1995 17:21:56 -4 From: "P.W. Fenton" Subject: Blues Geniuses I'm finding the responses to LW's quest for Blues geniuses rather interesting. Nearly everyone has equated "genius" with innovation. Nearly everyone has cited someone who has roots in the Blues but who has ventured outside. Everybody SEEMS to be suggesting that working strickly within the Blues form lacks "genius". After looking up "genius" in my Webster's I'm more inclined to assign names like Muddy Waters, Willie Dixon, and Lightnin' Hopkins. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 7 Sep 1995 17:33:04 -4 From: "P.W. Fenton" Subject: Barbecue Heaven Correction On 7 Sep 95, Tom Freeland had this to say... > In barbecue heaven the place will sell beer and have excellent > baked beans, battered-on-premises (as in not frozen) onion rings > and lemon meringue pie (NOT ICEBOX PIE). One ever so slight correction... the beer will be free. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 7 Sep 1995 17:33:04 -4 From: "P.W. Fenton" Subject: Re: B.B. Soundalikes On 7 Sep 95, rjbauman@IQUEST.NET had this to say... > I was listening to some older Luther Allison and it struck me how much he > sounded like B.B. King on some songs. I'm speaking of his guitar sound and > style. I don't think it's a knock on a player to say he sounds just like > B.B. King. > > I thought I'd go to you folks for a list of players who have recorded songs > where you could easily mistaken the guitar player for B.B. King. It doesn't > have to dominate a player's style. Just on certain songs. I think Peter Green can almost be B.B. King at times. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 7 Sep 1995 16:56:32 -0500 From: "Henry Busse Jr." Subject: Births & Deaths 9/8/95 BOWMAN, DAVE ( DAVID WALTER ) Born:1914 BUFFALO, NY Died: 12/28/1964 MIAMI, FL Age:54 Occupation:PIANO Worked With;BOBBY HACKETT / SHARKEY / MUGGYS SPANIER / JACK TEAGARDEN Style:JAZZ / BIG BAND / DIXIE BROWN, MARION JR Born:1935 ATLANTA, GA Occupation: ALTO SAX Worked With:ARCHIE SHEPP / JOHN COLTRANE / STEVE MCCALL / GUNTER HAMPEL Style:JAZZ CLAY, JAMES Born1935 Occupation:TENOR SAX Style:JAZZ DIETZ, HOWARD oOrn:1896 NEW YORK, NY LYRICIST Worked With: ARTHUR SCHWARTZ / JEROME KERN / VERNON DUKE / JIMMY McHUGH Wrote:I GUESS I'LL HAVE TO CHANGE MY PLANS / DANCING IN THE DARK / YOU AND NIGHT AND THE MUSIC Style: POP / BIG BAND GUITAR, SHORTY ( DAVID KEARNEY ) Born 1939 HOUSTON, TX Occupation:GUITAR Style: BLUES RODGERS, JIMMY ( THE SINGING BRAKEMAN ) Born:1897 MERIDIAN, MS Died:05/26/1933 NEW YORK, NY Age:35 Occupation:SINGER Style: Blues / cw THE FATHER OF COUNTRY MUSIC SCHOEBEL, ELMER Born:1896 EAST ST.LOUIS, IL Died:12/1/1970 ST. PETERSBURG, FL Age:74 Occupation: COMPOSER Wrote: BUGLE CALL RAG / FAREWELL BLUES / PRINCE OF WHALES Style:JAZZ / BIG BAND TURNEY, NORRIS (WILLIAM ) Born:1921 WILMINGTON, OH Occupation:ALTO SAX Worked With:TINY BRADSHAW / DUKE ELLINGTON / GEORGE WEIN Style: WARE, WILBUR ( BERNARD ) Born:1932 CHICAGO, IL Died:09/ 09/1979 PHILADELPHIA, PA Age:47 Occupation:BASS Worked With: JOE WILLIAMS / T. MONK / ART BLAKEY Style"JAZZ / BIG BAND WARREN, BUTCH ( EDWARD RUDOLPH ) Born:1939 WASHINGTON, D.C. Occupation:BASS Worked With:KENNY DORHAM / HOWARD MCGHEE Style:JAZZ WRIGHT, SPECS ( CHARLES ) Born:1927 PHILADELPHIA, PA Died:02/06/1963 PHILADELPHIA, PA Age:36 Occupation:DRUMMER Worked With:HOWARD MCGHEE / DIZZY GILLESPIE / CANNONBALL ADDERLEY Style:JAZZ P.S. These people CHecked OUT ON THIS DATE DANDRIDGE, DOROTHY Born:11/09/1923 CLEVELAND, OH DIED:1965 LOS ANGELES, CA Age:42 Occupation: Worked With:JIMMY LUNCEFORD / 1954 SANG ROLE OF CARMEN IN CARMAN JONES / 1959 WAS BESS IN FILM PORGY AND BESS Style:JAZZ GOWANS, BRAD ( ARTHUR BRADFORD ) Born:12/03/1903 BILLERICA, MA. DIED:1954 LOS ANGELES, CA Age:51 Occupation:VALVE TROMBONE / CORNET / CLARINET Worked With:RED NICHOLS / WINGY MANONE / BOBBY HACKETT /JOE MARSALA / BUD FREEMAN / LEE WILEY / ART HODES / MAX KAMINSKY Style:JAZZ PETTIFORD, OSCAR Born:09/30/1922 OKMULGEE, OK DIED:1960 COPENHAGEN, DENMARK Age:38 Occupation:BASS / LEADER Worked With:CHARLIE BARNET / ROY ELDRIDGE / DIZZY GILLESPIE / DUKE ELLINGTON / WOODY HERMAN Style: Jazz Note:1958 MOVED TO EUROPE RICH, FRED Born:01/03/1898 WARSAW, POLAND DIED: 1956 Los Angeles, CA Age:58 Occupation:PIANO / LEADER Style:JAZZ / BIG BAND . ========================================================================= Date: Thu, 7 Sep 1995 18:27:05 -0400 From: James Leftwich Subject: Re: Charlie Patton On Thu, 7 Sep 1995, Onduma Faloon wrote: > Tom Rossen (rossentj@INTERACCESS.COM) wrote: > > included (along with Crumb's "Jelly Roll Morton's Voodoo Curse," and > other stories) in the compilation you mentioned, R. CRUMB DRAWS THE BLUES, > published by Last Gasp in 1993. Your friendly comics dealer should be > able to get a copy for you (I think the trade paperback version sells for > $16.95). > Yeah, I bought it for $16.95. The Patton cartoon is definitely the highpoint...not so sure it's worth the price tag IMHO ========================================================================= Date: Thu, 7 Sep 1995 15:32:07 -0700 From: Mary Katherine Aldin Subject: Genius/In Los Angeles there's barbecue? I know, we're not the South. Not even close. But out in the Valley there's a place called (really--I would never make up a name like this) Dr. Hoggly Woggly's Tyler, Texas Barbecue. It's supposed to be the best around. However, since Tom Freeland denies that chicken *is* barbecue, and since my doctors years ago took me off pork and beef, maybe I'm not qualified to comment. If anyone out there *does* think that chicken is barbecue, they have some, and it's good; also of course they serve the usual ribs, pork shoulder, and etc. The sauce is available in hot or not-hot. Since I don't equate a dining experience with an endurance contest, I get the not-hot, and it's real good. I tried the hot once, and it destroyed my taste buds for the res t of the evening. Blues content: you want genius, with *all* the elements ranging from flashes of incredible brilliance to depression and self- destructiveness? Who else but Otis Rush? Mary Katherine ========================================================================= Date: Thu, 7 Sep 1995 19:42:23 -0400 From: Dick Waterman Subject: Did U C BB ? I have to photograph the BBKing, Etta James, Jimmy Vaughn, et al package tomorrow night in Memphis. I will be working against a deadline and tempted to leave after I take pictures of BB during his first few songs. A question to anyone who has already seen this package: Is there any interplay between the artists? Is there a finale where Etta and/or Jimmy come back onstage to join BB King at the end? If there is, I'll stick around to shoot that. Thanks in advance for any help . . . dick waterman ========================================================================= Date: Thu, 7 Sep 1995 09:52:03 PDT From: rjbauman@IQUEST.NET Subject: Re: Michael Hill Blues Mob - interview ==================='Tis a new and and unseconded way in History to fornicate at a distance, and much offendeth the rules of Physick, which say, there is no generation without a joynt emission, nor only a virtual, but corporal and carnal contaction. Thomas Browne. "Pseudodoxia Epidemica: Enquiries into Vulgar and Common Errors." 1646.===== Being that this was 1646, what the hell was he talking about? ========================================================================= Date: Thu, 7 Sep 1995 19:24:00 PDT From: Meridith Farnworth Subject: Greg Piccolo Heads West! Greetings, Blues-Ler's! Greg Piccolo, former heart and soul of Roomful of Blues (IMHO), is still on the road, but now he's fronting a (relatively) new band. Now going under the name Greg Piccolo and Heavy Juice, they're westward bound. The new band features Greg on Saxaphone (of course!), and now he's showing his previously hidden guitar skills in about 1/2 the songs. Naturally, he is still singing his heart out too. Larry Peduzzi (who was with the original Duke Robillard-era Roomful 25 years ago then quit in favor of a day-job and re-joined Roomful three years ago) is with Greg on bass. The band also features keys, drums and percussion. Yes Indeed, they are sounding fine! Anyway, I have their preliminary fall itinerary. If anyone is interested, private e-mail me and I'll forward the details (starting in New England, ending out West) promptly. I've also got a couple of favors to ask of ya'll (doesn't she ALWAYS?!) 1. If anyone has seen Heavy Juice, I'd love to hear your comments 2. If anyone has direct contact with venues that may be able to book them during this cross-country trip, let me know. A related request...3. Will someone kindly provide the e-mail address for that www site that, as I recall, allows searching for upcoming dates? Obligatory disclaimer: I have no financial interest...just trying to help a much-deserving friend spread the word. As always, thanks! --Meri mfarn@fibusa.com p.s. Their new CD will be released on the Fantasy Label in about 3 weeks. Sorry, I forget the name of it, but you can be sure I'll be in the front of the line to buy it upon release. I'll post some kind of review... ========================================================================= Date: Thu, 7 Sep 1995 20:13:44 -0400 From: Bob vanArsdall Subject: Re: Blues Geniuses LW asked: >I've heard different artists called a legitimate "Musical Genius"..I won't >repeat who they are, but they were all in bascially "popular" music. > >I don't ever recall hearing about too many living Musical Geniuses in the >blues world. I know we all disagree on what a genius is, but IYHO are there >any artists in the blues word today that YOU consider a "muscial genius" ?? >(WHY would help)..... This may start some fights (basically because he's not "traditional" in any sense, nor does he have a lot of his own work out, and some folks might not call him strictly blues), but my vote would go for Allen Toussaint. He's had a hand in almost everything which has come out of New Orleans from the late 40's to today. He's an arranger, composer, producer, and plays anything that makes a noise. His hand has been in the recordings of everyone from the Dixie Cups, Ernie K-Doe, the Meters/Neville Brothers, and Bobby Blue Bland to the Band (he arranged the great horns on their Rock of ages album). Toussaint has "that sound" in his head like BB has "that note", and can make some artists much better for it. If you can find it, his album Southern Nights gives you a taste of his own compositions. The sound arrangements and recording techniques make it sound something like Van Dyke Parks filtered through a funky black New Orleans perspective. (and as to whether Toussaint is more "popular" than blues: on a continuum from the Delta to, say, Barry Manilow, he's a WHOLE lot closer to the Delta.) Bob ========================================================================= Date: Thu, 7 Sep 1995 20:18:59 -0400 From: stew crossen Subject: top 20 blues cds If anyone requested a WHUS Top 20 Blues CD list and did not receive it, I'm sorry. Please request and it will be right out. Beef Stew ========================================================================= Date: Fri, 8 Sep 1995 00:47:10 GMT From: Art Schuna Subject: Re: Who are the "living legends"? -Reply In article <9509071325.aa07066@admin.dis.on.ca> Ian Angus writes: >popular, and old -- but not "genre defining." (Rufus Thomas, for >example, is a great performer, but hardly defines a genre.) What, not genre defining? This guy defined how to walk the dog, do the funky chicken and sang great stuff about bear cats... Sounds like a genre definer from the standpoint of new dance crazes alone ;-) Art Schuna ========================================================================= Date: Thu, 7 Sep 1995 21:37:13 -0500 From: Mike Heidenberg Subject: Otis Rush and Luther Allison Live Reissues-finally! Hi there. It is my _great_ pleasure to report that both Luther Allison- Live In Paris and Otis Rush- So Many Roads, Live In Concert are now available on CD in the US. Live in Paris has been on CD for a while- I picked up my copy in Amsterdam (on the Buda label, I think), about five years ago. But as far as I know, it hasn't been available in the US on CD. Now, thankfully, it is. For those of you unfamiliar with this particular recording, it shows off many different sides of Luther's blues- there's harmonica (Luther's Shuffle), slide (the essential Tribute to Houng Dog [Taylor]), "alley blues" (I Can't Quit You Baby), George Benson-style scat singing (a great version of The Thrill is Gone), and more. This is definitely one of my favorite Luther albums. Now if they'd only release South Side Safari (aka Gonna Be a Live One In Here Tonight!) on CD.... I've had Otis's So Many Roads on LP for quite some time too. It's a very good live concert from the mid-70's in Japan. This recording features none other than Jimmy Johnson on rhythm guitar. The set, while perhaps not quite as good overall as Live in Europe or Tops (though I like _some_ parts of it better than either of these), really is worth getting. It's on the Delmark label, as the original LP was. The interesting thing to me about the CD is that it features several tunes (four, I think) that weren't on the original LP release, including a version of Kenny Burrell's Chitlins Con Carne. I definitely think I'm going to have to pick this one up (didn't have the $ at the time :-( ). This one's definitely a nice substitute until _somebody_ (help us, Dick Shurman, you're our only hope! ;-) ) gets Otis to make a NEW live album.... -Mike PS- I also just picked up Blue Streak, Luther's new studio recording. I need to give it a few more listens, but so far, I really like it...... ========================================================================= Date: Fri, 8 Sep 1995 00:50:09 -0500 From: Gary Boudreaux Subject: Re: Topcat records email adress? >Does anyone have the email adress for Topcat records? I need more info >on their FK release..Thanks in advance, Joe Leichter TopCat Records P.O. Box 670234 Dallas, TX 75367-0234 The CD is Freddie King "This is the Blues!". You'll enjoy it, it's GREAT! ========================================================================= Date: Fri, 8 Sep 1995 00:04:08 -0600 From: Watterworth Jay Subject: Re: Which Johnny Shines? I would like to second Dick's evaluation of the "Chicago, The Blues Today!" These recordings illustrate a truly vital and exciting era/place for the blues. We are fortuate that they made it to vinyl in the first place, and again that they are on CD. And Johnny Shines on them! Jay Watterworth CU Boulder On Thu, 7 Sep 1995, Dick Waterman wrote: > Some of his duets with Robert Lockwood Junior are very nice. However, my own > personal favorite Johnny Shines is the few songs that he did on the 1965 set, > "Chicago, The Blues Today!" > This was recently reissued on CD format by Vanguard/Welk and should be > available if you local store gives you soem help. > Shines does Johnson's "Terraplane" as "Dynaflow Blues" and it combines his > rural roots with a terrific rhythm section. Someone wrote that his vocal was > 'like a panther' and that's good enough for me. > The original set was three vinyl LPs and I don't know how many CDs have been > issued but this is essential stuff. The Otis Rush, Junior Wells, Homesick > James, James Cotten, etc. are all well produced by Sam Charters. > Taking in context that it was 1965, this was the first LP availability of > some artists whose previous work had only been heard on 45s made locally in > Chicago. > > dick waterman > ========================================================================= Date: Fri, 8 Sep 1995 00:21:45 -0600 From: Watterworth Jay Subject: Re: Blues Geniuses On Thu, 7 Sep 1995, Bob vanArsdall wrote: **Clip** > > (and as to whether Toussaint is more "popular" than blues: on a continuum > from the Delta to, say, Barry Manilow, he's a WHOLE lot closer to the > Delta.) > > Bob > What kind of scale is that! I am a whole lot closer to the Delta than Barry Manilow, too, and the only thing I play is the stereo. ;-) Jay Watterworth CU Boulder ========================================================================= Date: Tue, 5 Sep 1995 15:10:57 -0400 From: DeniseTapp Subject: Re: Charlie Patton Just my opinion here, folks, but having sneaked a peek at Calt's book about Skip James, I find his writing full of inaccuracies and venomous grievances against people he's never even met. There's a ton of jealousy among the small group of men who went in search of the old blues guys, and I think they need to make peace for the greater good. There are a lot of fantastic stories out there, great pictures and most wonderful tapes and films which may never see the light of day because of these old rivalries. It cheats us all of better understanding and tremendous enjoyment of the men and women and music that we love. I'm doing my bit to narrow some ego gaps and deliver priceless audio and video tapes to you, but it's a tough task. For example, there are 18 hours of the first Beale Street Music Festival recorded in 1977 that sits in a vault because the partners can't agree on releasing it. I was a production assistant at the time, and I'm still angry that, after 18 years, I don't have access to a copy of this great stuff. I might need your help in liberating it. The tapes include the last performances by Sonny Criss (jazz man extraordinaire), Gus Cannon and Sleepy John Estes. If you will offer your support by private e-mail, I will deliver copies to the principals and do my best to kick their booties. There's so much out there to be shared. And it's just a crying shame that people hold onto it. Okay, I'll step down from my soapbox once more. Denise ========================================================================= Date: Fri, 8 Sep 1995 11:17:56 +0200 From: Peter Gallagher Subject: Re: Valuable old Tapes I Just thought I'd... 1) repost this under a different subject-header because it's too important to perhaps get missed... 2) suggest that if Denis were to compose a "letter" and post a copy to blues-l, we could all download it, sign it, post it. Great work Denise! There are more than a THOUSAND of us on the list - who knows how many countless others read the Newsgroup?! Lets show some INFLUENCE here - we're talking about HERITAGE! regards, PeterG (sure glad I didn't go 'nomail' yet, before the vacation :-) ) Denise said, among other things: > films which may never see the light of day because of these old rivalries. > It cheats us all of better understanding and tremendous enjoyment of the > men and women and music that we love. > > I'm doing my bit to narrow some ego gaps and deliver priceless audio and > video tapes to you, but it's a tough task. For example, there are 18 > hours of the first Beale Street Music Festival recorded in 1977 that sits > in a vault because the partners can't agree on releasing it. I was a > production assistant at the time, and I'm still angry that, after 18 > years, I don't have access to a copy of this great stuff. I might need > your help in liberating it. The tapes include the last performances by > Sonny Criss (jazz man extraordinaire), Gus Cannon and Sleepy John Estes. > If you will offer your support by private e-mail, I will deliver copies to > the principals and do my best to kick their booties. > > There's so much out there to be shared. And it's just a crying shame that > people hold onto it. -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 5 Sep 1995 21:48:41 -0400 From: DeniseTapp Subject: Re: Steven Calt & Attack Mode Dear Jim: A cursory glance at Calt's book about Skip James reveals an underinformed author with many axes to grind. I, personally, read a few pages and made a wild dash for the shower, in order to get the filth off of me. What started on this list as a discussion about the death of Charlie Patton has evolved into a discussion of Dick Waterman's libel suit against Calt. This is entirely inappropriate and should be dropped immediately in the name of fair play of justice. To the best of my knowledge, Dick is a kind, gentle and generous soul who has honored the old blues guys and their families with the utmost respect. If you wish to trash someone, please aim you pistol at another target. Sincerely, Denise ========================================================================= Date: Fri, 8 Sep 1995 11:15:25 +0100 From: Ray Astbury Subject: New blues programme on European TV European Blues-Lers may like to know that NBC Super Channel is beginning a programme called "Talking Blues" tomorrow (Saturday, Sept. 9). It will be broadcast at 1330 CET on Saturdays and repeated, I think, three times thereafter each week. The schedule for the first six weeks is:- Sept. 9: Jeff Healey; Omar & The Howlers Sept. 16: John Mayall; Guy Forsyth Sept. 23: Robben Ford; Jan James Sept. 30: Koko Taylor; Calvin Russel Oct. 7: B. B. King; John Hammond Oct. 14: Gatemouth Brown; Jimmy Johnson. I've no idea of the format of the programmes or the source of the material, but it looks as though it will be worth checking out (though I can't get very excited about the first three weeks!) Ray Astbury ========================================================================= Date: Fri, 8 Sep 1995 06:58:10 -0400 From: Barry Silverberg Subject: One Man's Opinion-Percy Mayfield. This review has a special place for me as this CD is one of my favorites - it spends a lot of time in the changer. ----------------------------------------------------------- PERCY MAYFIELD - LIVE (WINNER #445) WINNER P.O. BOX 151095 SAN RAFAEL, CA 94915 This CD is about music - plain and simple. It's full from the opening bars to the closing ones with an exceptional set of musicians and the big voice and style of Percy Mayfield. I think the reviews of each cut will speak for the entire CD so here I want to acknowledge the talent playing. Percy Mayfield - vocals and piano on track 11; Mark Naftalin - piano and organ on track 11; Dr. Wild Willie Moore - saxophone; Pee Wee Crayton, Bob Murray and Ron Thompson - guitars; Julien Vaught and Bobbie Webb - saxophones; Leonard Gill, Henry Oden, Francis Rocco Prestia and Ted Wysinger - basses; Fred Casey, Francis Clay, Kelvin Dixon and Gary Silva - Drums; Mark Naftalin - producer. NEVER SAY NAW / THE RIVER'S INVITATION / STRANGE THINGS HAPPEN / DON'T START LYING TO ME / LOOSE LIPS / MY JUG AND I / PLEASE SEND ME SOMEONE TO LOVE / MY MIND IS TRYING TO LEAVE ME TOO / THE FLIRT / P.M. BLUES / MEDLEY NY CD-Takes NEVER SAY NAW: Sweetness opens this CD. The drums brush, Percy Mayfield croons and the piano rolls - Mark Naftalin is delicious. This side takes a sensual journey and makes a beautiful intro to what's to come. THE RIVER'S INVITATION: Some more fine piano sitting right up front alongside this deep bass vocal side by Mr. Mayfield. This cut has the same easy pace that runs through Never Say Naw and is quite romantic. Dr. Wild Willie Moore blows an exceptional saxophone run about midway down this cut. Wait for it and be ready - you will be swept away and into this A+ side. A very sophisticated and well arranged tune. STRANGE THINGS HAPPEN: Drums by Gary Silva and 2 sets of nice guitar riffs set up this side. There's an opening run by Bobby Murray and a big guitar solo by Pee Wee Crayton. Mr. Mayfield takes a faster tempo pace here and rocks the blues. A new side to Percy Mayfield's scope and very well appreciated. DON'T START LYING TO ME: Back to the slow blues with some fine fine guitar by Pee Wee Crayton again and Mr. Mayfield very deep and soulful. This side is particularly captivating. It's like a call to come closer and then it takes you over. I think this cut is easily a first play side. LOOSE LIPS: Have some fun - Loose Lips will do it for you. The pace is right and Percy is tight. Great set of horns by Dr. Wild Willie Moore again who may be the stealer on this cut. It's a short 2 minute plus tune that is timed right and packs a lot into it. Highly recommended. MY JUG AND I: Bobby Murray here on guitar is wonderful. Lots of big rolling blues and the perfect offset is Mark Naftalin on piano. The two are pure heaven to listen to. Mr. Naftalin in particular runs some finger over finger piano riffs that are exceptional. Mr. Mayfield of course never lets up. Here as always he brings us his delightful side of the blues. Again listen close to the pacing of this cut, it is as so many others here and as I have said before - CAPTIVATING. PLEASE SEND ME SOMEONE TO LOVE: Percy Mayfield here is an adventure. His vocal rendition provides plenty to recommend it - some gritty cutins, some lopey bass lines and many many turns in his voice. The sheer abundance of vocal musicality here is an opera in one man. This side again shows off the sophistication of Mr. Percy Mayfield. MY MIND IS TRYING TO LEAVE ME TOO: Here we get almost a Charles Brown opener. Another rich side with plenty of instruments - all set softly to the side while Mr. Mayfield sings the blues. The one fronted instrument is the piano and Mark Naftalin, and well deserved on this cut. The pairing of Mr. Naftalin and Percy Mayfield with a hint of Julien Vaught on sax is NICE MUSIC. THE FLIRT: Now the pace moves to the dance floor. It's sliding and moving. I found my shoulders rolling from the first few bars on. There's also a nice sax solo by Julien Vaught here. P.M. BLUES: The instruments here are all lined up and open this side. Percy Mayfield once again lets loose but the instruments here are the prize. A special place is made by the nice guitar work of Ron Thompson and of course Mark Naftalin plays more of his fast fingered piano work. For those of you who enjoy the music of the blues, this side will certainly please your tastes. It is rich and complex and enticing. Possibly one of the 2 best cuts to this entire stellar CD. MEDLEY: Mr. Mayfield takes a medley of songs here and says goodbye. This cut is perfectly placed and well chosen as a tight ending to a very musical, vocal and well produced CD. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 5 Sep 1995 23:56:55 -0400 From: JRush11279 Subject: Blues, Booze, and BBQ In Kansas City, Missouri, check out B. B.'s Lawnside BBQ - where BBQ meets the blues! ========================================================================= Date: Wed, 6 Sep 1995 00:30:57 -0400 From: CLinson Subject: Owners of Nationals/Dobros I'm looking into buying an old (1930s) steel guitar. I'd like to hear from folks who have bought them.. What model did you get? What models would you not get?? Was it worth the money?? ========================================================================= Date: Fri, 8 Sep 1995 06:28:23 -0500 From: Roger Struve Subject: Blues Geniuses -Reply Despite Webster's or anyone else's definition of genius, there is no doubt that Willie Dixon was one in any context. "You take his song and ya play it da way he tell ya to play it, and ya gotta hit." I forgot who said that, but they were talking about W. Dixon. For proof, look at his album I Am the Blues...every single song on that album is a Blues Classic...he wrote the lyrics, he wrote the music, he played the bass on 'em, he produced 'em, and he sang 'em. And with the Chicago All-Stars, there isn't a finer all around blues album in existence, in my humblest opinion. regards, d.d.r. ========================================================================= Date: Fri, 8 Sep 1995 08:07:22 -0400 From: Leo Aspiras Subject: Sunday The 10th At The Kennnedy Center in D.C. Hi Y'all: For those of you that live in the D.C. area (MD/Northern Va.) or feel like the drive, the following groups will be FREE at an Open House at the Kennedy Center called "Routes of American Music" (IMHO they should have put more emphasis on Blues Artists!!!): The Robert Cray Band Luther 'Guitar Junior' Johnson Fontella Bass Leroy Jones Chuck Brown The Orioles The Blind Boys of Alabama The Last Poets Local Artists of note are: Bill Kirchen & Too Much Fun (He use to be the guitarist for Commander Cody and the Lost Planet Airmen) Ruthie & The Wranglers Rhumba Club Ron Holloway Marge Calhoun There are alot of activities planned for children too....... Leo 'The Scatman' Aspiras from D.C. ========================================================================= Date: Fri, 8 Sep 1995 12:41:55 GMT From: David Goldstein Subject: Re: Who are the "living legends"? Is Ike Turner still alive? ========================================================================= Date: Fri, 8 Sep 1995 07:35:24 -0500 From: Roger Struve Subject: Owners of Nationals/Dobros -Reply Always HAPPY to oblige a question on steel bodied guitars. I own a 1935 National Duolian 14-fret F-hole model, and it is the pride and joy of my guitar collection. Except that i had to put a new National cone in it (Hoffman's of Minneapolis ruined the original cone), it is totally vintage (neck is new but is still a National 14 fret neck). I also bought a 1993 National Resophonic Style W Tri-cone. This paralells my pride in my Duolian, as it is an exact replica of the 1928 Style 1 Tricone that Bob Brozman owns. We have played together our Tricones (he on video, me live) and they sound identical, and extremely beautiful. Mine is Serial # 0003. I also own a 1995 National Resophonic Style "O", Serial # 372, which is also pretty awesome. I don't like it quite as much as the other two. Any one of these guitars is great. THe new National Resophonic Delphi (which is just another name for the Gibson owned trademark name of Duolian---but everybody knows Gibson ain't foolin' nobody, Nationals are Duolians even if ya gotta call 'em Delphi's now!) NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, but i wanted to make that point very clear. It is however, only my opinion. Dobros are generally less expensive than Nationals...but i always maintain you get what you pay for. I would also recommend that you talk to Nate at Willie's American Guitars about any National purchase, new or old, before buying anything. (612)-699-1913. I have no interest or monetary concerns with Willie's. best regards, delta doc roger ========================================================================= Date: Fri, 8 Sep 1995 08:56:15 -0400 From: Kevin Canning Subject: Re: Which Johnny Shines? Two notable recordings of Johnny Shines: "Standing at the Crossroads" on Testament; "Johnny Shines and Robert Lockwood" on JOB (?) or Flyright (?). The Testament recording is my favorite JS album. It's an all acoustic set with some excellent slide tunes, Robert Johnson titles, and Johnny Shines' great vocals. The Shines/Lockwood collection is from the 1950's. Great material with some fine bands! Walter Horton plays on several of the JS songs and Sunnyland Slim plays on a few of the RL cuts. (This is an anthology - not JS and RL playing together.) Johnny Shines and Robert Jr Lockwood paired up during the 1980's on two wonderful Rounder recordings. (The first lp won a Handy award.) Kevin ========================================================================= Date: Fri, 8 Sep 1995 14:03:00 BST From: Mr G M Smith Subject: Living Legends/BBQ You want living legends who have defined their own style? Who else but the UK's own PETER GREEN who at his best was instantly identifiable from the first note. And if LUTHER ALLISON doesn't qualify yet,he soon will,you mark my words. Erratum.... I left the Worcestershire (Pro. Woos-tah) Sauce out of my recipe...work out your own proportions of stuff,I just taste as I go. Would somebody please privately mail me the way to do a PROPER Southern BBQ domestically? I do have a lidded BBQ/smoker. Yours, Garry "I Love to Cook" Smith. ========================================================================= Date: Fri, 8 Sep 1995 08:15:16 CDT From: L W Subject: BBish I think Anson has some BB in him at times and also Duane Allman had BB all over him at times. I read where they asked Greg about influences and he said they wore out many,many copies of Live At The Regal. He said the album would be competely white before they would go buy another LW ========================================================================= Date: Fri, 8 Sep 1995 09:09:55 -0400 From: Patti Bowman Subject: hey! Did I get unsubbed from this list. I've been real busy lately but have noticed that I haven't gotten any blues-l since the beginning of the month. I can only imagine what I'm missing. Somebody help! -Patti patti@elwood.com ========================================================================= Date: Fri, 8 Sep 1995 08:22:38 -0500 From: T-Bone Subject: Re: Owners of Nationals/Dobros On Wed, 6 Sep 1995, CLinson wrote: > I'm looking into buying an old (1930s) steel guitar. I'd like to hear > from folks who have bought them.. What model did you get? What models > would you not get?? Was it worth the money?? Years ago, back before I got arthritis and CTS in my hands, I found an old National steel guitar (sans strings) at an estate sale. Except for my friend and I, nobody there knew what they had a chance to buy, so I bought it for $50 (in 1981), added new strings, cleaned it up, and it sounded pretty good. When I had to give up playing guitar, I sold it to a friend for $500. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Fri, 8 Sep 1995 08:43:40 CST From: JBards Subject: Re: Owners of Nationals/Dobros -Reply I have a new- 1995- National Tricone style 1, #T-061. With regards to the original query, I think first I'd have to ask whether the writer wants a player or a collectible. It's pretty hard to find any of the vintage nationals on the market, they're very expensive and a lot are not in good shape. In other words, you coud spend $3000 and still need a new neck. The new Nationals are hard to find- I got mine almost by accident when I called Gruhn's checking on a '35 model- but they're extremely well made, and I'm very satisfied with the purchase. -Jim _______________________________________________________________________________ Subject: Owners of Nationals/Dobros -Reply From: Roger Struve at INTERNET-SH Date: 9/8/95 7:56 AM Always HAPPY to oblige a question on steel bodied guitars. I own a 1935 National Duolian 14-fret F-hole model, and it is the pride and joy of my guitar collection. Except that i had to put a new National cone in it (Hoffman's of Minneapolis ruined the original cone), it is totally vintage (neck is new but is still a National 14 fret neck). I also bought a 1993 National Resophonic Style W Tri-cone. This paralells my pride in my Duolian, as it is an exact replica of the 1928 Style 1 Tricone that Bob Brozman owns. We have played together our Tricones (he on video, me live) and they sound identical, and extremely beautiful. Mine is Serial # 0003. I also own a 1995 National Resophonic Style "O", Serial # 372, which is also pretty awesome. I don't like it quite as much as the other two. Any one of these guitars is great. THe new National Resophonic Delphi (which is just another name for the Gibson owned trademark name of Duolian---but everybody knows Gibson ain't foolin' nobody, Nationals are Duolians even if ya gotta call 'em Delphi's now!) NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, but i wanted to make that point very clear. It is however, only my opinion. Dobros are generally less expensive than Nationals...but i always maintain you get what you pay for. I would also recommend that you talk to Nate at Willie's American Guitars about any National purchase, new or old, before buying anything. (612)-699-1913. I have no interest or monetary concerns with Willie's. best regards, delta doc roger ========================================================================= Date: Fri, 8 Sep 1995 22:02:47 +0000 From: Rhiannon Walker Subject: Hi there, Is it possible to get this list as a digest. If you know please drop me private email on how to do it. Bright Blessings Rhiannon Perth, Island of Oz email: rhiannon@cougar.multiline.com.au ========================================================================= Date: Fri, 8 Sep 1995 10:22:14 -0400 From: bob unger Subject: forwarded message This message was forwarded at 10:20 a.m. on Friday September 8 1995: >From mkaldin@ix.netcom.com Thu Sep 7 18:17:34 1995 Received: from ix5.ix.netcom.com (ix5.ix.netcom.com [199.182.120.5]) by sun.bnkst.edu (8.6.9/8.6.7) with ESMTP id SAA04033 for ; Thu, 7 Sep 1995 18:17:28 -0400 Received: from by ix5.ix.netcom.com (8.6.12/SMI-4.1/Netcom) id PAA05422; Thu, 7 Sep 1995 15:15:24 -0700 Date: Thu, 7 Sep 1995 15:15:24 -0700 Message-Id: <199509072215.PAA05422@ix5.ix.netcom.com> From: mkaldin@ix.netcom.com (Mary Katherine Aldin ) Subject: Re: blues & the R&R HOF To: bob unger Status: R You wrote: > >For those wondering if the R&R Hall Of Fame acknowledges the blues in anyway, you can check it out at there web site - http://www.rockhall.com Has anybody physcially been there yet? Maybe give us a report? >BU >bob@sun.bnkst.edu I second the request. I'd very much like to hear from someone who has been there and seen the blues wing of the museum. I was told by the curator that a great deal of respect was paid to blues and that it does not get token treatment at all. Has anyone on the list been there? Mary Katherine ========================================================================= Date: Fri, 8 Sep 1995 11:31:29 -0300 From: Rob Hutten Subject: Re: BBish I *know* I'm gonna get flack for this, but if you want to hear a very BBish solo in a non-blues context, check out Angus Young's solo in AC/DC's "Shook Me All Night Long". A fun (and very tacky) song, and the solo is pure BB. -Rob ========================================================================= Date: Fri, 8 Sep 1995 08:38:54 EDT From: "Eric C. Shoaf" Subject: Re: Owners of Nationals/Dobros CLinson writes: I'm looking into buying an old (1930s) steel guitar. I'd like to hear from folks who have bought them.. What model did you get? What models would you not get?? Was it worth the money?? *************************************************************************** Your questions beg for several others. Are you looking for an old resonator guitar or lap steel? Will you be using it as a player or do you want to own a collectible? What sort of budget have you got for the purchase? Resonator or lap steel: simple difference here - the resonator guitar is generally played in a conventional manner but uses thin aluminium cones to produce sound as opposed to wood in a flat top guitar. This sound is often associated with blues music. Lap steels generally have square necks on the acoustic models and are played with the guitar face up on the lap while sitting A metal bar is used in the left hand which is run up and down the strings instead of fretting. Electric lap steels are generally made of wood (or bake- lite in the case of Rickenbachers) and require amplification. Acoustic lap steels sometimes have a wood sounding board but are most often resophonic with the amplifying cones as above. Resonator guitars were popular from their introduction in 1928 up until WW2. Electrically amplified music had eclipsed the need for the amplifying sound of the resonator guitar by the end of the war. Some were produced but they were more of a novelty item than anything else until the 1970s when "Original Musical Instruments" began producing Dobro brand guitars that were faithful to originals. In the 1980s a rejuvenated National company began producing fairly accurate reissues of the great pre-war instruments. In the meantime, Dobro was bought by the Gibson guitar company and continues to produce reso- phonic guitars. In addition, Continental in the Pacific NW (Washington) has begun producing a fine National copy as has the Beltona Company of Germany. Collectible or player grade instrument - what you want here will greatly determine how much money you will spend (and vice-versa). Original condition pre-war Nationals are fairly rare and expensive. A guitar with changed parts, repairs, new finishes, or other deviations from original is not considered collectible. A fine original condition National with the original case is a wonderful collectible but expect to pay handsomely for it. On the other hand there are always stories of those who found one at a yard sale that had been in a closet for 60 years unplayed and they bought it for a song. Generally, though, to get a nice collectible instrument you will need to buy it from a dealer specializing in vintage instruments. Most of them advertise in Vin- tage Guitar Magazine (send email to vguitar@vgiutar.com) which you can find for sale at magazine stands and bookstores. The best rule of thumb when pur- chasing a collectible instrument is to buy the best one you can afford. Strive for absolute originality and excellent condition or better. Following these guidelines you will probably be able to sell the instrument for at least as much as you paid for it should you decide to do that. Expect to spend a min- imum of $2,000 and probably more for the best. Player grade instruments are easier to find, much less expensive, and gen- erally have the same sweet sound. They may have changed parts, from something as small as new tuners to more major such as tailpiece, cones, or even neck. The best way to select a player instrument is the same as any other. Play as many as you can and decide what sounds the best and plays the best *for you*. You will be the one who is playing it so you can best decide what you like. Vintage dealers have these instruments for sale and you may even find one in your local trader magazine or at an antique store. Expect to spend a minimum of $600 depending on the degree of abuse the instrument has taken and realize that some may need work. I know where you can buy a decent National right now for $500 but it needs the neck reset and that is not a simple job on a resonat- or guitar. Your budget - how much $$$ you have to spend will determine what you can buy as can be seen from above. It may also help you decide if you want an old resophonic guitar or one of the new reissues which are resonably priced. It has been my experience that the new ones sound very much like the old ones and they appear well made. If you can afford a nice collectible instrument and don't plan on gigging with it, it would certainly make a nice investment. If you can't afford that then look into either an old player grade piece or newer reissue. Nationals and Dobros - National metal body guitars were the Duolian, Triolian, Style O, and Tricone models. National also made some wood body resonator guitars. Dobro resonators were mostly wood body guitars although a few were made of metal. Most blues players prefer the sound of the metal body guitars but you should let your ears be your guide. Old Dobros are not nearly as sought by collectors as old Nationals, but this makes old Dobros a good buy. New Dobro guitars are both metal body and wood body, same with new Nationals. I don't advocate buying any make or year in particular. Get what you can afford and what your ears tell you sounds good. I have owned a number of old Nationals and Dobros. I currently own a 1928 National Tricone and a 1936 National Style O. E. Shoaf ========================================================================= Date: Fri, 8 Sep 1995 11:04:03 -0400 From: Linden/Powers Subject: Living Legends What? Is Henry Townsend chopped liver????? One of the most distinctive & influential of the early St. Louis bluesmen- who helped to define a beautiful blues style that IMHO is too frequently overlooked. Colin Linden Toronto ========================================================================= Date: Fri, 8 Sep 1995 09:16:00 -0400 From: "charles (c.f.) board" Subject: Re: Tower R&B "essentials" lists >1. Stevie Wonder, THE WONDER YEARS 1972-74: THE COMPLETE MUSIC OF MY MIND, >TALKING BOOK, INNERVISIONS AND FULFILLINGNESS FIRST FINALE SESSIONS (Tamla) Anybody know anything about this? Is it a recent release? An import (to the US)? Is it just a box set of the 4 albums or does it include unreleased session material? Thanks much for any info.... ========================================================================= Date: Fri, 8 Sep 1995 11:22:07 -0400 From: Patti Bowman Subject: I'm Baaacck! Phew. For some unknown reason the listserver said I was not subscribed to Blues-l. Makes one kinda doubt their existence. I mean did I not really exist before today? Maybe I have some sort of memory chip implanted so I think I was here before but I wasn't? Hmmmm. -Patti P.S. to old and/or new friends PW, Steve, and Peter, thanks for bringing me "back" - if I was ever truly here before ;-> ========================================================================= Date: Fri, 8 Sep 1995 08:48:28 PDT From: Vandoren Outten Subject: blues on married with children Hi All, I am not a regular subscriber to the BLUES-L list, but a friend of mine has pointed me in your direction for help. I was watching Fox's "Married With Children" last nite and they featured a blues tune that I just can't get outta my head. All I remember is a coupla lines: Bad luck & trouble Blah, blah-blah, blah, blah-blah-blah If it wasn't for bad luck, I'd have no luck at all Blah-blah, blah-blah-blah, blah, blah Great singin'. Great blues riffs. Don't know if you watch the show, but it's the episode where Al takes his local softball team to the championship and becomes MVP despite their efforts to kick him off the team. Needless to say, they'd didn't mention the name of the musician in the credits. Does this tune ring a bell with anyone? Please respond via e-mail if you can, but my buddy will monitor the BLUES-L list for me. Thanks in advance. +-------------+----------------------------------------+------------+ | AT&T | Vandoren P. Outten | Enterprise | | Global | Manager, DBS V2 Port Group | Solutions | | Information | Solutions & Technolgy Engineering | Division | | Solutions | Vandoren.Outten@ElSegundoCA.ATTGIS.COM | | +-------------+----------------------------------------+------------+ ========================================================================= Date: Fri, 8 Sep 1995 15:16:16 +0000 From: Martin Adamson Subject: Re: Tower Records urban blues "essentials" list > > >18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** > > > > I'm probally the biggest Mayall fan on blues-l, but IMHO this album, is one of > > the most overated albums I've ever heard. I own almost every thing Mayall has > > done and this is one of my least favorites....I don't think it belongs here Well, there's an argument here about what is best and what is historically most important. I too would place most British blues boom era records well down the best list, but there's no denying their historical value. Martin Bluezeller defends Clapton album shock!! ========================================================================= Date: Fri, 8 Sep 1995 12:10:37 +0000 From: Ian Angus Subject: Re: Who are the "living legends"? David Goldstein wrote > Is Ike Turner still alive? > Yes, and still touring, last I heard Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 8 Sep 1995 04:09:00 -0400 From: "J.E. Downey" Subject: Subgeniouses Toussaint, Manilow I have seen both Toussaint and, tragically, Manilow. I'm not sure their offerings are so entirely different from one another. The memories are not pleasant, basically. Better to think about, say, Koko Taylor's band (even with Koko backstage) tear the roof right off of Tornado Alley in Maryland. Joe Downey (Moscow) J.E._Downey@bakermck.com "Sweet Home, CHICAGO!" ========================================================================= Date: Fri, 8 Sep 1995 12:30:12 -0400 From: Jim McGlynn Subject: Re: Barbecue Joints (no blues content, sosumi) Tom Freeland wrote: >I haven't heard anyone talking about Kansas City and >Arthur Bryant's I don't think? Well, I'd resisted the temptation because I figured AB's was too famous, thanks initially to Calvin Trillin's sky-high praise of it in the 70's, but... I was there in '76 when AB himself was still around. 20-gallon glass jars of sauce sat aging as a window display. I got in line and decided on a beef plate when I saw a heaping pile of end cut bits under the slicer. Told 'em what I wanted and they said they ran out of beef. But there's all that good stuff under the slicer, I said. "Help yourself as long as you eat it here." No, I really prefer the end cuts, that's exactly what I'd like. Once again, a little more slowly: "Help yourself as long as you eat it here." So I filled a plate, they sloshed sauce over it, gave me some bread and only charged me for my beer. A few other good spots that haven't been mentioned: UNCLE BILLY'S S. Portland, ME Funky place, aging hipster vibe, great jukebox, fine slow-cooking at the smoke house out back, pulled pork sammich a specialty. MAURICE'S PIGGIE PARK W. Columbia, SC Favorite all-time barbecue name. Carolina style -- mustard-based sauce instead of tomato. Maurice Bessinger apparently got a load of the reknown Lester Maddox achieved with a baseball bat in the doorway of his Pickwick Club in Atlanta during the civil rights struggles and decided that was just the sort of guy he wanted to be, so blocked the door to his own establishment with his own Louisville Slugger. Gave his barbecue a try 25 years later and went to Hog Heaven for an afternoon. ???????? New York City I can't remember the name but there's a place on W.44th Street (just off Times Square) that's a monument to barbecue of various regional styles. Any Gothamites out there who can supply the name? Good, relatively cheap eats to satisfy that 'cue jones in the big city. Jim -- ========================================================================= Date: Fri, 8 Sep 1995 12:34:44 EDT From: ron kraemer Subject: Sax and the Blues For some great sax :) try Illinois Jacquet. I have a cassette of his that I picked up, I believe called "Loot to Boot". It walks the fine line between Jazz and Blues. I was playing it in the car for some friends, and one said, "THAT'S the cheesiest Sax I've ever heard!" Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Fri, 8 Sep 1995 12:24:22 -29900 From: Michael Kaloyanides Subject: Re: Blues & Barbecue You can also get good barbecue "Downeast" at Uncle Billy's Southside Bar-B-Que, 60 Ocean St., South Portland, ME near the Million Dollar Bridge. Phone: 207-767-7119. This is a very funky place with great ribs, brisket, pulled pork, and chicken. Everything is served with corn bread, slaw and Billy beans. Occasional blues and folk music, too! Say hello to nephew Johnny for me. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Fri, 8 Sep 1995 12:39:28 +0000 From: "P.W. Fenton" Subject: Re: blues on married with children On 8 Sep 95, Vandoren Outten had this to say: > Hi All, > > I am not a regular subscriber to the BLUES-L list, but a friend of mine has > pointed me in your direction for help. > > I was watching Fox's "Married With Children" last nite and they featured a blues > tune that I just can't get outta my head. All I remember is a coupla > lines: > > Bad luck & trouble > Blah, blah-blah, blah, blah-blah-blah > If it wasn't for bad luck, I'd have no luck at all > Blah-blah, blah-blah-blah, blah, blah > > > Great singin'. Great blues riffs. > > Don't know if you watch the show, but it's the episode where Al > takes his local softball team to the championship and becomes MVP > despite their efforts to kick him off the team. > > Needless to say, they'd didn't mention the name of the musician in the > credits. > > Does this tune ring a bell with anyone? Please respond via e-mail if you can, > but my buddy will monitor the BLUES-L list for me. > You will probably be showered with mail in answer to this. You are talking about a Blues CLASSIC. None of us need to have seen the TV program. The song is "Born Under A Bad Sign" and is by Albert King. Look in the Blues section of your record store under Albert King and you will find any number of CDs which contain it. It was this very song which brought me to the Blues. Welcome. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Sep 1995 09:44:47 -0700 From: Anthony Difrancia Subject: Re: blues on married with children > > Bad luck & trouble > Blah, blah-blah, blah, blah-blah-blah > If it wasn't for bad luck, I'd have no luck at all > Blah-blah, blah-blah-blah, blah, blah > > Sounds like Eric Clapton's version of "Born under a bad sign." (He may have wrote it also.) I believe this was recorded in his days with Cream. "...been down since I begin to crawl...If it wasn't for bad luck..." -- Anthony Difrancia instpub@ix.netcom.com ========================================================================= Date: Fri, 8 Sep 1995 12:40:10 -0400 From: Jim McGlynn Subject: Re: B.B. Soundalikes RJ Bauman wrote: >I thought I'd go to you folks for a list of players who have recorded songs >where you could easily mistaken the guitar player for B.B. King. It doesn't >have to dominate a player's style. Just on certain songs. He's been influenced by a lot of other players for sure, but Anson Funderburgh is the guy who best captures the BB sound for me. It may be heretical to say so, but he's damn near as tasteful as BB in his phrasing, too. And his front man Sam Myers isn't shy about recycling BB's rap (in part lifted wholesale from Live At The Regal) either. Jim -- ========================================================================= Date: Fri, 8 Sep 1995 00:07:23 -0500 From: Robert Willbanks Subject: Re: hey! Patti I would appreciate you help in getting me unsubscribed to the blues-l. Since I signed own my service is overflowing to the point that I can't read all the messages. It's a shame not to have time to keep up with the discourse on blues, but my hot air balloon business must take the front seat for now. Hope I will be able to join again. The problem is that I an new to the newsgroup idea and every time is send a message it gets returned. Do you know the appropriate address for unsubscribing, and the format for doing the deed. If you can help, please let me know. Thanks Professor Bob At 09:09 9/8/95 -0400, Patti Bowman wrote: >Did I get unsubbed from this list. >I've been real busy lately but have noticed that I haven't gotten any >blues-l since the beginning of the month. I can only imagine what I'm >missing. > >Somebody help! > >-Patti >patti@elwood.com > > ========================================================================= Date: Fri, 8 Sep 1995 12:14:00 CDT From: L W Subject: ----------------------------Original message---------------------------- > > >18. John Mayall's Bluesbreakers, BLUES BREAKERS (London) ***** > > > > I'm probally the biggest Mayall fan on blues-l, but IMHO this album, is one of > > the most overated albums I've ever heard. I own almost every thing Mayall has > > done and this is one of my least favorites....I don't think it belongs here >Well, there's an argument here about what is best and what is >historically most important. I too would place most British blues boom >era records well down the best list, but there's no denying their >historical value. Very good point, I think it was a very important album >Bluezeller defends Clapton album shock!! I always considered it a John Mayall album...oh well LW 'That Jerry Portnoy album 'From The Cradle' has sold well :-)' (thats an attempt at humor, not meant to be taken internally) ========================================================================= Date: Fri, 8 Sep 1995 13:27:56 +0000 From: "P.W. Fenton" Subject: Re: blues on married with children On 8 Sep 95, Anthony Difrancia had this to say: > > > > Bad luck & trouble > > Blah, blah-blah, blah, blah-blah-blah > > If it wasn't for bad luck, I'd have no luck at all > > Blah-blah, blah-blah-blah, blah, blah > > > > > > Sounds like Eric Clapton's version of "Born under a bad sign." (He may > have wrote it also.) I believe this was recorded in his days with > Cream. I ain't no Blues purist... BUT NOW I'M ILL . P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 8 Sep 1995 14:36:35 -0300 From: Rob Hutten Subject: Henry Townsend (was: Re: Living Legends) > What? Is Henry Townsend chopped liver????? One of the most distinctive & > influential of the early St. Louis bluesmen- who helped to define a > beautiful blues style that IMHO is too frequently overlooked. Right on. Coincidentally, I was listening to Townsend's 1929 recording "Long Ago" this morning when I got to work and I wrote down the following lyric which caught my ear for the first time: "Mmmm, 'cause you break my heart baby, just to pass the time away..." I'm starting a collection of great blues lines, and this one definitely belongs. One of Stephan Grossman's country blues guitar videos has a clip of Townsend (taken in the 80s) doing a wonderful version of Henry Spaulding's 1929 "Cairo Blues." Great playing, great singing, great song. An excellent LP to get (if you can find it) is "St. Louis Town: 1929 - 1933" (Yazoo L-1003). I don't know if it's been reissued on cd, but it should be. Featured are Henry Townsend, Henry Spaulding, Jelly Jaw Short, Jim Jackson, Charlie Jordan and others. -Rob ========================================================================= Date: Fri, 8 Sep 1995 17:52:28 GMT From: Tony Burke Subject: Re: blues on married with children Nope! Clapton didn't write Born Under A Bad Sign, it was wrote by William Bell and Booker T Jones surprisingly enough. ========================================================================= Date: Fri, 8 Sep 1995 14:06:44 -0400 From: Tom Freeland Subject: Re: Is R.L. Burnside Ill? A couple of days ago, Vincent reported that R.L. Burnside and Junior Kimbrough had missed a gig because R.L. had been hospitalized; the story went that Junior also missed because he had "rushed to R.L.'s bedside." Vincent asked for more information. Today, I called Fat Possum and asked. The secretary stated that R.L. had had the flu, that he was out of the hospital and home now, and that he was ok. I called R.L.'s home, and was told that both R.L. and his wife were out, but that R.L. had been hospitalized for the flu and he was "fine" now. Tom Freeland ========================================================================= Date: Fri, 8 Sep 1995 13:09:34 CDT From: L W Subject: Lack of Matt Murphy IMHO you just don't hear enough of Matt Murphy. What other SOLO recordings has he done, besides the excellent "Way Down South" (I hope thats the title) It's a great album and I see he's playing gigs, but I guess B'ham will never be graced with his presence. I would rather see Matt than half of the people that come to town, but then again only about 5 or 6 folks would show up. I never see him appearing at many festivals, what's the deal. He's such an outstanding musician it's a shame that he's not more "sought after".....? LW "IMHO of course" ========================================================================= Date: Fri, 8 Sep 1995 14:41:23 EDT From: ron kraemer Subject: Open mike jamming Ed Liu asked for some open mike tips for the 'singular' player. I'm no expert, but I try to make a jam every 1-2 weeks. I used to go alone, now my harp player occasionally comes along. As suggested, if there's a 'band' playing a few tunes, ask to sit in with them later. I usually see a house band start the festivities, then they allow other players to either sit in with them or give them the stage. It's always good to find out who's running the show. Chances are it's someone in the house band that night. Tell him you're 'solo', what music you'd like to do, and ask if either the house band can fill the gaps (supplying a drummer and bass player or whatever) or if you could work in with other individuals. Have a few tunes in mind that you'd like to do, which will keep the downtime to a minimum. Going there the first time can be awkward, but after that you'll be a 'veteran' and can put together a few fellas for your set much easier. Or, you can go sans instruments the first time, just to get a feel for the place, the crowd, and the music. Open mike nights can vary widely. Sometimes it turns out to be a volume contest, which can get ugly. Not enjoyable playing either. I went to one this week where I turned my modded 50 watt Bassman up to 4.5, maxxed my guitar, and couldn't hear a lick I was playing. I've been to others where I've hooked up with a bass player and drummer, and proceeded to crank out a number of Blues tunes that, though rather basic, sounded like we'd been practicing for weeks/months. Straight ahead blues without too many exotic changes will go over best, cuz everyone can follow it fairly easily. Also, try to make it all 'gel'. Going off on a wild lead guitar tangent might be fun for the player, but not necessarily for the other musicians you're playing with or the crowd. I've met some good musicians, made some pretty good music, and had a good time doing it. I also found that I've really improved my vocals over time. That's just a matter of getting out, stepping up to the mike, and giving it your all. I used to be very queasy about my singing, though I was always in the right key. Open jams allowed me the freedom to work/concentrate on my vocals, while the other guitar "wizards" display their chops. Above all, have Fun! Nobody's forcing you to go. You're doing it cuz you love the Blues.......so enjoy yourself. There's nothing like making music! Ron ************************************************************ Ron Kraemer "Well, WELL, Well!" rkraemer@ets.org Muddy Waters ************************************************************ ========================================================================= Date: Fri, 8 Sep 1995 11:13:00 MDT From: "William D. Hargrove" Subject: Re: Woodshed I don't know the origin of the term woodshed either, but I once read a biography of the great tenor sax player Coleman Hawkins, who actually practiced in the woodshed behind his house in, if I remember correctly, Kansas City. He started out playing the cello and his parents made him go to the woodshed to practice. After he switched to the sax, he started going to the woodshed himself and his parents had to come drag him out to get him to do other things. Bill Hargrove Boise, Idaho bhargrov@micron.net ========================================================================= Date: Fri, 8 Sep 1995 18:32:38 GMT From: Rennie Selkirk Subject: Re: Playing Positions In article <9509061824.AA07792@mailsun2.us.oracle.com> Corinne writes: > >Police were called to a laundromat in H-- (somewhere in the U.P.) in the >middle of the night. When they arrived they found a nude man playing the >accordion, and two men & two women dancing in their underwear. Apparently the >five had gathered to do laundry & listen to music, but the accordion player >said he could only play the accordion when completely nude. No explanation >was given for the dancers' state of undress. I would assume of course that the accordian player would have been punished to the fullest extent of the law. And the dancers accordingly as accessories to this felony. ;-) Self-righteously, HJB ========================================================================= Date: Fri, 8 Sep 1995 11:04:00 MDT From: "William D. Hargrove" Subject: Re: SAXOPHONE AND THE BLUES <---- Begin Included Message ----> Can y'all clue me into some blues that is heavy on the sax. A friend and I can't think of too much that has it. Thanks in advance for your help. Your brother in the blues, Brent <---- End Included Message ----> There's a terrific Delmark two volume collection of blues and rhythm and blues from the 50s called Honkers & Bar Walkers. Good stuff. Bill Hargrove bhargrov@micron.net ========================================================================= Date: Fri, 8 Sep 1995 14:22:07 -0400 From: Willy Evans Subject: Re: blues on married with children On Fri, 8 Sep 1995, Tony Burke wrote: > Nope! Clapton didn't write Born Under A Bad Sign, it was wrote by > William Bell and Booker T Jones surprisingly enough. > Don't let the ghost of Willie Dixon hear you say that! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 8 Sep 1995 11:45:00 MDT From: "William D. Hargrove" Subject: Re: learning the blues <---- Begin Included Message ----> >On 23 Aug 95, Philip & Rebecca Brownell had this to say: > >> Hello, >> I want to learn how to play blues. I've begun learning scales and chords; >> is there anything you would suggest I do, tapes to listen to, Net sources, >> etc? >> Thanks, >> Zac (brownell@europa.com) I'm late to this thread, but haven't seen anybody relate what may be the most important rule for new players on any instrument, i.e., Keep it simple and make it groove, make it musical. You can make a lot of blues with two or three notes if they're the right ones and you play them in time. I've seen too many novice players who worked hard to master their favorite lick, but can't squeeze it into the tempo in a jam. Better to pick up your idol's easy licks and play them with feeling, then move on to more complex things gradually. Bill Hargrove bhargrov@micron.net ========================================================================= Date: Fri, 8 Sep 1995 13:17:56 -0600 From: Watterworth Jay Subject: Re: blues on married with children Albert King, please. Jay Watterworth CU Boulder On Fri, 8 Sep 1995, Anthony Difrancia wrote: > > > > Bad luck & trouble > > Blah, blah-blah, blah, blah-blah-blah > > If it wasn't for bad luck, I'd have no luck at all > > Blah-blah, blah-blah-blah, blah, blah > > > > > > Sounds like Eric Clapton's version of "Born under a bad sign." (He may > have wrote it also.) I believe this was recorded in his days with > Cream. > > "...been down since I begin to crawl...If it wasn't for bad luck..." > -- > Anthony Difrancia > instpub@ix.netcom.com > ========================================================================= Date: Fri, 8 Sep 1995 15:28:34 -0400 From: Barry Silverberg Subject: Winner Records Info Needed. Having just written that review of Percy Mayfield's Live CD on Winner I got a few inquiries as to the e-mail add- ress and/or phone number of Winner. Does anyone have the info and could you post it here for those interested? Thanks in advance. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 8 Sep 1995 15:37:05 -0400 From: David Goldstein Subject: Re: Who are the "living legends"? I would have to say that Ike Turner, being alive, is a living legend, as he produced a ton of original music that predated his problems. ========================================================================= Date: Fri, 8 Sep 1995 21:49:55 +0200 From: Peter Gallagher Subject: Re: Blues Geniuses Love the blues as I do - I _really_ do, I find myself, with my limited knowledge no less than _stumped_ to come up with a "blues-genius" who is alive ... But then, I refer to the original post, in which it was stressed that the poster meant people who more or less _defined_ a new genre within th blues. (Sorry - I can't come up with the original phrase - [hell - I'm on 2 weeks vacation and going to my hometown tomorrow! :-) ] My bottom line is that basically there is not much left to be "invented" within the blues - it's a very well-loved, but well-defined (though diverse!), kind of music. Now! If that doesn't stir up some discussion ;-> ;-> regards, I'll miss you all... PeterG "hell - if LW hasn't got a clue - don't look at ME! ;-)" ) > I've heard different artists called a legtitmate "Musical Genius"..I won't > repeat who they are, but they were all in bascially "popular" music. > > I don't ever recall hearing about too many living Musical Geniuses in the > blues world. I know we all disagree on what a genius is, but IYHO are there > any artists in the blues word today that YOU consider a "muscial genius" ?? > (WHY would help)..... > > Just curious > > LW 'I have no clue.... ' > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 8 Sep 1995 21:55:41 +0200 From: Peter Gallagher Subject: Re: Who are the "living legends"? -Reply Exactly. Plenty of musically talented "geniuses" around, but how many of them "shaped" the blues into what we know it to be today? regards, PeterG "air-ticket? check. Passport? check - damn I never went nomail on blues-l" :-) > *If we are going to discuss "Living Legends" I think itys important to > *set some limits. Steve originally said: > * > *>> By "legend" I mean a genre defining, strongly influental musician, > *>> someone distinctive like Muddy, Howlin' Wolf or Bessie Smith. > * > *I thinks that's a useful limit. Many of the posts on this subject > *have featured artists who can be described as excellent performers, > *popular, and old -- but not "genre defining." > > Yeah, I meant someone who is truly huge in the blues world and who > shapes or defines the genre. At first I didn't even want to include Jr. > Wells and James Cotton because they are almost second generation to > Little walter, who was one of the true blues harmonica legends. I think > that Kim Wilson is one of the best harp players ever but I wouldn't > call him a legend and put him with Little Walter since he didn't have > as much impact as Little Walter did. But some of the responses I got > have been interesting and informative. > > -Steve > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Fri, 8 Sep 1995 12:58:00 PDT From: Gary Joneson Subject: Re: Winner Records Info Needed. > Having just written that review of Percy Mayfield's Live > CD on Winner I got a few inquiries as to the e-mail add- > ress and/or phone number of Winner. Does anyone have the > info and could you post it here for those interested? Winner Producing Company (Email): wpc@netcom.com Winner Home Page is http://www.island.net/~blues/awinner.html Percy's Home Page http://www.island.net/~blues/percy.html Mail Order Info (US Only) 1-800-411-WINNER Mail Order Info (All Others) 415-453-5995 ========================================================================= Date: Fri, 8 Sep 1995 14:57:39 CDT From: L W Subject: Would Lockwood qualify I was thinking that maybe Robert Lockwood's use of jazz chords with in the delta blues context could qualify him as a genius. I know there are others who did that way back when, but IMHO Lockwood is a master at that particular aspect of blues. Very versatile musician.. Whether or not he's a musical genius is beyond me, hell I have to look up the word "genius" in order to spell it. (I have a new office pardner and she's a product of MENSA, it's like sharing an office with Funk and Wagnal...great girl) I'm Oscar and she's Felix... I'll never forget watching him a few years back and he started a song that was one of those about "Catching A Train" and I swear right at that time a train came by laying on that whistle. It brought a huge smile from Lockwood and an loud applause from the crowd.....Unforgettable...His Memphis apperance is very, very forgetable.....Win some lose some. I'd go see him again in a heartbeat, though LW ========================================================================= Date: Fri, 8 Sep 1995 13:40:50 PDT From: Gordon Fehlman Subject: Re: Winner Winner Producing Co, Mark Naftalin's great record labels address is Winner P.O. Box 151095 116 Du Bois St. San Rafael, California 94901 e-mail to wpc@net.com (Mark Naftalin) I recommend to all "Strawberry Jam", man if you dig Paul Butterfield and the rest of the group this is the CD for you. Mark Naftalin has done a super job with this. Later Gordon ========================================================================= Date: Fri, 8 Sep 1995 17:10:03 -0400 From: James Leftwich Subject: King Biscuit repost Hey, Whoever posted the King Biscuit web site could please recheck for typos. The URL is no good. Jim ========================================================================= Date: Fri, 8 Sep 1995 17:01:28 -0400 From: "Abe W. Mathews" Subject: Re: Playing Positions HJB writes: > > In article <9509061824.AA07792@mailsun2.us.oracle.com> Corinne writes: > > > >Police were called to a laundromat in H-- (somewhere in the U.P.) in the > >middle of the night. When they arrived they found a nude man playing the > >accordion, and two men & two women dancing in their underwear. Apparently the > >five had gathered to do laundry & listen to music, but the accordion player > >said he could only play the accordion when completely nude. No explanation > >was given for the dancers' state of undress. > > I would assume of course that the accordian player would have been punished > to the fullest extent of the law. And the dancers accordingly as accessories > to this felony. ;-) > > Self-righteously, Actually, the accordion player was sentenced under a little-used (actually never-used) law that combined indecent exposure and disorderly conduct (so I heard). And today, I saw the player in question (with clothes) playing in the center of campus for tips-supposedly for his legal defense fund. He was under a sign that said "please help - playing nude costs money!" I was going to give him $5.00 just to stop playing :) As for Pan's little dancers, they were released without charges. Probably because they weren't nude. Sorry, no blues content. Abe awmathew@mtu.edu ========================================================================= Date: Fri, 8 Sep 1995 14:51:00 -0700 From: Ned Kraft Subject: Bad sign I responded to the bad sign post and he's at the record store picking up his first Albert King disc. Had to buy a new keyboard after reading some of the other posts. Have a weekend ;) Ned ========================================================================= Date: Fri, 8 Sep 1995 18:03:39 -0400 From: Barry Silverberg Subject: Winner Info Gotten. Thanks to everyone who mailed the info on Winner to me & for those who requested it - here goes. e-mail wpc@netcom.com phone: 415/453-7712 fax: 415/258-0692 Winner Records PO Box 151095 San Rafael, CA 94915-1095 And yes it is owned by Mark Naftalin - Bravo to MN. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 8 Sep 1995 17:33:24 -0500 From: "Henry Busse Jr." Subject: Birthdays 9/9,10,11/95 birthdats 9/9/ BENTON, WALTER ( BARNEY ) Born:1930 LOS ANGELES, CA Occupation:TENOR SAX Worked With:KENNY CLARK / PEREZ PRADO / VICTOR FELDMAN / ABBEY LINCOLN Style:JAZZ HUMPREY, EAR Born:1902 NEW ORLEANS, LA Died:06/26/1971 NEW ORLEANS, LA Age:69 Occupation:TROMBONE /LEADER Worked With:LOUIS DUMAINE Style:JAZZ JONES, ELVIN ( RAY ) Born:1927 PONTIAC, MI Occupation:DRUMMER Worked With:DONALD BYRD / HARRY EDISON / BUD POWELL / SONNY ROLLINS / STAN GETZ / JOHN COLTRANE / DUKE ELLINGTON Style:JAZZ / BIG BAND MANN, MARION Born:1914 Occupation:SINGER Worked With:BOB CROSBY / BOB HAGGART Style:BIG BAND MRAZ, GEORGE Born1944 PISEK, CZECHOSLOVAKIA Occupation:BASS Worked With:OSCAR PETERSON / THAD JONES- MEL LEWIS / PEPPER ADAMS / ROLAND HANNA / STAN GETZ Style:JAZZ / BIG BAND SUSIE ( SUSIE HAWTHORN ) Born:1896 PENSACOLA, FL Died:12/05/1963 CHICAGO, IL Age:67 Occupation:SINGER Worked With:BUTTERBEANS & SUSIE Style:BLUES BORN 9/10/ AYERS, ROY E Born:1940 LOS ANGELES, CA Occupation:VIBES Worked With:CHICO HAMILTON / HERBIE MANN 1966-1970 / GERALD WILSON / HAMPTON HAWES Style:JAZZ / BIG BAND BROWN, ROY Born:1925 NEW ORLEANS, LA Died:0/25/1981 LOS ANGELES, CA Age:54 Occupation:SINGER / PIANO Style: R & B BURRELL, DAVE ( HERMAN DAVIS II ) Born:1940 MIDDLETOWN, OH Occupation:PIANO / COMPOSER Worked With:PHAROAH SANDERS / ALAN SILVA / SUNNY MURRY / ARCHIIE SHEPP Style:JAZZ DORSEY, BOB ROBERT Born:1915 LINCOLN, NE Died: 01/19/1965 NEW YORK, NY Age:50 Occupation:TENOR SAX / CLARINET Worked With:COOTIE WILLIAMS / CAB CALLOWAY Style:JAZZ / BIG BAND HARRIS, CRAIG Born:1954 HEMPSTEAD, NY Occupation:TROMBONE Worked With:SUN RA / HORACE THREADGILL/ CHARLIE HADEN / LESTER BOWIE Style:JAZZ KEATING, JOHNNY Born:1927 EDINBURGH, SCOTLAND Occupation:TROMBONE/ LEADER / ARRANGER Style:JAZZ / BIG BAND LASHA, PRINCE ( WILLIAM B. LASHA ) Born:1929 FORT WORTH, TX Occupation:TENOR SAX / FLUTE worked With:ERIC DOLPHY Style:BLUES / R & B LEEMAN, CLIF Born:1913 PORTLAND, ME Died:04/26/1986 NEW YORK, NY Age:73 Occupation:DRUMMER Worked With: ARTIE SHAW /TOMMY DORSEY / CHARLIE BARNET /WOODY HERMAN / DON BYAS / JOHN KIRBY / BEN WEBSTER / BOB CHESTER / EDDIE CONDON Style:JAZZ / BIG BAND LEONETTI, TOMMY Born:1929 BERGEN, NJ Died:09/15/1979 NEW YORK, NY Age:50 Occupation: SINGER Worked With:CHARLIE SPIVAK / YOUR HIT PARADE Style: MELROSE, LESTER Born:1891 OLNEY, IL Died:04/12/1968 HOLLYWOOD, FL Age:76 Occupation:PRODUCER / TALENT SCOUT / MUSIC PUBLISHER Worked With:BIG BILL BROOZY / JOHN LEE / SONNY BOY WILLIAMSON / WASHBOARD SAM / TAMPA RED / LONNIE JOHNSON / JOE WILLIAMS / ARTHUR BIG BOY CRUDDUP Style:BLUES / BIG BAND SALOMON, HANS Born:1933 VIENNA, AUSTRIA Occupation: ALTO SAX /TENOR SAX / CLARINET / COMPOSER Style:JAZZ / BIG BAND SCOTT, RAYMOND (HARRY WARNOW) Born:1910 BROOKLYN, NY Died:02/08/1994 NORTH HILLS, CA Age:84 Occupation:PIANO / LEADER / COMPOSER Worked With:CBS STAFF / OWN BAND DID MUSIC FOR MERRY MELODIES AND LOONEY TUNES CARTOONS Style:JAZZ / BIG BAND WICKMAN, PUTTE Born:1924 FALUN, SWEDEN Occupation:CLARINET / LEADER Workede With:LARS GULLIN / LEONARD FEATHER'S SWINGING SWEDES / JIMMY RANEY Style:JAZZ Birthday 9/11 ARNHEIM, GUS Born:1897 PHILADELPHIA, PA Died:0/19/1955 LOS ANGELES, CA Age:58 Occupation:LEADER / PIANO / COMPOSER Worked With: ABE LYMAN / own band Wrote:I CRIED FOR YOU / SWEET AND LOVELY Style:BIG BAND BARBECUE BOB ( ROBERT HICKS ) Born:1902 GROVE, GA Died:10/21/1931 LITHONIA, GA Age:29 Occupation:GUITAR / SINGER Style:BLUES DESVIGNES, SIDNEY Born:1895 NEW ORLEANS, LA Died:12/02/1959 PACOIMA, CA Age:64 Occupation:CORNET / LEADER Worked With:SILVER BELL BAND / FATE MARABLE Style:JAZZ GELLER, LORRAINE (WINIFRED, WALSH) Born:1928 PORTLAND, OR Died:10/13/1958 LOS ANGELES, CA Age:30 Occupation:PIANO Worked With:SWEETHEARTS OF RHYTHM / SHORTY ROGERS / RED MITCHELL / ZOOT SIMS / STAN GETZ / DIZZY GILLESPIE / CHARLIE PARKER MARRIED TO HERB GELLER Style:JAZZ / BIG BAND GILLUM, JAZZ (WILLIAM GILLUM) Born:1904 INDIANOLA, MS Died:03/29/1966 CHICAGO, IL Age:61 Occupation:HARMONICA Style:BLUES MOFFETT, CHARLES MACK Born:1929 FORT WORTH, TX Occupation:DRUMMER / TRUMPET Worked With:ORNETT COLEMAN / SONNY ROLLINS Style:JAZZ MORRISON, PECK ( JOHN A ) Born:1919 LANCASTER, PA Died:02/25/1988 NEW YORK, NY Age:69 Occupation:BASS Worked With:LUCKY THOMPSON / KING PLEASURE / ZOOT SIMS / J.J. JOHNSON-KAI WINDING / DUKE ELLINGTON / GERRY MULLIGAN Style:JAZZ / BIG BAND ========================================================================= Date: Fri, 8 Sep 1995 18:58:11 -0400 From: Larry Carlin Subject: Re: Rock'n'Roll Hall of Fame On 9/6 Ian Angus wrote: > >Notice that it is "rock and roll" we are talking about, not the various > cities where blues, r&b and other great pre-rock musics were >created. And if the dividing line between blues/r&b on side and R&R >on the other is its mass appeal to white teenagers., then Cleveland >has a strong claim to it. I agree with Ian this is about rock and roll. (BTW, why is this thread in the blues-l?) Other cities like Memphis have contributed a lot more music to our musical culture than Cleveland. They have contributed their unique 'sounds,' each influenced by other musical cultures (jazz, R&B, Tin Pan Alley, etc.) Cleveland does not have a 'sound.' Unless a sound can include as diverse performers as Meat Loaf and Bruce Springsteen. Cleveland's role in rock and roll, from Alan Freed to the hall of fame, is as a great market for performers. And, if rock and roll is about anything it is about marketing and consumers. It is is not, ultimately, about art and culture, which is what Memphis and the other cities have given us. Cleveland has given us the best place to sell the music. Blues, however, is not ultimately about marketing. That is part of what we like about the blues and why we argue so passionately at times about what is the 'true' blues. Larry Carlin ========================================================================= Date: Fri, 8 Sep 1995 20:12:55 -0400 From: Barry Silverberg Subject: Re: Winner Info Gotten. Also in the USofA 1-800-411-WINNER has been noted. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 8 Sep 1995 19:16:16 -0700 From: "Mark D. Head" Subject: Re: SAXOPHONE AND THE BLUES "William D. Hargrove" wrote: ><---- Begin Included Message ----> >Can y'all clue me into some blues that is heavy on the sax. A friend >and I can't think of too much that has it. Thanks in advance for your >help. > Your brother in the blues, > Brent ><---- End Included Message ----> >There's a terrific Delmark two volume collection of blues and rhythm and blues >from the 50s called Honkers & Bar Walkers. Good stuff. I can recommend a CD that's a jazz/blues combination that's *really* good and generally accorded high marks by those who like such: "Midnight Blue" by Kenny Burrell. The sax player is Stanley Turrentine and they have a compelling "chemistry" that's very bluesy. You might also check out "Fourmost" by Jimmy Smith (the organist); it includes both Burrell and Turrentine and is also outstanding. Mark * TANSTAFL! * ---------------------------------------------- | "There ain't no such thing as a free lunch." | | * Robert A. Heinlein * | ---------------------------------------------- ========================================================================= Date: Fri, 8 Sep 1995 20:43:24 -700 From: Stew Crossen Subject: King Biscuit Page I don't know who posted originally, but you'll find King Bisucuit at: http://www.island.net/~blues/ and if you add: awinner.html it'll take you to Winner Productions Beef Stew ========================================================================= Date: Fri, 8 Sep 1995 20:48:37 -0400 From: stew crossen Subject: King Biscuit Page I don't know who posted originally, but if you type: http://www.island.net/~blues/ it'll take you to King Biscuit, and if you add: awinner.html it'll take you to winner productions. Beef Stew ========================================================================= Date: Fri, 8 Sep 1995 21:56:28 -0400 From: "David A. Bercovich" Subject: I've had enough. How do I get off the list, i'm tired of deleting the fluff in my E-BOX!!! ========================================================================= Date: Fri, 8 Sep 1995 20:05:18 -0600 From: Watterworth Jay Subject: Re: Winner Records Info Needed. Winner Records PO Box 151095 San Rafael, CA 94915-1095 Shipping address: 116 Du Bois Street San Rafael, CA 94901-5216 Telephone: (415) 453-7712 e-mail: wpc@netcom.com Check out the other titles they carry as well. (I have no connection with the company except in appreciating their work.) Jay Watterworth CU Boulder On Fri, 8 Sep 1995, Barry Silverberg wrote: > Having just written that review of Percy Mayfield's Live > CD on Winner I got a few inquiries as to the e-mail add- > ress and/or phone number of Winner. Does anyone have the > info and could you post it here for those interested? > > Thanks in advance. > > -- > NY CD Blues > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > ========================================================================= Date: Fri, 8 Sep 1995 20:07:37 -0600 From: Watterworth Jay Subject: Re: Who are the "living legends"? On Fri, 8 Sep 1995, David Goldstein wrote: > I would have to say that Ike Turner, being alive, is a living legend, as he > produced a ton of original music that predated his problems. > I would have to say that Ike Turner is a living legend for just being alive. ;-) Jay Watterworth CU Boulder ========================================================================= Date: Fri, 8 Sep 1995 23:46:27 -0500 From: Craig Edmundson Subject: Re: barbecue with some blues content! Honest! For REAL BBQ books, I recommend "The Passion of Barbeque" by the Kansas City Barbeque Society (Pig Out Publications ISBN 1-56282-965-3) and "Barbecuing & Sausage Making Secrets" by Charlie and Ruthie Knote (The Culinary Institute of Smoke-Cooking ISBN 0-9632082-0-9). Having both cooked with and judged beside these folks at bbq contests, I assure you that these people know bbq. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ On Thu, 7 Sep 1995, Tom Freeland wrote: > One other observation. Most books about barbecue are really, really lousy, > not written by or for serious cooks, and full of recipes that verge on joke. ========================================================================= Date: Fri, 8 Sep 1995 23:54:53 -0500 From: Craig Edmundson Subject: Re: Barbecue Heaven Correction On Thu, 7 Sep 1995, P.W. Fenton wrote: > On 7 Sep 95, Tom Freeland had this to say... > > In barbecue heaven the place will sell beer and have excellent > > baked beans, battered-on-premises (as in not frozen) onion rings > > and lemon meringue pie (NOT ICEBOX PIE). > > One ever so slight correction... the beer will be free. > And served ON TAP at 38 degrees Farenheit! ce ========================================================================= Date: Sat, 9 Sep 1995 00:19:33 -0500 From: Craig Edmundson Subject: Re: I've had enough. David, If you don't know how to UNSUBscribe, then it "serves you right to 'fluffer'..." >;-) ce On Fri, 8 Sep 1995, David A. Bercovich wrote: > How do I get off the list, i'm tired of deleting the fluff in my E-BOX!!! ^^^^^ ========================================================================= Date: Sat, 9 Sep 1995 01:55:50 -0400 From: DeniseTapp Subject: Across the river from Helena Jay Sheffield has provided me with a schedule for the talent appearing just over the bridge at Lady Luck Casino. The casino is providing free shuttle buses to the festival, in addition to providing financial support. Thursday, October 5, 8:00 p.m. Little Milton Friday, October 6, 4:00 p.m. The Memphis Knights 8:00 p.m. Preston Shannon 12:00 a.m. Rufus Thomas and the King B's 2:00 a.m. Wesley Jefferson Saturday, October 7 4:00 p.m. Elmo and the Shades 8:00 p.m. Joyce Cobb and Cool Heat 12:00 a.m. Ruby Wilson 2:00 a.m. Lonnie Shields Denise ========================================================================= Date: Sat, 9 Sep 1995 14:33:47 +22304808 From: Bob HUME Subject: Re: Country and blues (was Re: yes anyone can dig the blues -Reply) > >Anyway, my point is this: have any of you had any similar encounters > >with country music? I wouldn't be wrong in assuming that blues have > >been around a lot longer than country, would I? > > > >Jeff > > "Country" and blues have been miscegenating from the beginning. For > historical and racial reasons, the majority of innovations in this > miscegenation were delivered from the womb of African-American performance > situations. This is not to diminish the art of some great country > performers like Jimmy Rodgers, Hank Williams, Bill Monroe (and, yes VT, > I'll include Elvis). > > Tom Rossen Before there were record companies defining the market for recordings as hillbilly or race there was only music. I don't think the performers before the birth of the recording industry bothered to construct their music in terms of hillbilly, race, blues or country. Musicians listened to and learnt from each other. In the 50's Elvis listened to pop, blues and gospel as well as hillbilly. Chuck Berry listened to hillbilly and white pop as well as the blues. It was this fertilisation and hybridisation that made their music exciting and hard to define so that a new term "Rock 'n' Roll" had to be invented. But all these names, hillbilly, blues, race, country, rock'n'roll are just constructed terms and musicians continue to refuse to be pidgeon holed and listen to other musical genres. Bob "Independence for Polynesia" Hume. ========================================================================= Date: Sat, 9 Sep 1995 14:55:03 +0000 From: Rhiannon Walker Subject: HAPPY BIRTHDAY Hi there, I would like to wish John Lee Hooker a very Happy 75th Birthday this Sunday. May you have many more John and may the creator keep you safe in the palm of his hand. Bright Blessings. Rhiannon Walker Perth, Western Australia, Island of Oz email; rhiannon@cougar.multiline.com.au ========================================================================= Date: Sat, 9 Sep 1995 04:59:25 -0400 From: Fred Sokolow Subject: Guitar instructional stuff It's been months since I did this (shamelessly promote my catalog of guitar videos, books & tapes): Email me your snail mail address if you want me to send you a free catalog of my guitar books: methods, transcription books, arrangement books, all with tablature & music. Blues related books include: Basic Blues (book & cassette) how to solo & backup in all blues styles, acoustic & electric, bottleneck too Learn Bottleneck (book & cassette) another method book covers Delta tunings & standard Muddy Waters: lots of his best stuff written out note-for note, tab & music, with plenty of the second guitar also transcribed & some instructional stuff Beginners Blues Guitar Video: 70 minutes of acoustic entry-level stuff, easy to follow Electric Blues Guitar Giants: solos by Otis Rush, Buddy Guy, Mike Bloomfield, Albert King & more Also transcription books on BB, Chuck Berry, Lonnie Johnson, Clapton (crossroads set), Stones, John Lee Hooker, Dixon and lots more. Jazz, rock & country stuff too....Fred Sokolow, SokolowMus PS coming soon, transcription books on Elmore James & Howlin Wolf ========================================================================= Date: Sat, 9 Sep 1995 09:45:12 GMT From: RYAN DAVEY Subject: Re: Otis Rush and Luther Allison Live Reissues-finally! I've got live in Europe, I just hope I can find So Many Roads...but thanks for the info...Ryan Mike Heidenberg (msh6@CLOUD9.NET) wrote: : Hi there. It is my _great_ pleasure to report that both Luther : Allison- Live In Paris and Otis Rush- So Many Roads, Live In Concert are : now available on CD in the US. : Live in Paris has been on CD for a while- I picked up my copy in : Amsterdam (on the Buda label, I think), about five years ago. But as far as : I know, it hasn't been available in the US on CD. Now, thankfully, it is. : For those of you unfamiliar with this particular recording, it shows off : many different sides of Luther's blues- there's harmonica (Luther's : Shuffle), slide (the essential Tribute to Houng Dog [Taylor]), "alley : blues" (I Can't Quit You Baby), George Benson-style scat singing (a great : version of The Thrill is Gone), and more. This is definitely one of my : favorite Luther albums. Now if they'd only release South Side Safari (aka : Gonna Be a Live One In Here Tonight!) on CD.... : I've had Otis's So Many Roads on LP for quite some time too. It's : a very good live concert from the mid-70's in Japan. This recording : features none other than Jimmy Johnson on rhythm guitar. The set, while : perhaps not quite as good overall as Live in Europe or Tops (though I like : _some_ parts of it better than either of these), really is worth getting. : It's on the Delmark label, as the original LP was. The interesting thing : to me about the CD is that it features several tunes (four, I think) that : weren't on the original LP release, including a version of Kenny Burrell's : Chitlins Con Carne. I definitely think I'm going to have to pick this one : up (didn't have the $ at the time :-( ). This one's definitely a nice : substitute until _somebody_ (help us, Dick Shurman, you're our only hope! : ;-) ) gets Otis to make a NEW live album.... : -Mike : PS- I also just picked up Blue Streak, Luther's new studio recording. I : need to give it a few more listens, but so far, I really like it...... -- ----------------- "Some people, like cupcakes exclusively while myself I say... there is not, nor art there be, nothing so exhalted on the face of God's Great Earth, as that prince of foods... ...the MUFFIN!" -Frank Zappa ========================================================================= Date: Sat, 9 Sep 1995 10:45:44 GMT From: Steve Leigh Subject: Re: Owners of Nationals/Dobros -Reply >NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS >DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, >but i wanted to make that point very clear. I've got a newer steel-bodied Dobro and think it's great. Love the sound! ========================================================================= Date: Sat, 9 Sep 1995 07:39:20 -0400 From: "B. Hammer" Subject: Need FAQ Would someone please send me the Blues-L FAQ>? I woant to keep instructions on how to subscribe /nsubscribe etc. TANKS! TOEZ!* ========================================================================= Date: Thu, 7 Sep 1995 10:07:19 -0500 From: T-Bone Subject: Re: Blues Relaxing On Wed, 6 Sep 1995, L W wrote: > So I'm curious, can you think of blues as "relaxing music"..... > > LW 'I like Charles Brown, so you know how I feel about it' In some cases. There is a great cd called _The Original American Folk Blues Festival_ (which I think you got me a copy of, LW) which is pretty relaxing. It's got a few uptempo numbers, but most of it is really laid back. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Sat, 9 Sep 1995 11:01:06 -0400 From: "John Puleo. User" Subject: Re: Need a name for my blues band Help!!! Does anyone know a good name for a blues band. I am having a difficult time coming up with one. I would appreciate it if someone would give me some suggestions. Thanks , John ========================================================================= Date: Sat, 9 Sep 1995 11:20:13 -0400 From: Tom Freeland Subject: Re: Would Lockwood qualify In a message dated 95-09-09 03:05:43 EDT, L W writes: >His Memphis apperance >is very, very forgetable.....Win some lose some. I'd go see him again in a >heartbeat, though. I was disapointed with this year's Memphis appearance, too, particularly the way he "leaned on" his band. But a few years ago, also at that festival, he appeared the same day as Johnny Shines, and did a wonderful set. His performance was great, and (perhaps the addition of Shines that day?) he played more Robert Johnson songs than I'd seen him perform. He's also reliable at Helena, and that's coming up..... Tom Freeland ========================================================================= Date: Sat, 9 Sep 1995 11:36:28 +0000 From: "P.W. Fenton" Subject: The Tampa <-> Joliet connection Last night, at about 12:45 A.M. a couple walked up to the bandstand to say hello right at the end of our third set of the night. That would not be very noteworthy were it not for the fact that the "couple" were none other than Blues-Lers Michael & Judith Suffern who had come all the way from Joliet Illinois just to see our last set. (They also went to see some guitar player named Eric something the night before). Michael "just so happened" to have a little black sack-o-harps with him, so two songs into our 4th (and final) set, we called him up. Michael wound up wailing for nearly the whole set. We even got him to SING one. It had been a difficult night for us. We had a stand in bass player (which took us out of any set arrangements), and our keyboard player was about 800 miles away in Virginia. Michael's fine blowing in the fourth set really filled in the "hole" left by our missing member. We really had a blast. Afterwards Mike also got to play on my baby (my guitar, not my wife!). Actually, they had just missed my wife, who had left just before the 3rd set (she probably went somewhere to hear another band). P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Sep 1995 11:36:28 +0000 From: "P.W. Fenton" Subject: Just the FAQs It used to be set up somehow, that when you first subscribed to BLUES-L, you would automatically receive a copy of the FAQ along with the suggestion that you save that info. Is this not happening anymore? If it's not, maybe we can find out how to hook that back up. I know that it would help. I respond to several "how do I..." requests every day. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Sep 1995 20:14:03 -0400 From: DeniseTapp Subject: Re: Blues Geniuses I haven't seen B.B. King mentioned yet. There are technically superior guitar players and technically superior singers, but few combine the two talents with such soul. Few have done as much to popularize the genre, as well. I loved the late Albert King, so don't take offense. I can't recall where I first read this little vignette, but it's been circulating for years. One night B.B. was playing and Albert showed up, jumped on stage, plugged in and challenged B.B. to a duel. Albert did his best, but B.B. brought down the house with that rich voice. Denise ========================================================================= Date: Thu, 7 Sep 1995 20:14:19 -0400 From: DeniseTapp Subject: Re: Barbecue Heaven Exists I've stayed out of this thread, but I'm getting e-mail goading me into it. Barbecue Heaven is located at 90W00, 35N09. The high holy days of pork are celebrated by 100,000 or more each May on the banks of the Mississippi, where 250 or so teams from all over the world compete (and where the beer and Q are free, if you know somebody, P.W.) The absolute best place has been overlooked, so I must tell you about it. The Cozy Corner is located on North Parkway, near Danny Thomas Blvd. They're open Tuesday through Saturday from 10:30 a.m. to 7:00 p.m. You can get the finest ribs, the best shoulder, awsome barbecued bolonga and the most amazing and delicious 'cued Cornish game hens. Four generations of the Robinson family run the place. Great Grandma greets you at the door. Her son and his children and grandchildren cook for you and serve you. At closing time, one of the sons heads straight for Beale Street, which we jokingly call his forwarding address. By the way, the June issue of "Food and Wine" ranks them third in the nation, but they remain tops with me. Denise ========================================================================= Date: Sun, 10 Sep 1995 00:09:50 +0800 From: Rhiannon Walker Subject: HAPPY BIRTHDAY Hi there folks, I would like to take time to wish JOHN LEE HOOKER a very happy 75th birthday today. May you have many more John and may the creator keep you safe in the palm of his hands. Bright Blessings Rhiannon Perth, Island of Oz rhiannon@cougar.multiline.com.au ========================================================================= Date: Sat, 9 Sep 1995 16:10:46 GMT From: Jonathan Duttweiler Subject: Re: Barbecue Heaven Correction In Craig Edmundson writes: > >On Thu, 7 Sep 1995, P.W. Fenton wrote: >> On 7 Sep 95, Tom Freeland had this to say... >> > In barbecue heaven the place will sell beer and have excellent >> > baked beans, battered-on-premises (as in not frozen) onion rings >> > and lemon meringue pie (NOT ICEBOX PIE). >> >> One ever so slight correction... the beer will be free. >> > >And served ON TAP at 38 degrees Farenheit! > >ce 38 degrees??!! Way too *cold* for drinking any beer with real taste - let's say 40 - 45 degrees for lagers and 50 - 55 degrees for anything darker! -- *********************************************************************************** Jon Duttweiler / "We sing Gospel because it gives us strength, we sing the blues toz@ix.netcom.com / because we hurt." Elder W. E. Whitehead, Mt. Carmel Missionary Baptist Church at Big Voice Odum's Funeral. ************************************************************************************ ========================================================================= Date: Sun, 10 Sep 1995 00:18:00 +0800 From: Rhiannon Walker Subject: advertising on this list Hi there, I have just been subjected to some advertising from some yob from aol.com. Anyone else get any. It wasnt bad just advertising blues videos, and guitar books. If this guy is a member of the list I think he should be banned. If anyone else got this rubbish would they please complain to the list administator and not tell me. Rhiannon ========================================================================= Date: Sat, 9 Sep 1995 12:34:20 -0400 From: Dick Waterman Subject: Re: The Tampa <-> Joliet connection "Our keyboard player was 800 miles away in Virginia . . ." You must have one hell of a sound system . . . dick waterman ========================================================================= Date: Thu, 7 Sep 1995 20:52:17 -0400 From: Bkg agent Subject: Re: Booking agent contact Glad to help out! David Hickey Agency fax # 817-441-5488 Janice Nickeltune Music, Inc. ========================================================================= Date: Thu, 7 Sep 1995 20:52:30 -0400 From: Bkg agent Subject: Re: Living Legends I would like to mention Frank Frost and Sam Carr( whose dad was Robert Nighthawk). Both worked with Sonny Boy Williamson are still alive and doing well and still pumping out the blues in the delta. Janice Nickeltune Music, Inc. ========================================================================= Date: Sat, 9 Sep 1995 12:47:25 +0000 From: "P.W. Fenton" Subject: Re: Blues Geniuses On 7 Sep 95, DeniseTapp had this to say: > I haven't seen B.B. King mentioned yet. There are technically superior > guitar players and technically superior singers, but few combine the two > talents with such soul. Few have done as much to popularize the genre, as > well. > > I loved the late Albert King, so don't take offense. I can't recall where > I first read this little vignette, but it's been circulating for years. > One night B.B. was playing and Albert showed up, jumped on stage, plugged > in and challenged B.B. to a duel. Albert did his best, but B.B. brought > down the house with that rich voice. Let's add to this that B.B. is also the nicest, sweetest, kindest man the Blues has ever known. B.B.'s playing DEFINES genius for me. I know I've said this many times before, but if you have even the slightest doubt about BB's musical prowess, get your hands on the 3 videotape set of "B.B. King - Bluesmaster" It's directed at guitarists but I feel like anyone at all would come away with admiration for BB and a good grasp on what is Blues. The whole three hours is peppered with BB playing entire songs with everything from his full band, to a small combo. P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Sep 1995 13:15:08 +0000 From: "P.W. Fenton" Subject: Re: advertising on this list > Hi there, > I have just been subjected to some advertising from some yob from > aol.com. Anyone else get any. It wasnt bad just advertising blues > videos, and guitar books. If this guy is a member of the list I think he > should be banned. If anyone else got this rubbish would they please > complain to the list administator and not tell me. > Rhiannon > Rhiannon, Although we discourage it in the Etiquette portion of our FAQ, in practice we tolerate a reasonable amount of advertising on the list. The "Blues market" is not huge. It's not easy to make a profit when your work is the Blues. Hell, it ain't easy to break even. So in a community of Blues lovers like Blues-L, a certain amount of tasteful advertising, makes good sense. I know I like being made aware of what's available, especially from other contributing members. I hope you can make allowances for this as well. (There's always that "delete" key if you're not interested.) P.W. Fenton Tampa, Florida email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Thu, 7 Sep 1995 23:54:49 -0400 From: CATBAUER Subject: Re: Barbecue & Blues (& beer) (Dinosaur BBQ, Syracuse, NY) In article , Greg Kimbell writes: > >The best connection between Blues and Barbeque can be found at the Dinosaur >BBQ in Syracuse, NY. They have live blues (almost) every night without a >cover charge, except for the bigger national acts on Sundays (showtime at >8:00 pm). >It's a real down home place where the townies, the students, the biz >people, and the bikers drop any and all pretensions over great food and >great music. After years of living in the area I had never been to the Dinosaur until Andy Robble suggested meeting there to see Rod Piazza. All I knew about it was the artists that played there on Tuesday played at the Creek in Rochester on Wed. I went on a Sunday, the place was packed, the ribs were great, Rod Piazza and the Mighty Flyers were fabulous and the waitresses were hysterical. The only bbq that was better was the bbq I had in Memphis. Cat Catbauer@vivanet ========================================================================= Date: Sat, 9 Sep 1995 12:38:16 -0600 From: Ranko Vujosevic Subject: New Roomful of Blues 1. Received advance copy of new Roomful of Blues album, "Turn it on, Turn it up" (Bullseye Blues) a couple of weeks ago (street data September 19th). I hate when I like a blues album by a bunch of white guys, but this is a VERY entertaining collection of blues, jump blues, and jazzy songs. Excellent production too, though no info on anything except song names on this copy (final cover was not included). 2. Somebody mentioned Frank Frost recently. His album "Jelly Roll Blues" (Paula/Sue Records) is often on my CD player these days. Rough, rough, rough blues ... "Things you do" from this album is the best SBW II since 1967. 3. Just bought Rounder Records' "Deep Blues" collection celebrating 25 years of blues. For $7.99 9 (Best Buy) and 2 CDs - 30 songs, this is really BEST BUY. Except, whoever decided to include Robert Nighthawk's "Mr. Bell's Shuffle" on it does not have much respect for this genious. It is basically a harp instrumental with Robert (nowhere to hear) in the background. And it is only 1:38 minutes long. Poor selection. Other than that - a very good collection. Ranko ========================================================================= Date: Sat, 9 Sep 1995 12:50:07 -0600 From: Ranko Vujosevic Subject: Please suggest acoustic performers Johnson County Blues Society is trying to organize a Winter Folk and Blues festival. One day, 10 hours of blues. We have some names in mind, but I would like to hear from Blues-Lers who should we get to play here. We'll have Catfish Keith and Dave Moore (local guys), and we need 5-6 more people. Who would you suggest? No John Hammond please - he was here few months ago. Please, suggest people you saw only and know they will put on a good show. Here are some people we are considering: 1. Honeyboy Edwards 2. Henry Townsend 3. RL Burnside and Kenny Brown (acoustic) 4. Keb Mo (Sorry LW - women want him) 5. Big Jack Johnson and Lester "Mad Dog" Davenport 6. Rory Block 7. Katie Webster (has she started performing again) 8. Safire Ranko ========================================================================= Date: Sat, 9 Sep 1995 14:24:29 -0400 From: James Leftwich Subject: Re: Need a name for my blues band Help!!! How about the Dead Johnsons!??!? :):):):):) Jim On Sat, 9 Sep 1995, John Puleo. User wrote: > Does anyone know a good name for a blues band. I am having a difficult time > coming up with one. I would appreciate it if someone would give me some > suggestions. > > > > Thanks , > > John > ========================================================================= Date: Sat, 9 Sep 1995 15:21:29 -0400 From: Luftr Subject: Re: Dan Penn & Spooner Oldham I hope I'm not spreading rumors, and I regret being the bearer of bad news, but I think I recall seeing an obituary for Spooner Oldham a couple of months ago. I don't know how one would confirm this -- what label put out his last record? Dan Penn, however, is alive & well, and his last CD, "Do Right Man," on Sire/Warner Brothers, is great. ========================================================================= Date: Sat, 9 Sep 1995 19:52:36 GMT From: Anthony Graybosch Subject: Re: Which Johnny Shines? Shines has just two songs on Drop Down Mama (available from Columbia House) but "I'm So Glad I Found You" is worth the price of the whole album and the other songs and artists are great unreleased chess sides. ========================================================================= Date: Sat, 9 Sep 1995 16:01:30 -0400 From: Luftr Subject: Re: Which Amos Milburn & James Booker CDs? I have to disagree strongly w/ the All Music Guide recommendation. Classified may be Booker's weakest. It's fine, but few sparks. It was a 1982 studio recording with a band, and it never really quite jelled, although he plays a few good solo numbers and saxophonist Red Tyler sounds nice. I'd recommend any and all of the others first. I got hooked on Booker a few years ago, and he's become one of my all time faves. He was an outrageously talented and soulful pianist, and though his singing -- rough and demented -- may not appeal to everybody, I find it oddly appealing. Of the below CDCONNECTION options, I'd suggest either "New Orleans Piano Wizard: Live" (Rounder) or "Junco Partner" (Hannibal/Rykodisk) as an intro. The former is a 1977 live recording from Switzerland. Tunes include mostly blues and pop classics (On the Sunny Side of the Street, Come on in My House, Come Rain or Come Shine), and Booker shines on piano and vocals. "Junco Partner" was a solo piano studio recording from 1976, very well recorded and Booker is in great shape -- relaxed & exuberant. Highlights include Leadbelly's "Good Night Irene," several originals, and even a terrific, sparking take on Chopin's "Black Minute Waltz." The CD, "King of the New Orleans Keyboard" (Junco Partner label), consists of more live material recorded in Europe. It was originally released as two LP's on JSP, a British label. This is also Booker during his peak years. He does some great stuff, including a medley of Ray Charles tunes, Stormy Monday, Rockin' Pneumonia, Ain't Nobody's Business If I Do, et al. This disk is also excellent, but I'd recommend the above two first, and get this if you like what you hear. "Spiders on the Keys" and "Resurrection of the Bayou Maharajah" are more recent compilations of live tapes from the Maple Leaf Bar in New Orleans, where he played weekly. They're described as being the best of many hours of tapes from 1977-1982. Spiders is almost all instrumental, and features his more pop-oriented playing and New Orleans ragtime/stride/boogie woogie. "Resurrection" is more R&B oriented, including Lawdy Miss Clawdy, Junco Partner, and Knock on Wood, as well as another take on Irene Goodnight, Black Minute Waltz and St. James Infirmary. By the way, the liner notes on these two and the Hannibal/Rykodisk "Junko Partner" CD are very good, providing nice insight into Booker's sad life. There were two or three other LP's that have not made it to CD (to the best of my knowledge), including two great disks on the German "Aves" label. For others' sake, I've repeated below the CDConnection catalog information you provided in your query. Good luck, and happy listening. -------------------------------------------------- !RoU2036 +BOOKER*JAMES CLASSIFIED **** $13.27 &ROUNDER 5/89 HAZ1359 +BOOKER*JAMES JUNCO PARTNER 5/1 *** $13.53 &HANNIBAL 2/93 JUU1 BOOKER*JAMES KING OF THE NEW ORLEANS KEYB 8/1 *** $12.68 &JUNCO PARTNER 9/94 !RoU2027 +BOOKER*JAMES NEW ORLEANS PIANO WIZARD-LIVE 9/5 *** $13.32 &ROUNDER 1/92 RoU2118 +BOOKER*JAMES RESURRECTION OF THE BAYOU MAHA 10/1 *** $13.32 &ROUNDER 8/93 RoU2119 +BOOKER*JAMES SPIDERS ON THE KEYS ** $13.32 &ROUNDER 7/93 => End of list. 6 item(s) listed. ========================================================================= Date: Sat, 9 Sep 1995 15:46:25 -0500 From: Jeff Seale Subject: Re: Guitar instructional stuff Why do you keep doing this when you know it isn't appreciated around here? It is in the FAQ that we don't want this kind of crap here. It may also be against the law. -Jeff (nothin for sale...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Sat, 9 Sep 1995 17:01:38 -0400 From: Luftr Subject: James Booker advice To whoever asked about James Booker CD suggestions, I believe my answer did not get sent properly, so I'm re-sending the message below. ----------------------------------------- I have to disagree strongly w/ the All Music Guide recommendation. Classified may be Booker's weakest. It's fine, but few sparks. It was a 1982 studio recording with a band, and it never really quite jelled, although he plays a few good solo numbers and saxophonist Red Tyler sounds nice. I'd recommend any and all of the others first. I got hooked on Booker a few years ago, and he's become one of my all time faves. He was an outrageously talented and soulful pianist, and though his singing -- rough and demented -- may not appeal to everybody, I find it oddly appealing. Of the below CDCONNECTION options, I'd suggest either "New Orleans Piano Wizard: Live" (Rounder) or "Junco Partner" (Hannibal/Rykodisk) as an intro. The former is a 1977 live recording from Switzerland. Tunes include mostly blues and pop classics (On the Sunny Side of the Street, Come on in My House, Come Rain or Come Shine), and Booker shines on piano and vocals. "Junco Partner" was a solo piano studio recording from 1976, very well recorded and Booker is in great shape -- relaxed & exuberant. Highlights include Leadbelly's "Good Night Irene," several originals, and even a terrific, sparking take on Chopin's "Black Minute Waltz." The CD, "King of the New Orleans Keyboard" (Junco Partner label), consists of more live material recorded in Europe. It was originally released as two LP's on JSP, a British label. This is also Booker during his peak years. He does some great stuff, including a medley of Ray Charles tunes, Stormy Monday, Rockin' Pneumonia, Ain't Nobody's Business If I Do, et al. This disk is also excellent, but I'd recommend the above two first, and get this if you like what you hear. "Spiders on the Keys" and "Resurrection of the Bayou Maharajah" are more recent compilations of live tapes from the Maple Leaf Bar in New Orleans, where he played weekly. They're described as being the best of many hours of tapes from 1977-1982. Spiders is almost all instrumental, and features his more pop-oriented playing and New Orleans ragtime/stride/boogie woogie. "Resurrection" is more R&B oriented, including Lawdy Miss Clawdy, Junco Partner, and Knock on Wood, as well as another take on Irene Goodnight, Black Minute Waltz and St. James Infirmary. By the way, the liner notes on these two and the Hannibal/Rykodisk "Junko Partner" CD are very good, providing nice insight into Booker's sad life. There were two or three other LP's that have not made it to CD (to the best of my knowledge), including two great disks on the German "Aves" label. For others' sake, I've repeated below the CDConnection catalog information you provided in your query. Good luck, and happy listening. -------------------------------------------------- !RoU2036 +BOOKER*JAMES CLASSIFIED **** $13.27 &ROUNDER 5/89 HAZ1359 +BOOKER*JAMES JUNCO PARTNER 5/1 *** $13.53 &HANNIBAL 2/93 JUU1 BOOKER*JAMES KING OF THE NEW ORLEANS KEYB 8/1 *** $12.68 &JUNCO PARTNER 9/94 !RoU2027 +BOOKER*JAMES NEW ORLEANS PIANO WIZARD-LIVE 9/5 *** $13.32 &ROUNDER 1/92 RoU2118 +BOOKER*JAMES RESURRECTION OF THE BAYOU MAHA 10/1 *** $13.32 &ROUNDER 8/93 RoU2119 +BOOKER*JAMES SPIDERS ON THE KEYS ** $13.32 &ROUNDER 7/93 => End of list. 6 item(s) listed. ========================================================================= Date: Sat, 9 Sep 1995 16:28:43 CST From: JBards Subject: Re[2]: Need a name for my blues band Help!!! HOw about "Robert Johnson's Johnson" ? Am I allowed to say that? Anyway, you can always fall back on that old standard, sure to pack 'em in: "FreeBeer". -Jim _______________________________________________________________________________ Subject: Re: Need a name for my blues band Help!!! From: James Leftwich at INTERNET-SH Date: 9/9/95 1:38 PM How about the Dead Johnsons!??!? :):):):):) Jim On Sat, 9 Sep 1995, John Puleo. User wrote: > Does anyone know a good name for a blues band. I am having a difficult time > coming up with one. I would appreciate it if someone would give me some > suggestions. > > > > Thanks , > > John > ========================================================================= Date: Sat, 9 Sep 1995 17:35:23 -0400 From: Stew Crossen Subject: Blues L Features According to the instructions, you did read the instructions didn't you? If one sends the message "QUERY BLUES-L" to the LISTSERV@BROWNvm.BROWN.EDU One will receive info regarding subscription options Beef Stew ========================================================================= Date: Sat, 9 Sep 1995 16:43:35 -0600 From: David Silberberg Subject: FAQ - Administrative THE BLUES-L FAQ LIST - ADMINISTRATIVE PORTION List Owner - Alan Rollins (blzlynx@nexus.polaris.net) Compiled by David Silberberg (davidis@interaccess.com Last modified July 11, 1995 CONTENTS: 1. What is this FAQ List 2. What is Blues-L 3. How to Receive Blues-L 4. To Subscribe, Unsubscribe, and Other Listserv Commands 5. The Newsgroup Mirror 1. What is this FAQ List? This is a list of Frequently Asked Questions to the Blues-L mailing list and newsgroup mirror. The purpose of this FAQ is to inform newcomers to our community, and to refresh the memories of long-time members, about various aspects of Blues-L, both in terms of administration (subscription information, listserv commands, guidelines, etc.) and content (controversies, definitions, etc.) Please read this FAQ before posting any messages to the newsgroup or mail list. 2. What is Blues-L? Blues-L is a mail list with a newsgroup mirror devoted to the discussion of the Blues in all of its forms - from predecessors of blues music to contemporary performers. Discussions have been very wide-ranging, branching into a variety of topics, but always should include a definite, direct connection to the Blues. Subscribers and contributors include professional musicians, producers, radio programmers, and authors as well as average, everyday lovers of the music. The mail list was created by Jake Haller at Brown University. The current list owner is Alan Rollins. If you should have any technical problems with receiving or posting to the list, and you require human intervention, send a message to blues-l-request@brownvm.brown.edu. Please explain your problem clearly, including the steps you have already taken to solve the problem. Currently, over 750 people (from countries all over the world) subscribe to the mail list, and countless others read the list through the newsgroup mirror. 3. How to receive Blues-L Blues-L can be read, and posted to, either by subscribing to the mail list (thus receiving the messages as e-mail) or by reading the newsgroup. Either way, you will be receiving all of the messages, and have the ability to post your responses / questions / opinions. You should choose your method based on your internet connection: some people find it easier to read e-mail messages, some find it easier to read newsgroups. This is a high-volume group: usually, 50 to 100 messages are posted each day. The choice is yours, but we strongly urge you to subscribe to the mail list: if you wish to receive the list through the newsgroup, you can set the mail list to NOMAIL (instructions are below). At some point, the owner may take the list "private", meaning that only subscribers (including NOMAIL) subscribers) to the mail list will be able to post. To post a message to the list through e-mail, send the message to blues-l@brownvm.brown.edu This is the list address. 4. To subscribe, unsubscribe, and other listserv commands The following commands should be sent to: listserv@brownvm.brown.edu. DO NOT SEND THEM TO THE LIST ADDRESS, which would cause you request to be sent to the entire list and newsgroup without causing the listserv to act on your command. The subject line should be blank, and the message content should be as follows: TO SUBSCRIBE: SUBSCRIBE BLUES-L TO UNSUBSCRIBE: SIGNOFF BLUES-L TO SET YOUR RECEIVING METHODS: The default method is to receive individual e-mail messages for each message sent to the list. The digest format sends you one e-mail message each day containing all of the messages sent to the list since the last day's digest. This is a long document. To set the list to digest format, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L dig The index format sends you a daily index of messages sent to the list. The index contains the poster of the message, the subject line, and the size of the message. To set the list to index, send the command to listserv@brownvm.brown.edu, no subject, message: SET BLUES-L index To retrieve a particular message that you wish to read, you will have send send a message to blues-l-request@brownvm.brown.edu. When you set this option, the listserv will send you detailed instructions on how to use it. TO TEMPORARILY STOP MAIL FROM THE LIST FOR A FEW DAYS, WITHOUT UNSUBSCRIBING, or to subscribe to the list and read the newsgroup instead, send a message to listserv@brownvm.brown.edu, no subject, with the message: SET BLUES-L nomail To resume receiving mail, send the message: SET BLUES-L mail Please remember, any subscription request should be sent to listserv@brownvm.brown.edu. You will receive a complete list of listserv commands by sending a message to the listserv, with no subject, and the message: HELP. 5. The Newsgroup Due to the high volume on this list, and the fact that many subscribers prefer to receive newsgroups rather than e-mail, David Pimmel led the way in initiating a Blues-L Newsgroup. This newsgroup mirrors the activities of the Blues-L mail list. The address of the newsgroup is: bit.listserv.blues-l If you are a newsgroup reader, you have all of the privileges and responsibilities of mail-list subscribers: you get all messages, and may post to the newsgroup. All of your messages will be read by list subscribers and newsgroup readers. If you are posting through a newsreader, there is a chance that your message will not appear in the group. This is most likely due to an incorrect setting for the moderator in the news software. The correct address is blues-l@brownvm.brown.edu. Check with your local system administrator if this seems to be a problem. In the meantime, you can always contribute via direct e-mail to the above address. ========================================================================= Date: Sat, 9 Sep 1995 17:50:52 +0000 From: "P.W. Fenton" Subject: Re: Guitar instructional stuff On 9 Sep 95, Jeff Seale had this to say: > Why do you keep doing this when you know it isn't appreciated around > here? It is in the FAQ that we don't want this kind of crap here. It > may also be against the law. The internet is loaded with advertising. What possible law could you mean? P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 9 Sep 1995 17:10:30 -0600 From: Tom Rossen Subject: Re: Need a name for my blues band Help!!! How about Johnny Puleo and the Harmonicats? Ooops - it's been used '-) But seriously - see if you can build something around your name. It provides job security among other things.... =81 >Does anyone know a good name for a blues band. I am having a difficult tim= e >coming up with one. I would appreciate it if someone would give me some >suggestions. > > > >Thanks , > >John Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Sat, 9 Sep 1995 18:54:20 -0400 From: Tom Freeland Subject: Re: Guitar instructional stuff In a message dated 95-09-09 17:58:53 EDT, pwfenton@GATE.NET (P.W. Fenton) writes: >> Why do you keep doing this when you know it isn't appreciated around >> here? It is in the FAQ that we don't want this kind of crap here. It >> may also be against the law. > >The internet is loaded with advertising. What possible law could you >mean? > I was kind of wondering the same thing (a lawyer's idle interest). I will say this: I don't mind the advertising or self-promoting that crops up occasionally, particularly if it amounts to a press release on a subject that blues listers would find of interest (like record releases by recognized artists). I do find the over-persistent nagging that keeps saying the same thing a little more than mildly annoying, and the guitar instruction tapes guy seems to have crossed that line, at least with me. Tom Freeland ========================================================================= Date: Sat, 9 Sep 1995 15:59:43 -0700 From: Mary Katherine Aldin Subject: John Lee Hooker and barbecue! Well, I can now neatly tie several current threads together, since I just got home from a 1) "not-quite-birthday" party at John Lee Hooker's house in Long Beach at which 2) everyone was served barbecue in the back yard by the pool! JLH looked great and seems in excellent health. At the party his manager Mike Kappus gave him a special copy of the postage stamp from Tanzania that was mentioned on the list a couple weeks back. This stamp was issued in a numbered limited edition, and JLH was given, appropriately enough, #1. Then he was presented a gold record by the folks at Virgin Records indicating sales of over 300,000 in Europe. Barbecue report: Although I did not eat any myself (well, you ever try to take pictures while juggling a paper plate full of bbq ribs? And sticky is not the word for it....), I was informed that it was excellent, with very spicy but good sauce. JLH was also given some birthday presents by people who were there as winners of a radio contest sponsored by the record company, including two from Australia and two from Texas. Anyway, for those who have been posting Happy Birthday wishes to him, I said one for all. Mary Katherine ========================================================================= Date: Sat, 9 Sep 1995 16:14:38 -0800 From: Michael Hewitt Subject: Re: Guitar instructional stuff At 3:46 PM 9/9/95, Jeff Seale wrote: >Why do you keep doing this when you know it isn't appreciated around >here? It is in the FAQ that we don't want this kind of crap here. It >may also be against the law. > >-Jeff (nothin for sale...) > Jeff, Remember...one person's crap is another person's gold. If you don't believe me, just the scan the classifieds and look at all the garage and yard sales that take place every weekend. I too get tired of endless advertising. However, this is a blues list and Fred S. does offer blues tabs. There are probably many bubbing blues players out there in list-land that are looking for just such an item. I use them as a learning tool since I have no one to jam with who can teach me these things. I certainly don't want to see daily posts or weekly posts offering his material for sale, but if once a month or so he wants to post a short description like the last one so that newcomers to list can get his address, I can certainly hit the delete key easily enough. As a matter a fact there is a hell of a lot of material on this list that I do not choose to read...much of it with no or only a tenuous connection to blues. If I read half of the blues posts, that's a high percentage for me. The rest get consumed by the delete key. No prob.... So have a brew, put on some Muddy and relax. Life's too short to sweat the small stuff. Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sat, 9 Sep 1995 19:34:27 -0400 From: Msbeale Subject: ATTN: Touring acts Looking for blues acts that will be in the SF bay area October 13-15. Please send agent's info, brief band bio/info via email to msbeale@aol.com. thanks. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sat, 9 Sep 1995 16:42:24 -0700 From: Mary Katherine Aldin Subject: Billboard Blues Chart, 9/16/95 Here is the Bliiboard Magazine Blues Chart as it appersin the issue cover dated 9/16/95: 1. From The Cradle/Eric Clapton 2. Cover to Cover/The Jeff Healey Band 3. Some Rainy Morning/Robert Cray 4. Chill Out/John Lee Hooker 5. Essential Blues/Various Artists (HoB Records) 6. Blues/Jimi Hendrix 7. Roll of the Dice/The Fabulous Thunderbirds 8. Texas Sugar/Strat Magic/Chris Duarte Group 9. Keb' Mo'/Keb' Mo' 10. Booty and the Beast/Popa Chubby 11. One Foot In The Blues/ZZ Top 12. Slippin' In/Buddy Guy 13. Strange Pleasure/Jimmie Vaughan 14. Blues Drops of Rain/Corey Stevens and Texas Flood 15. Ballads & Blues/Gary Moore Remember, this chart reflects sales figures only, not quality of music. (Who, me? Snide? Surely not!) Mary Katherine Mary Katherine ========================================================================= Date: Sat, 9 Sep 1995 19:24:11 -0600 From: David Silberberg Subject: Re: Guitar instructional stuff At 2:46 PM 9/9/95, Jeff Seale wrote: >Why do you keep doing this when you know it isn't appreciated around >here? It is in the FAQ that we don't want this kind of crap here. It >may also be against the law. The "against the law" that the FAQ refers to (coming straight from David Pimmel's missive on this) is more related to selling and trading illegal copies of tapes, etc. There is also the issue of (in effect) selling stuff through the Brown University computers, which are so involved in the distribution of blues-l, without their knowledge or permission, and the potential liability that may accrue to them. Fred Solokow's commercial message may not be against the law, altho it seems to be a breach of internet etiquette, seems to be a breach of blues-l etiquette (as set up by our former list mom), and may or may not be wanted by a good portion of bluezellers. I will admit that this is not as annoying as his previous commercial behavior on this list.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 9 Sep 1995 23:52:25 -0600 From: Tom Rossen Subject: Is that me? (was Re: Guitar instructional stuff) [...] > There are probably many bubbing blues players out there [...] > >Michael Hewitt mhewitt@telis.org I'm not sure if that applies to me - I don't think I've ever bubbed.... Tom Rossen TomR36@aol.com (flashsession at noon weekdays, random logins other times) rossen@lmis.loral.com (weekdays ~10:00-6:30) rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Sun, 10 Sep 1995 09:30:38 -0400 From: Patti Bowman Subject: Name that blues band! >Does anyone know a good name for a blues band. I am having a difficult time >coming up with one. I would appreciate it if someone would give me some >suggestions. >Thanks , >John OK John, I'm going to share one of my favorite web sites with you, The Random Band Name Server- (a different Band name everytime you push the button and over 3,000 to choose from- gotta love that!) http://ugweb.cs.ualberta.ca/~aaron/band_names.html have fun! -Patti ========================================================================= Date: Sun, 10 Sep 1995 09:30:57 -0400 From: Patti Bowman Subject: SET LIST OF 10/94 EC show Got this from the Allman Bros. list & thought I'd share........ -Patti >>EC is most definitely on tour and I've got tix to see him in Worcester >>(Woostah) Mass next month. So a dream fulfilled for me is seeing Clapton and >>ABB almost back-to-back. Not only that, Clapton is doing his all-blues show. >>No Lay Down Sally, I shot the Sheriff, no backup singers. Just blues. Most - >>as they say - excellent. > >I strongly recommend that any serious blues fan go see this show. I intend >on seeing him at USAir Arena in Landover, MD on 9/11, one week from >tonight. He puts on a great show and, if you're a guitar buff like me, >you'll go gaga over the axes he plays: his famous Martin OOO-28, a Martin >12-string, an immaculate Gibson ES-5 Switchmaster, a beautiful Gibson >Byrdland, and some nice 1960s Gibson ES-335's [that is, in addition to his >Strats]. > >Anyway, he plays absolutely _none_ of his greatest hits from the '70s or >'80s. And, to get an idea of what his show is like, here's his set list >from the show at USAir Arena last October: > >Eric Clapton, 10/12/94, USAir Arena >(total time 2 hrs.) > >Motherless Child >Malted Milk >How Long Blues >Kid Man Blues >County Jail Blues >Forty-four Blues >Blues Leave Me Alone >Goin' Away Baby >Standing Around Crying >Hoochie Coochie Man >It Hurts Me Too >Blues Before Sunrise >Third Degree >So Long >Sinner's Prayer >I Can't Judge Nobody >Someday After a While >Have You Ever Loved a Woman >Crosscut Saw >Five Long Years >Born Under a Bad Sign >Groanin the Blues >Crossroads >Ain't Nobody's Business > >encore: Sweet Home Chicago (w/ Jimmie Vaughan) > >Anyway, get out and see him if you can! He stayed out of the spotlight and >only played a few longer solos. But he's still got chops and it's quite >inspiring to see him distance himself from all the pop that he did in the >1980s. > >JCTK > >------------------------------------ >| J.C.T. Kelly jck7u@virginia.edu | >------------------------------------ ========================================================================= Date: Sun, 10 Sep 1995 09:40:16 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 10th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, PEPPER (PARK PEPPER III) (bsax) d. 1986-0910, BROOKLYN, NY 55 AYERS, ROY E. JR. (vibes) b. 1940-0910, LOS ANGELES, CA BAZLEY, TONY (d/DOLPHY) b. 1936-0910, NEW ORLEANS, LA BROWN, ROY (songw/GOOD ROCKIN' TONIGHT) b. 1925-0910, NEW ORLEANS, LA FOWLER, T. J. (p/SAVOY REC) b. 1910-0910, COLUMBUS, GA FRYE, THEODORE R.(p/gospel/SALLIE MARTIN) b. 1899-0910, FAYETTE, MS HUNTER, JOE (b/LARRY GARNER) b. 1958-0910, ST. LOUIS, MO MAYNOR, DOROTHY (v/gospel) b. 1910-0910, NORFOLK, VA ROBINSON, ROBERT S. (v/SPIRITUAL 4) d. 1993-0910, CARNEYS POINT, NJ 82 SCOTT, RAYMOND (HARRY WARNOW) (comp) b. 1908-0910, BROOKLYN, NY SHERMAN, HERMAN (sax) d. 1984-0910, NEW ORLEANS, LA 61 SIMMONS, DOROTHY (of SIMMONS-AKERS SINGER b. 1910-0910, POWHATAN, LA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Sep 1995 12:43:39 GMT From: Andy Synyszyn Subject: Re: Owners of Nationals/Dobros -Reply In article <42rrom$qa1@ns.moran.com> leighs@MORAN.COM writes: > >NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS > >DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, > >but i wanted to make that point very clear. > > I've got a newer steel-bodied Dobro and think it's great. Love the > sound! > I'd have to agree. I've heard many different Nationals & Dobros each one having an individual sound. I've heard good & bad examples of both types. Luckily I have a great sounding Dobro for about half the price of an equivalent National!. Andy Synyszyn -- ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Sep 1995 12:48:17 GMT From: Andy Synyszyn Subject: Re: Please suggest acoustic performers In article <199509091750.MAA19471@picasso.ccad.uiowa.edu> rvujosev@CCAD.UIOWA.EDU writes: > Johnson County Blues Society is trying to organize a > Winter Folk and Blues festival. One day, 10 hours of blues. > > We have some names in mind, but I would like to hear from > Blues-Lers who should we get to play here. We'll have Catfish Keith > and Dave Moore (local guys), and we need 5-6 more people. > Who would you suggest? No John Hammond please - he was here > few months ago. Please, suggest people you saw only and > know they will put on a good show. > > Here are some people we are considering: > > 1. Honeyboy Edwards > 2. Henry Townsend > 3. RL Burnside and Kenny Brown (acoustic) > 4. Keb Mo (Sorry LW - women want him) > 5. Big Jack Johnson and Lester "Mad Dog" Davenport > 6. Rory Block > 7. Katie Webster (has she started performing again) > 8. Safire > > Ranko > How about the following... - John Jackson - Robert Lucas - Roy Bookbinder - Paul Rishell & Annie Raines Andy Synyszyn. -- ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Sun, 10 Sep 1995 11:02:16 -0400 From: ConnorRay Subject: Tucson Az. Blues? Can anyone tell me what the Blues scene is like in Tucson Az.? We are getting some airplay there (Jerry Lightfoot & The Essentials) and would like to arrange a visit! Thanks for the help! Steve Krase ConnorRay@aol.com ========================================================================= Date: Sun, 10 Sep 1995 12:14:51 -0400 From: "D. Allen Simpson" Subject: Fwd Msg: Little Feat email/WWW info In article: Little Feat email/WWW info, "D. ALLEN SIMPSON" < writes: Although not strictly blues-related, I thought I would still forward this along to the list. Doug Simpson >Subj: NEW: HOYHOY - the Little Fe >Date: Sat, 9 Sep 1995 19:29:41 CDT >Reply-To: fmiller@it.berklee.edu >From: Fred Miller > >HOYHOY on amygoode@ultranet.com The Little Feat mailing list > > HOYHOY is a mailing list for discussion of the band LITTLE FEAT. > With a 25 year career in the music industry, Little Feat has > attracted a loyal following with an ever evolving synthesis of > American music styles. Blues, R&B, Country, Jazz and Cajun style > Rock and Roll can all be heard at a Little Feat show. This list > discusses the band's music, history, recordings, and performances. > For additional information see the Little Feat Web site: > > http://www.ultranet.com/~hoyhoy/ > > To subscribe to HOYHOY, send a message to amygoode@ultranet.com, in > the body of the message (leave the subject line blank) type : > > subscribe HOYHOY yourfirstname yourlastname > > For example: > > SUBSCRIBE HOYHOY Lowell George > > Owners: Amy Goode amygoode@ultranet.com > Red Miller fmiller@it.berklee.edu ========================================================================= Date: Sun, 10 Sep 1995 10:00:54 -0800 From: Michael Hewitt Subject: Re: Is that me? (was Re: Guitar instructional stuff) >[...] >> There are probably many bubbing blues players out there >[...] >> >>Michael Hewitt mhewitt@telis.org > >I'm not sure if that applies to me - I don't think I've ever bubbed.... > >Tom Rossen >TomR36@aol.com (flashsession at noon weekdays, random >logins other times) >rossen@lmis.loral.com (weekdays ~10:00-6:30) >rossentj@interaccess.com (eves and weekends) > >Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they >sure as hell don't speak for me! Ah...I'll bet you are a closet bubber! Come on...fess up... Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Sun, 10 Sep 1995 20:40:38 GMT From: Steven Levine Subject: Re: Please suggest acoustic performers Andy Synyszyn (ITTB@SYNYSZYN.DEMON.CO.UK) wrote: : How about the following... : - John Jackson : - Robert Lucas : - Roy Bookbinder : - Paul Rishell & Annie Raines And don't forget: John Cephas & Phil Wiggins, Nat Reese, Little Bit of Blues, Ari Eisenger, Steve James, Rory Block, Ben Andrews. -- ========================================================================= Date: Sun, 10 Sep 1995 15:23:00 MDT From: "" Subject: Re: Need a name for my blues band Help!!! <---- Begin Included Message ----> Does anyone know a good name for a blues band. I am having a difficult time coming up with one. I would appreciate it if someone would give me some suggestions. Thanks , John <---- End Included Message ----> John, I unfortunately don't have a suggestion, but I do have a piece of advice. Don't pick a name that anyone in the band really dislikes. If you do, that person is likely to gripe and complain until a majority wants to change the name and lose you whatever recognition you've acquired. At least that's what's happened to our band twice now. We've got a pretty good sound after three years, but are still lousy at names. First we were the Very Shy Blues Band (blurted out by one of the guitar players on stage at our first gig when somebody asked who we were). Then we were the Hardtones, chosen on the spot by our bass player while booking a gig (simply because it was the least offensive of the names we'd discussed). Currently, we call ourselves Men in Shorts because a local blues dj saw us playing in shorts and t-shirts and said we didn't look like a blues band. Now we're changing that to god knows what because our harmonica player hates it and has poisoned the minds of at least two of the other players. So -- if you come up with more than one good name, send the extras to me because we need help, too. Bill Hargrove bhargrov@micron.net ========================================================================= Date: Sun, 10 Sep 1995 18:13:43 -0400 From: Owen Okie Subject: Guitarist seeks blues tablature considering the difficulty and the price of getting guitar tab books I would like to make a proposistion. Is anyone out there willing to make exchanges? I'm lookin for lost of stuff, such as BB King, Albert King, Butterfield (East-West), SRV. Preferably books that are transcriptions of an album. I have several books blues and otherwise, including SRV, Clapton (From the Cradle, and "the best of") and a bunch of Dire straits and Pink Floyd. Contact me and we can make a deal, and send each other photocopies. A Budding guitarist :) Owen Okie ========================================================================= Date: Sun, 10 Sep 1995 22:38:23 GMT From: George Myers Subject: Re: Chris Duarte SF concert Chris will be at the Grand Emporium in KC 10/5 ========================================================================= Date: Sun, 10 Sep 1995 22:48:33 GMT From: George Myers Subject: Re: Intern'l Blues Talent Contest The winner will also be invited to sail and play on the Ultimate Rhythm & Blues Cruise 4 leaving 1/7-14 from Port Canaveral to St. Croix, San Juan, and Port Lucaya. They'll get to see, hear, and jam with TAJ MAHAL, WAR, MAGIC DICK/JAY GEILS BLUESTIME, KOKO TAYLOR, LATIMORE, LONNIE BROOKS, JAMES HARMAN, JIMMY THACKERY, CHUBBY CARRIER, and DEBBIE DAVIES. This award is courtesy of the Ultimate Rhythm & Blues Cruise 800-886-6132. ========================================================================= Date: Sun, 10 Sep 1995 22:51:08 GMT From: George Myers Subject: Re: Lack of Matt Murphy You can see him live at the Grand Emporium in KC 9/22-23 ========================================================================= Date: Sun, 10 Sep 1995 20:27:58 -0400 From: DeniseTapp Subject: Re: Please suggest acoustic performers May I recommend Butch Mudbone, a Seneca Indian from New York State who moved to Memphis 20 years ago or so to perfect his blues leanings? Butch's card says, "Will travel anywhere" and, having met him and his lovely wife Carolyn, I believe it. He can do a solo acoustic performance (guitar and harp) or assemble an acoustic blues band. Butch can be reached at 901-371-9540. He's the house act at Crawdad's on Beale Street in Memphis, so he can definitely hold his own against most contenders. Nice, good-looking guy on top of it all. Denise ========================================================================= Date: Sun, 10 Sep 1995 20:16:08 GMT-6 From: Eliot Williams Subject: Re: Dan Penn & Spooner Oldham > From: Luftr > I hope I'm not spreading rumors, and I regret being the bearer of bad > news, but I think I recall seeing an obituary for Spooner Oldham a couple > of months ago. I don't know how one would confirm this -- what label put > out his last record? Dan Penn, however, is alive & well, and his last CD, > "Do Right Man," on Sire/Warner Brothers, is great. You may be thinking of Eddie Hinton, who died recently. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 10 Sep 1995 20:40:09 +0000 From: Ian Angus Subject: going nomail I'm on the road again -- a week in Vancouver beckons. Don't have any good discussions without me Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 11 Sep 1995 00:07:01 -0400 From: Jeff Yelton Subject: Re: Dan Penn & Spooner Oldham Luftr recently wrote: "I hope I'm not spreading rumors, and I regret being the bearer of bad news, but I think I recall seeing an obituary for Spooner Oldham a couple of months ago." Spooner Oldham played with Dann Penn during the Labor Day Weekend at the St. Louis Blues Fest. They both are very much alive. Love, Jeff P.S. Peter Green, Larry McCray, and John Hammood are alive as well despite Blues-L rumors. ========================================================================= Date: Mon, 11 Sep 1995 00:24:10 -0500 From: Rob Varak Subject: Re: New Roomful of Blues Ranko wrote: I hate when I like a blues album by a bunch of white guys, - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - YIKES!!! Tell us how you really feel, Ranko!:) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Mon, 11 Sep 1995 04:30:23 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 11th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARBECUE BOB (ROBERT HICKS) (g) b. 1902-0911, WALNUT GROVE, GA DAVIS, JIMMIE [JAMES HOUSTON DAVIS] (g) b. 1902-0911, QUITMAN, LA FIELDS, ROBERT LEE "BOBBY"(tsax/BUDDY GUY)b. 1928-0911, CHICAGO, IL GILLUM, WILLIAM "JAZZ" (hca) b. 1904-0911, INDIANOLA, MS JONES, CURTIS (p) d. 1971-0911, MUNICH, GERMANY 65 JONES, OLIVER (p) b. 1934-0911, MONTREAL, QUEBEC JORDAN, JOE (p/songw/ragtime) d. 1971-0911, TACOMA, WA 89 KOTTKE, LEO (g) b. 1945-0911, ATHENS, GA PATRICK, CHARLES (lead/THE MONOTONES) b. 1938-0911, NEWARK, NJ PAYNE, LEON ROGER (g/songw) d. 1969-0911, SAN ANTONIO, TX 52 RUSSELL, TOMMY LEE (p) b. 1925-0911, VIENNA, GA SMITH, CASEY (g/LIB OF CONGRESS) d. 1950-0911, TYLER, TX 50 TOSH, PETER [WINSTON HERBERT MACINTOSH](v)d. 1987-0911, KINGSTON, JAMIACA 42 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Sep 1995 05:13:41 -0400 From: CATBAUER Subject: Bob Margolin on Blue Highway Alligator Recording artist, Bob Margolin will be our guest on the on the Blue Highway Sept. 12. Visit "Muddy's Cabin" this Tuesday to ask Bob questions regarding his years with Muddy Waters, his solo career and discuss various playing techniques. Bob will be joining us Tuesday evening backstage from the Water Street Music Hall shortly after his opening set for Robert Cray. Time to be announced. The Blue Highway is located at...http://www.vivanet.com/~blues This web site can be reached via any commercial service with internet access and a web browser. ========================================================================= Date: Mon, 11 Sep 1995 08:11:49 GMT From: Andy Synyszyn Subject: Paul Rishell & Annie Raines For anybody interested Paul Rishell & Annie Raines will be playing at the Pit in Crondal, near Farnham in Surrey on Wednesday 13 September. For booking information call the Pit on (01252) 850789 or (0171) 5385633 I have a list of their dates in the UK for September if anyone would like to email me direct for a copy. -- Andy Synyszyn.. ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Sep 1995 05:29:00 -0400 From: "J.E. Downey" Subject: Re[2]: Please suggest acoustic performers Ranko wants to invite Keb Mo to a folk/blues festival, in part because "Sorry LW, women want him". What a tantalizing idea. Is *this* perhaps the source of the fascination, then, kind of an achey-breaky heart type thing? Intrigued in Moscow, Joe Downey J.E._Downey@bakermck.com "Wasn't Brad Pitt really great in that flick?" ========================================================================= Date: Mon, 11 Sep 1995 05:42:25 -0400 From: CATBAUER Subject: Tab Benoit Justice recording artist, Tab Benoit will be joining the Blue Highway for an online conference on Sept. 13 at 10pm to discuss his new release. The Blue Highway is located at...http://www.vivanet.com/~blues. He will be in Muddy's Cabin which you may also access from any commercial service with a web browser. Curtis@magicnet.net Catbauer@vivanet.com CatBauer@aol.com RWHD17A@prodigy.com Catbauer@cyber1.sevrtech.com ========================================================================= Date: Mon, 11 Sep 1995 10:26:46 GMT From: Steve Leigh Subject: Re: Owners of Nationals/Dobros -Reply >I'd have to agree. I've heard many different Nationals & Dobros each >one having an individual sound. I've heard good & bad examples of >both types. Luckily I have a great sounding Dobro for about half the >price of an equivalent National!. Which model Dobro do you own, and, have you tried to amplify the sound in any way? --Steve ========================================================================= Date: Mon, 11 Sep 1995 10:28:19 GMT From: Peter Dwyer Subject: Re: Owners of Nationals/Dobros -Reply Whilst on the subject of Dobros - can anyone tell me about my Dobro Mandolin - year of make etc? It's got a serial #5-214-M. I wrote to Dobro once asking for details and they never wrote back - high cost of international mail maybe ;-) Peter Dwyer ========================================================================= Date: Mon, 11 Sep 1995 07:43:16 -0500 From: David Cupps Subject: Blues Clubs in Nova Scotia? Anyone know of any good blues clubs in Nova Scotia? I have a trip planned for next month. Thanks. ========================================================================= Date: Mon, 11 Sep 1995 08:16:32 CDT From: L W Subject: Please suggest acoustic performers ----------------------------Original message---------------------------- > 4. Keb Mo (Sorry LW - women want him) I'm glad you brought him up. We were driving home the other day and my wife was reading a magazine "Acoustic Guitar" and the review said "gut wrenching" guitar, I thought she was going fall out of the car laughing....In our household "gut-wrenching" is how we describe Muddy's slide playing on his slow blues....I never thought of Keb as being "gut wrenching"....I guess it depends on who's "gut" your speaking of...It takes a little more to wrench MY gut....To each his own and Keb' is doing well for himself. More power to him LW I played the other night and wasn't even good enough to say I sucked. It's pretty damn depressing when you're so terrible you can't even reach the level where someone will say "He sucks"....I think they thought I was a poster child for the tone deaf, talentless, wannbes. "one mans blues is another mans muzak" LW ========================================================================= Date: Mon, 11 Sep 1995 08:32:28 CDT From: L W Subject: Re: Owners of Nationals/Dobros -Reply ----------------------------Original message---------------------------- In article <42rrom$qa1@ns.moran.com> leighs@MORAN.COM writes: > >NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS > >DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, > >but i wanted to make that point very clear. > > I've got a newer steel-bodied Dobro and think it's great. Love the > sound! >I'd have to agree. I've heard many different Nationals & Dobros each >one having an individual sound. I've heard good & bad examples of >both types. Luckily I have a great sounding Dobro for about half the >price of an equivalent National!. I too have a steel Dobro and I've put a biscuit cone/bridge. I've heard from a very reliable source that the 10 1/2 inch cone that the dobro has is louder than the 9 1/2 inch cone that the National has. I have heard good sounding Nationals and good sounding Dob's. I still think the Nationals sound better. I'd rather have a National, but right now with the Dobro I feel like a kid that has a Caddilac and no drivers license. So no sense in spending more for a National....until I get a driver license LW Andy Synyszyn -- ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Sep 1995 08:59:21 CDT From: L W Subject: Joanna Connor OK, PREPARE me for Joanna Connor, it's free this Sunday, so I'll go. I tried to listen to her first Blind Pig release (forget the title), but it was too wild at the time for my tastes. I did the exact same thing with John Campbell, until I saw him live....So whats you thoughts on Joanna Connor... (hope I spelled her name right) I will be putting up posters to spread the word about her FREE apperance, though....THANKS LW ========================================================================= Date: Mon, 11 Sep 1995 09:21:08 -0600 From: Don O Subject: R&R HOF Among the coverage of the opening of the R&R HOF in the weekend newspaper was a listing of the "500 songs that shaped Rock". Now these sort of things are always pretty subjective, but I was pleased to see that at least 10% of the list was made up of solid blues stuff. According to the article, the list was compiled by the HOF's chief curator with advice from rock critics and writers nationwide. The article said the list is on exhibit on the Promenade Level of the HOF. I suspect the list is on display at their web site, too, but since I don't have web access someone else will have to check that out. What did they choose? well I'm too lazy to type it all in but just for grins: 4 Muddy Waters tunes 4 Robert Johnson tunes 2 B.B. King 1 Albert & Freddie 1 Bessie Smith etc., etc. Don O. ========================================================================= Date: Mon, 11 Sep 1995 08:26:13 -0600 From: Bruce Pech Subject: Re: Owners of Nationals/Dobros -Reply On Mon, 11 Sep 1995, L W wrote: > I too have a steel Dobro and I've put a biscuit cone/bridge. I've heard from > a very reliable source that the 10 1/2 inch cone that the dobro has is louder > than the 9 1/2 inch cone that the National has. I have heard good sounding > Nationals and good sounding Dob's. I still think the Nationals sound better. > I'd rather have a National, but right now with the Dobro I feel like a kid > that has a Caddilac and no drivers license. So no sense in spending more for > a National....until I get a driver license LW Speaking as someone who sold a 70's Dobro Model 33D (bell brass body, cone and biscuit resonator, upgraded late-80's cone) to buy a new National Resophonic Style O, I'm not sure that the larger Dobro cone is any louder than the smaller National cone. On the other hand, I really miss the Dobro's 14 frets-clear-of-the-body neck. As far as I know, only Dobro/OMI/Gibson is making new, metal-bodied resonator guitars with 14 fret necks. And who can afford a 14 fret, late 30's National Duolian, Triolian or Model O at today's prices? -- BP Boulder, CO ========================================================================= Date: Mon, 11 Sep 1995 09:47:52 CST From: William Shute Subject: Soundies (1940s short musical films) From: Bill Shute Many of you have probably heard of the "Soundies" made in the early l940s. These were short musical films, kind of like an early form of the now common (TOO common in some areas!) music video. Evidently you paid a quarter, and you were shown a 16mm music film of a song you liked. These were supposedly common in bars, hotel lobbies, etc. While there were many musical shorts made for theatre showings, what's interesting about the soundies is that they WERE NOT for theatres, but for these visual jukeboxes (the short lived Scopotones of the 60s tried to revive this genre). In l990, BMG Video issued four volumes of Soundies, edited and inttroduced by the ubiquitous Leonard Maltin. Three volumes were devoted to pop/swing/jazz/bigband and the like, but the fourth volumes was devoted to black artists, and while there are no PURE blues artists here (a la Tampa Red, Curtis Jones etc.--I think you could guess that no one like country bluesmen would have made these)I think there's a lot to interest many blues-l persons. I've had this volume since it came out, but retrieved it from storage this weekend and really enjoyed it. LEONARD MALTIN'S MOVIE MEMORIES "Soundies, Vol. 4: Harlem Highlights" BMG Video 2427-3-R Released in l990 running time 51 minutes Here's a rundown of the material, in the order presented: NAT KING COLE TRIO w/ Ida James "Is You Is Or Is You Ain't My BAby" It's easy to see why Nat was such a big star. Besides his swinging jazz piano playing and swinging vocals, he had charisma to burn and it's great to actually SEE him with a jazz group, as most of the vid footage of him is from his later pop crooning days. Vclist Ida James joins in on this track and though I'd never heard of her she's a swinging jazzy singer and BEAUTIFUL to boot! BILL 'Bojangles' ROBINSON "Let's Scuffle" I haven't seen a Shirley Temple movie since I was 10, but Bill Robinson is a magical figure from my childhood when I DID watch them. This tune is a nice hokum dance tune and I could imagine Tampa Red or Frankie Jaxon doing it (No relation to Jaxon's "Scuddlin'"). Of course, besides his entertaining vocal, he dances up a storm. And you don't have to hear Shirley's tuneless vocals duetting with him! THE MILLS BROTHERS "Till Then" Yeah, I realize that most of you don't play these guys very often, but their rich vocal harmonies (very complex harmonies, I might add) have never been equalled and they were a main influence on the vocal group R&B of the late 40s/early 50s. This was one of their biggest hits. CAB CALLOWAY "Virginia, Georgia, and CAroline" We all know Cab was, is, and always will be THE MASTER ENTERTAINER. And his class and sense of cool is as clear as ever here. One interesting thing about this one is that it is very much like a video in that it isn't just a lip-synching of a hit, but it has filmed sequences illustrating what the song is about. Usually, that's credited to Ozzie Nelson's "video" of Rick Nelson's "TRavellin Man" song at the end of an Ozzie and Harriet episode, and that was trendsetting in its own way, but here's a similar technique 15 years before that. Perhaps Ozzie saw this once in a hotel lobby! PAT FLOWERS "Scotch Boogie" Like L. Maltin, I had never heard of this guy, but he's in the Fats Waller vein (he even does some of the humorous vcl interjections!) as a singer and stride pianist. This is a jazzed up version of "Loch Lomond," by the way. If he made any records, I'd like to hear them! JUBILAIRES "Brother Bill" Does anyone remember The CAdillacs set in that Alan Freed movie? This is like an early version of that, with the guys doing comedy dressed in "character" while singing. Musically, they are kind of in a Mills Brothers vein. DAY DAWN AND DUSK "Rigoletto" An awful parody of opera. I M H O DELTA RHYTHM BOYS "Don't Get ARound Much Anymore" Where have I heard of these guys? (and they are not THE RHYTHM BOYS, the Bing Crosby/Al Rinker/Harry BArris group that sang with Paul Whiteman in the late 20s/early 30s)This jazz standard is done in a style like a hipper Ink Spots, if you can imagine that. MAXINE SULLIVAN "Some of These DAys" My mother was a big fan of Maxine (who ate a few times in a diner where my mom was a waitress in the 40s...my mother told me she was a very kind and dignified lady who REALLY impressed her...a few times she came in accompanied by Eddie "Rochester" Anderson, whom my mom also loved!), who isn't given as much credit as she's due among jazz fans as she kind of went the "saloon singer" route later in her career, but she is clearly Holiday-influenced and I think many of you will like her and want to investigate her MANY records. TRivia: she was once married to bassist/bandleader John Kirby, I think. LOUIS JORDAN "Tillie" As Jordan made so many films, it's no surprise to see him performing, but this is easier to find than his low-budget features. Of course, he's in fine form--the band are dressed in clown/harlequin outfits, and Louis also blows a mean alto. DOROTHY DANDRIDGE "Cow Cow Boogie" The phenomenally-talented Ms. DAndridge, better-known as an actress, was also a fine singer/dancer, and here handles the Freddie Slack/ Ella Mae Morse hit in a VERY sexy and swinging fashion. The cowboys in the background look like they stumbled off the set of Two Gun Man >From Harlem.She's a first rate jazz/swing vocalist and also one of the most beautiful women you'll ever see. This gem is worth the price of the rental of the video alone. KATHERINE DUNHAM "Cuban Episode" This is a dance piece, Latin-flavored, and the music of Hal Borne and his Orchestra sounds like a Desi ARnaz outtake. FATS WALLER "Medley" The Joint Is Jumpin, Ain't Misbehavin, Honeysuckle Rose The legendary Mr. Waller is in fine form here. Seeing him only adds to my appreciation of him. Fortunately, he appeared in a number of films, but this is ALL Fats. He always had a firstrate jazz band with him, he was one of the finest jazz instrumentalists of his day, and fifty years later I can still laugh out loud at his vocal interjections. God bless this beautiful man!!! "Pat Me on my back and call me Shorty!" MILLS BROTHERS "Lazy River" CAB CALLOWAY "Skunk Song" Great...of course...but who's the guy with the Zappa beard under his lip who sings a duet with Cab and makes reference to Dizzy Gillespie? (of course, as you know, Diz worked for Cab once, but it ain't Diz, I don't think) ROSETTA THARPE with LUCKY MILLINDER "Four of Five Times" Maltin wisely puts this last, because who could possibly follow her (well, maybe Waller or CAlloway, but they aren't as nice to look at... for us males at least!). This rocks out with Millinder's swinging band and Sister Tharpe's carried-away performance. For you completists out there, the audio track of this soundie is on Volume 1 of Document's Tharpe series...Document DOCD 5334...along with two other soundies not on the video:"Shout Sister Shout" and "The Lonesome Road". When you see this hot video, you'll understand why the religious people complained when Sister Tharpe went secular. By the way, who did the original of this song? Was it McKinney's Cotton Pickers from l929 or so? That's the earliest version I have... Anyway, I adore Sister Rosetta Tharpe and regret not having been born fifty years earlier so I could be her biggest fan while she was at the height of her career. And I'd love to hear that l950 Decca "live recording" of her marriage ceremony which was held at a big venue much like Hank Williams did a few years later! Well, there you are. I've seen this video for rent at some of the big "chains," so keep your eye out for it. The soundies were a unique phenomenon, and I'm very glad these wonderful performers were visually documented in this way. The Waller, CAlloway, Tharpe, Cole, Jordan, and Sullivan sections are essential-- rent this,invite some friends over, get the juice flowing freely, andhave a great time! Additional info: Mamie Smith also made a Soundie backed by Millinder, but it's not on here. You may find the audio track on Vol. 4 of Document' s complete Mamie Smith series. DOCD-5360. I recently got two feature films from the early 40s featuring Mamie Smith--SUNDAY SINNERS and PARADISE IN HARLEM. The majestic Ms. Smith, the mother of recorded blues singing, is wonderful in each one. If you haven't already, check out Jas Obrecht's fine piece on Mamie SMith in that issue of Blues Revue a few months ago that feature Women In The Blues. With that article and the l995 release of her complete recorded works on Document CDs, the time is right for a Mamie Smith revival. Anyone want to join me in it? Bill Shute San Antonio, TX ========================================================================= Date: Mon, 11 Sep 1995 14:17:31 EST From: Jim Miller Subject: Tab Books After over 2 years on this list I have certainly read an occassional post that gets my blood going a little which I think is a good thing. After reading Fred Sokolows' post concerning his tab books I waited for the very preditable responses by those budding social engineers who want to protect us from commerce. I don't think anything pissed me off as much as the "let's kick this guy off" garbage his post generated. Look , I don't care about barbecue, amp settings, siblings in blues, or thousands of other posts I have read. But I am interested in Tab books and it is nice to be able to get in touch with those who can provide it. Mr. Sokolow did back off a bit and hasn't posted anything in weeks. So for those of us (even if we are a small minority) who are interested in such things I think one post out of several thousand messages isn't going to put TOO big of crimp on your month. About 6 months ago someone actually posted a little tab and was trashed for it. So get off our little tab loving backs. I don't waste your time by attacking such posts as, " How many blues songs can you name that has the subject of amphibians in it?" I just delete and sift through those posts. Please stop trying to create some kind of virtual utopia that coincidentily agrees with your view of the world. Isn't it kind of nice that we all don't like the same kind of posts? Kind of like the real world isn't it. Blues-L mantra: Delete and sift, Delete and sift , Delete and ......... ========================================================================= Date: Mon, 11 Sep 1995 10:02:31 CDT From: L W Subject: 18th Annual Mississippi Blues & Heritage FYI: The Mississippi Blues & Heritage Festival is Saturday Sept. 16th..Hwy 1 South at Route 454 Greenville Miss. Gates open at 10 am, music starts around noon. Some of the performers: Little Milton, Shirley Brown, Bobby Rush, Artie White, Lynn White, Chick Willis, Robert Lockwood, Otha Turner (must see IMHO) , Blues Boy Willie, Big Time Sarah, the O.V. Wright Band....and others Thursday night the 14th "Jazz Tribute" to the blues the Ellis Marsalis Quartet with singer Germane Bazzle Friday Night (15th) Blues Tribute featuring Bobby "Blue" Bland and Garland Green LW 'not affiliated...oh yes I am cause it's a blues thang' ========================================================================= Date: Mon, 11 Sep 1995 15:13:47 GMT From: william higdon Subject: Question on making a slide OK. I enjoyed some wine saterday night and now I have a clean bottle with a line around the neck drawn in felt marker. How do I finish my slide? For the sake of authenticity - you might assume all the tools you might have as a sharecropper in '30s are on hand or can be acquired. Thanks, Bill Higdon. ========================================================================= Date: Mon, 11 Sep 1995 15:21:27 GMT From: william higdon Subject: question on slide guitar strings In Stefan Grossman's video on slide guitar (which I picked up this weekend and am delighted with) he suggested using an unwound g string, which makes some sense to me. My question is do I replace a wound string of size .025 with an unwound string of the same size? thank you, Bill Higdon. ========================================================================= Date: Mon, 11 Sep 1995 10:26:05 CDT From: L W Subject: Question on making a slide ----------------------------Original message---------------------------- OK. I enjoyed some wine saterday night and now I have a clean bottle with a line around the neck drawn in felt marker. How do I finish my slide? For the sake of authenticity - you might assume all the tools you might have as a sharecropper in '30s are on hand or can be acquired. Thanks, Bill Higdon. _______ It has to do with a wrapping a string soaked in kerosene around the neck and then somehow ot another it breaks at that point...??? LW ========================================================================= Date: Mon, 11 Sep 1995 11:25:49 CST From: William Shute Subject: Louis Jordan l944-45 "World Transcriptions" From: Bill Shute Like the "Soundie" I discussed earlier, another "hybrid" genre was the transcription. Remember that only in the mid-40s did record companies start providing radio stations with promo copies (I believe Capitol was a pioneer of that). Those of you who collect blues 78s know that many of them from the 30s say "not licensed for radio broadcast" on the label. Transcriptions were special recordings made by name artists--sometimes under their own names, often under psuedonyms--that were sold or leased to radio stations as program material. Artists as diverse as Ben Webster and Hank Thomspon (!!!) made these,from the early 30s until the early-to-mid 50s. They were often on 16" discs, some of which played from the inside out. I remember seeing stacks of these in the basements of some rural radio stations back in the l970s. Anyway, the super-popular Louis Jordan and his Tympany Five recorded a few dozen of these in l944 and 1945. Many were of songs he also did for Decca, but some were not recorded otherwise. In the mid l980s, the Circle label (part of the George H. Buck Jazz Society family of labels...Circle, GHB, Jazzology, Audiophile, Progressive, American Music, Southland, Black Swan, et al) released two lps of twelve tracks each of Jordan transciptions. Generally, these have a spontaneous sound as if recorded on the fly (as they no doubt were) and lack the inimitable Milt GAbler production, but still cook like most all Jordan does and are a nice addition to your Jordan library. Here's the info on the lp I dug up from storage this weekend: LOUIS JORDAN AND HIS TYMPANY FIVE "More l944-l945" Circle lp CLP-97 released l986 tracks: Deacon Jones/Five Guys Named Moe/Baby Your Just Too Darned Good To Be True/Honey Child/Seventh Avenue/When I Grow Too Old To Dream/ Is You Is Or Is You Ain't My BAby/Junior/Tillie/I Like Em Fat Like That/ If You Can't SMile And Say Yes.../A Chicken Ain't Nothin But A Bird I believe that Circle has reissued both of the lps on ONE CD, altho I don't have that as I have both lps. You can request a catalog of available recordings from George H. Buck Jazz Society/Collectors Record Club, 1206 Decatur St., New Orleans, LA 70116. It costs $5.00 to join the society, but it's well worth it and gets you their fine JAZZBEAT publication. Also, you get a discount on purchases that saves you the price of the membership if you buy even TWO items. I let my membership lapse when I moved, but they've got a number of FINE blues albums on the Southland label, many now on CD, and the Black Swan subsidiary is doing a fine job of reissuing the Paramount label catalog, which Buck owns, in small pieces. There are three Paramount Piano Blues comps with the likes of Will Ezell et al. Of course, I am in no way affiliated with GHB...except being a FORMER member. It's a non-profit organization, BTW. Let's hope they reish on CD the out of print NAPPY BROWN AND THE HEARTFIXERS album on Southland! Bill Shute San Antonio, TX ========================================================================= Date: Mon, 11 Sep 1995 09:51:48 -0700 From: Joe Lempkowski Subject: Friday night report. Good day y'all, This past Friday night, the wife and I went to see Koko Taylor and The Blues Machine at JJ's Downtown in beautiful downtown San Jose, California. Looking through the paper, we noticed the doors opened at 8:00pm with music starting at 8:30pm. We arrived at about 8:10 and grabbed a seat up front. For the next 50 minutes, The Blues Machine was going through sound checks. There is nothing like hearing, "Testing 1, 2" and "Check 1, 2" for nearly an hour. At about 9:00pm, they leaving the stage only to have a second band come in to play the first set. Until 9:30pm, we were treated to the sight and sounds of Preacher Boy and the Natural Blues setting up and running through their sounds check. At 9:30pm, Preacher Boy and the Natural Blues started to play. For the next 45 minutes we were treated to a musical onslaught that words can not adequately describe. What a voice this guy has. JJ's has them booked later this month as Creature Boy and the Natural Boys. They finished up around 10:15pm. At about 10:30, The Blues Machine returns for another 20 minutes of sound checks. At about 11:00pm they start playing, the guitar players each do an obligatory Albert King tune, "Crosscut Saw" and "Pretty Woman" and then Koko gets on stage at about 11:15pm. She does five, maybe six tunes and cuts out. She sang "I'm a Woman", "Come To Mama", "I'd Rather Go Blind" a couple of others and finished up with "Wang Dang Doodle". She finished up at 11:45pm. We were out of there by 12:00pm. In short. What a disappointment. She only did one set with no real feeling put into the music. Her voice was hurting. She was straining to reach notes that she just couldn't get to. I had heard her a few years ago and she sounded better. I chalk this one up to a bad night. Fifteen dollars per person seemed real steep for what was returned. Heck I spent more time listening to sound checks than actually hearing music. The last time I went down to JJ's, Magic Slim and the Teardrops were on the bill. At the last minute, they were replaced by Chris Cain. (Who is a talented guy, but not in the same league.) It'll be a cold day in hell before I step back into JJ's Downtown. Bubbin' my way through life and hopin' to someday share a Stroh's with John Lee Hooker ;-), Joe ========================================================================= Date: Mon, 11 Sep 1995 11:53:00 CDT From: Bonnie Kalmbach Subject: name for blues band Most of the great traditional bands didn't or don't have names - i.e. the Muddy Waters Band, the Otis Rush Band, and so on ... -Bonnie Billy Flynn will be in Mad-town twice this week - once with Missisippi Heat (Bob Stroger will get his Blues-L T-shirt at last) and once to jam with the locals. ========================================================================= Date: Sun, 10 Sep 1995 18:48:00 -0700 From: Ned Kraft Subject: Not against the law I'd prefer not to see the ads either, but the info. superhighway patrol better not have enough time to enforce this kind of stuff. If enough people are really concerned, I would recommend that each person who was offended begin sending regular messages to the mailbox of the offender (not to the list). I really don't mind blues related ads that much and think that if they are short and labeled as commercials it's acceptable. If someone steps over the line multiple times and gets 10,000 messages they'll probably stop. Any decent driver will be able to outrun the info. superhighway patrol. Ned If you're really pissed at someone you can mail them a few hundred messages yourself ;) - please don't cc: me ========================================================================= Date: Mon, 11 Sep 1995 11:53:07 CDT From: L W Subject: Friday night report. ----------------------------Original message---------------------------- >In short. What a disappointment. She only did one set with no real feeling >put into the music. Her voice was hurting. She was straining to reach notes that she just couldn't get to. I had heard her a few years ago and she sounded >etter. I chalk this one up to a bad night. Fifteen dollars per person >seemed real steep for what was returned. Heck I spent more time listening >to sound checks than actually hearing music. I think Koko's beginning to wear down "health wise" . I have NO FACTS to support this. I saw her about a year ago and spent some time with her on her bus after the show (the NRBQ show, btw) and even though her set was very short she was worn completely out and it was obvious that "road life" may be taking it's toll on her....I REPEAT this is MHO and I have no FACTS WHAT-SO-EVER to back it up. So don't go saying Koko's in bad health or anything, she just appeared and sounded very worn out..Than again she gave it her all that night and most times I've seen her, she's giving 100% although the shows are getting shorter...I wish she'd retire and rest for a while. If you can't tell I LOVE KOKO TAYLOR and I think she is truly a very special person. She has suffered very much through the years and she deserves (as much as anybody EVER) to reap any rewards that come her way..... Sorry to ramble, but I've seen Koko just tear up a festival and I'll never forget it...Young and old, black and white we were all shaking and groovin to THE QUEEN...... LW "IMHO" ========================================================================= Date: Mon, 11 Sep 1995 19:45:58 +0100 From: Gerry Sulp Subject: HELP US!!!!!!!! Hi, We are two girls and a boy from Estonia from Tartu. We have a scool project. This project is about teenagers and their hobbies. We are sending this letter to many schools and we hope that some of you will answer to our questions. Here are the questions. 1. How old are you ? 2. What are you doing during your free time ? 3. What are your hobbies ? 4. What kind of music you are listning and what are your favourite bands ? 5. Do you like to go to the concerts, to the theatre or to the cinema ? 6. Do you have any pets (what is their's name ?) 7. Do you have girlfriend/boyfriend ? Thanks a lot for helping ! Viivika, Krista & Gerry Please give this letter to your friends,too. Thanks again ! ========================================================================= Date: Mon, 11 Sep 1995 13:04:50 -4 From: "P.W. Fenton" Subject: Re: Question on making a slide On11 Sep 95, william higdon had this to say... > OK. I enjoyed some wine saterday night and now I have a clean bottle > with a line around the neck drawn in felt marker. How do I finish > my slide? For the sake of authenticity - you might assume all the > tools you might have as a sharecropper in '30s are on hand or can be > acquired. Thanks, Bill Higdon. > LW pretty much has the idea. You tie a string around the neck of the bottle tightly. Soak the string with some lighter fluid. Light the string on fire, and roll the bottle slowly so as to heat the neck evenly. About the time you are beginning to burn string instead of light fluid, you plunge that sucker into ice cold water. The neck breaks off evenly and cleanly 8 out of 10 times (you may need to practice some.). Emery paper, or a fine file can be used to smooth any sharp edges. If you can score the glass with a glass cutter first you are more likely to succeed the first sttempt. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Mon, 11 Sep 1995 10:44:09 PST From: Mike McCourt Subject: Re: going nomail From what I've seen lately, there's not much chance of THAT happening! :) Maybe living blues legends who barbecue? mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: going nomail Author: Ian Angus at ccUnix Date: 9/10/95 8:39 PM Don't have any good discussions without me ========================================================================= Date: Mon, 11 Sep 1995 10:09:00 -0700 From: Ned Kraft Subject: Net police Sent a message to this effect and never saw it come around. So here it is again. Advertising on the net is not against the law and even if it were I think that the Information super- highway patrol would be a bit busy to bust someone for advertising on blues-l. I don't mind an occasional ad that is blues related (gig announcements are ads - aren't they;). If you're really fired up you can punish the perp. by sending 100's of messages with large attachments and bringing down his mail server (unless aol does it for him). If you do this please don't cc: me. IMHO someone would have to get far out of hand to deserve to be banned, but a few thousand messages would cause most to desist. Any decent driver will be able to outrun the information superhighway patrol. Ned ========================================================================= Date: Mon, 11 Sep 1995 14:27:10 -0400 From: Curtis Hewston Subject: The Blue Highway Accolades I just learned this morning that The Point, a prestigious web site reviewer at http://www.pointcom.com/ has bestowed their "Top 5% Of All Web Sites" award on The Blue Highway. Their 50-point scale ranks TBH (the magicnet site): Content 43, Presentation 39, Experience 44 And they remark: "This encyclopedic road-trip of the blues "winds past the plantation barrelhouses of the Mississippi Delta to the south-side clubs and tenements of postwar Chicago." Roadside attractions: blues masters like Robert Johnson "at the crossroad, where they say he struck a deal with the Devil," and John Lee Hooker, who, at 77, continues to innovate. A map of the Mississippi Delta puts things into perspective, as do music samples like "St. Louis Blues" from Bessie Smith and "Hoochie Coochie Man" from Muddy Waters. One entry in the site's guest book exclaims "BLUES IS MY THANG!" Even if it's not your thang, this is an enchanting journey." I'm highly humbled and continue to thank all you good folks at Blues-L for inspiring the efforts all these months. I think this is a lovely thing for the cause of "preachin' the blues." The magicnet site is still up at http://www.magicnet.net/~curtis/ The new, bigger, and better vivanet site is at http://www.vivanet.com/~blues/ where -- plug -- you can join us in Muddy's Cabin Tuesday night for a chat with Bob Margolin and Wednesday night with Tab Benoit. Also, I'm just about finished with my Deltalog of last month's pilgrimage through the Delta to Clarksdale and the Sunflower Festival. Look (at the vivanet site) sometime this week for the log, accompanied by some 60 clickable jpeg images. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 11 Sep 1995 19:04:19 GMT From: Art Schuna Subject: Re: R&R HOF In article <9509110921.0D4ZN02@chrysalis.org>, Don O says: > >Among the coverage of the opening of the R&R HOF in the weekend newspaper was a >listing of the "500 songs that shaped Rock". Now these sort of things are >always pretty subjective, but I was pleased to see that at least 10% of the >list was made up of solid blues stuff. I suspect the list is on display at their web site, too, but since I >don't have web access someone else will have to check that out. The list is on their web site. I posted the blues tunes on this list about a week ago. Sorry, I didn't save a copy to repost. Art Schuna ========================================================================= Date: Mon, 11 Sep 1995 15:29:21 -0400 From: Tom Morgan Subject: Playlist: Mostly New Blues Here is this afternoon's show. It consists of quite a few new CDs and some old favorites, plus two CDs that have come my way from blues-l connections. Roma Wilson is a preacher that plays a wicked harmonica, both Lowell Fulson's and Joe Louis Walker's new CDs sound great and Mike Dowling does some great finger-picking on a blues CD, from Holland I think. Tom Title Group Year Label -------------------- -------------------- ---- ---------------- Call The Plumber Hawkins, Screamin 93 Bizarre Jay You Like It Lil Georgie 94 Queen Bee So Well When You're Booker, James 93 Rounder Well Dollar Bill Boogie Duskin, Big Joe 77 Arhoolie Candyman Bookbinder, Roy 93 Rounder While the Blood's Gundy, Rev. A. A. 29 504 Running Warm In Your Veins Didn't It Rain Golden Gate Quartet 41 Legacy Ain't It A Shame Wilson, Roma 94 Arhoolie You've Got To Lose Walker, Joe Louis 95 Verve Don't Lie Fulson, Lowell 95 Rounder Rich Woman Rhythmtown Jive 94 Globe High Maintenance Griffin, Mike 95 Waldoxy Woman Kentucky Blues Bookbinder, Roy 93 Rounder Frogtime Stagger Dowling, Mike 95 Strictly Country Mam Said I'm Crazy McDowell, 68 Arhoolie Mississippi Fred No Dope Blind boys of 95 HOB Alabama Gonna Wait Til A Wilson, Roma 94 Arhoolie Change Comes No Restricted Signs Golden Gate Quartet 46 Legacy Nit Pickin Dowling, Mike 95 Strictly Country Nazz, The Lord Buckley 51 Discovery Soul Emergency Hill, Michael 94 Alligator Ballad of Mr Georgie Little Georgie 94 Queen Bee Get Your Lies Evans, Terry 94 Pointblank Straight Genie in the Jug Alexander, Arthur 93 Nonesuch ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 11 Sep 1995 15:38:34 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Blues Geniuses -Reply In a message dated 95-09-08 07:55:55 EDT, roger.lew.struve@MEDTRONIC.COM (Roger Struve) writes: > >"You take his song and ya play it da way he tell ya to play it, and >ya gotta hit." > >I forgot who said that, but they were talking about W. Dixon. For >proof, look at his album I Am the Blues...every single song on that >album is a Blues Classic...he wrote the lyrics, he wrote the music, >he played the bass on 'em, he produced 'em, and he sang 'em. And >with the Chicago All-Stars, there isn't a finer all around blues >album in existence, in my humblest opinion. > > I could not agree more!!!!!!! Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Mon, 11 Sep 1995 15:45:00 -0400 From: Don Wilson Subject: Re: BLUES-L Digest - 9 Sep 1995 to 10 Sep 1995 Has anyone ever heard Mississippi John Hurt's version of Spanish Fandango off of the Avalon Blues 1963 Rounder c-1081...If so do you know where I can get the TAB on this song...I've been trying to pick it out on my guitar, but I can't seem to make it sound right..I know he plays it in open "G" tuning. Can anyone help me with this? sshaka ========================================================================= Date: Mon, 11 Sep 1995 16:05:57 -0400 From: Peter Welch Subject: Bad Luck/Superstition Blues Next month during our station's (WTJU-FM 91.1, Charlottesville, VA) fundraiser, I'm doing a "theme" show during my regular blues program. Since it's on a Friday the 13th, I'm going to play blues songs with a "bad luck" or superstition theme... I've got a few songs in mind already, but I wonder if y'all have your own suggestions on this theme: Thanks, Peter W. ========================================================================= Date: Mon, 11 Sep 1995 20:26:47 GMT From: Rennie Selkirk Subject: Re: RED HOUSE VERSION re: Koerner, Ray & Glover In article <9509071752.AA20068@dao.nrc.ca> Eric LeBlanc-CISTI writes: >I agree. This new RED HOUSE CD of their first album is actually the >AUDIOFILE version. The ELEKTRA version had 3 less tracks. By the way >the recording quality is outstanding when you consider it was recorded >in 1963 and by a bunch of blues players. It will take you back! It did >for me :-) I'm still in awe of Dave's performance of Jimmy Bell, to name just one masterfully smoldering track among many. Rennie ========================================================================= Date: Mon, 11 Sep 1995 14:03:02 -0800 From: Don Cicchetti Subject: Where is Vincent? Hi Everybody! Whatever happened to VT? Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 11 Sep 1995 18:59:50 -0400 From: "Bluzman Ed@Aol.Com." Subject: WFBE PLAYLIST The WFBE Playlist for the Blue Highway Show with host David Boyd, Air date 9/9/95 is available. If you want a copy, a private e-mail request will get one sent to you. This weeks theme was "no theme" Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Mon, 11 Sep 1995 18:36:50 -0500 From: "Henry Busse Jr." Subject: Birthdays 9/12/95 ALEXANDER, ALGER ( TEXAS ) Born:1900 JEWETT, TX Died:04 16 1954 RICHARDS, TX Age:53 Occupation:SINGER Worked With: LIGHTIN' HOPKINS / LOWELL FULSON / HOWLIN' WOLF Style: ANDERSON, CAT (WILLIAM ALONZO) Born:1911 GREENVILLE, NC Died:04 29 1981 NORWALK, CA Age:70 Occupation:TRUMPET Worked With:DUKE ELLINGTON / SABBY LEWIS / LIONEL HAMPTON Style:JAZZ / BIG BAND BANJO JOE ( GUS CANNON ) Born:1885 RED BANKS, MS Died:10 15 1979 MEMHIS, TN Age:94 Occupation:BANJO / FIDDLE / GUITAR / JUG / KAZOO / PIANO / SINGER Worked With:THE JUG STOMPERS Wrote:WALK RIGHT IN Style: BLUES FIELDS, SHEP Born:1910 BROOKLYN, NY Died:02 23 1981 LOS ANGELES, CA Age:71 Occupation:TENOR SAX / LEADER Style: BIG BAND HAMILTON, SCOTT Born:1954 PROVIDENCE, RI Occupation:TENOR SAX / LEADER Worked With:CHRIS FLORY / JOHN BUNCH / WARREN VACHE / BENNY GOODMAN / ROSEMARY CLOONEY / WOODY HERMAN Style:JAZZ / BIG BAND HOWARD, EDDY Born:1914 WOODLAND, CA. Died:05 23 1963 PALM DESERT, CA Age:49 Occupation:SINGER Worked With:GEORGE OLSON / DICK JURGENS Style:BIG BAND LYNCH, BRIAN Born:1956 CHAMPAGNE, URBANA, IL Occupation:TRUMPET Style:JAZZ MORSE, ELLA MAE Born:1924 MANSFIELD, TX. Occupation:SINGER Worked WithFREDDY SLACK / JIMMY DORSEY StyleBIG BAND / POP MULDAUER, MARIA (GRAZIA ROSA DOMENICA) Born:1943 NEW YORK, NY Occupation:SINGER / KAZOO / VIOLIN Worked With:JIM KWESKIN / BENNY CARTER Style:POP / JAZZ SHULMAN, JOE ( JOSEPH ) Born:1923 NEW YORK, NY Died:08 02 1957 NEW YORK, NY Age:34 Occupation BASS Worked With:LES BROWN / GLENN MILLER AAF BAND / DJANGO REIHARDT / MEL POWELL / BUDDY RICH / CLAUDE THORNHILL / MILES DAVIS Style:JAZZ / BIG BAND TURRE, STEVE Born:1948 OMAHA, NE Occupation:TROMBONE Worked With:WOODY SHAW / ROLAND KIRK / MEL LEWIS-THAD JONES / SLIDE HAMPTON / MAX ROACH Style:JAZZ / BIG BAND ========================================================================= Date: Mon, 11 Sep 1995 15:41:01 GMT From: Andy Synyszyn Subject: Re: Owners of Nationals/Dobros -Reply In article <4313dq$8a4@ns.moran.com> leighs@MORAN.COM writes: > >I'd have to agree. I've heard many different Nationals & Dobros each > >one having an individual sound. I've heard good & bad examples of > >both types. Luckily I have a great sounding Dobro for about half the > >price of an equivalent National!. > > Which model Dobro do you own, and, have you tried to amplify the sound > in any way? > --Steve > Mine is a model 33h, I beleive (although I'm not exactly sure!!), it's the one with the chrome plated bell brass body etched with the palm trees & clouds, & biscuit bridge & National style cone, i.e. not the spider cone!. The last time Robert Lucas was here in the UK I got the chance to play with him after a couple of his gigs, he said that my Dobro was one of the best he'd heard, although not with me playing it!, but that I should get the neck radius planed flat. After a couple of weeks plucking up the courage to get the job done I had the neck done & re-fretted & also replaced the Gotoh tuners with Grovers!. Lucas was right, it's now much better for bottle-neck!. -- Andy Synyszyn.. ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 11 Sep 1995 19:40:16 -0600 From: Bruce Pech Subject: Re: BLUES-L Digest - 9 Sep 1995 to 10 Sep 1995 On Mon, 11 Sep 1995, Don Wilson wrote: > Has anyone ever heard Mississippi John Hurt's version of Spanish Fandango off > of the Avalon Blues 1963 Rounder c-1081...If so do you know where I can get > the TAB on this song...I've been trying to pick it out on my guitar, but I > can't seem to make it sound right..I know he plays it in open "G" tuning. Can > anyone help me with this? > > > sshaka I haven't seen tab for John Hurt's cover of Spanish Fandango. But Libba Cotton's cover (I think the tune was first written in the 19th Century) is transcribed in Happy Traum's "Finger-Picking Styles for Guitar" (Oak). Libba's picking in open G too. Maybe the tab to her cover will help you decipher MJH 's playing. Good luck. -- BP Boulder, CO ========================================================================= Date: Mon, 11 Sep 1995 22:10:11 -0400 From: James Leftwich Subject: Martin Simpson trade Hey, I bought the new CD by Martin Simpson _Smoke and Mirrors_ on a whim and didn't like it. I'll entertain offers for trade through private e-mail. Jim Leftwich leftwich@cloud9.net "I"m on cloud9!" :) ========================================================================= Date: Tue, 12 Sep 1995 02:32:10 GMT From: Dennis York Subject: House of Blues or Austin City Limits - Which is better? After seeing both of these shows a few times I'm at a loss to decide which one is better. Any thoughts? Why do you think so? Personally I think the photography is better at the House of Blues, seems like more of a club atmosphere. ========================================================================= Date: Tue, 12 Sep 1995 02:17:57 EDT From: Joseph Leichter Subject: Re: House of Blues or Austin City Limits - Which i Many many moons ago, ACL had Freddie King as a geust (I've long since lost the audio tape I had of this).ACL gets my vote just for this! ========================================================================= Date: Tue, 12 Sep 1995 04:18:07 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 12th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALEXANDER, ALGERNON "TEXAS" (v/OKEH REC) b. 1900-0912, JEWETT, TX ANDERSON, WILLIAM "CAT" (tpt/ELLINGTON) b. 1916-0912, GREENVILLE, SC BARNES, CHARLES "BUDDY" (p/MABEL MERCER) d. 1992-0912, MANHATTAN, NY 52 BURLEIGH, HARRY THACKER (v/arr/gospel) d. 1949-0912, STAMFORD, CT 83 CANNON, GUS (bjo/JUG STOMPERS) b. 1885-0912, RED BANKS, MS DANIELS, BILLY (v/THAT OLD BLACK MAGIC) b. 1915-0912, JACKSONVILLE, FL FOSTER, ABBEY "CHINEE" (d) d. 1962-0912, NEW ORLEANS, LA 60 JONES, GLORIA (v/THE BLOSSOMS) b. 1938-0912, LONG VIEW, TX MORSE, ELLA MAE (v/FREDDIE SLACK) b. 1924-0912, MANSFIELD, TX NABBIE, JAMES ENOCH (lead/THE FOUR TUNES) d. 1992-0912, ATLANTA, GA 72 SMITH, MAJOR BILL (prod/BRUCE CHANNEL) d. 1994-0912, FORT WORTH, TX 72 STOKES, FRANK (g/PARAMOUNT/VICTOR REC) d. 1955-0912, MEMPHIS, TN 67 WHITE, BARRY (p/songw) b. 1944-0912, GALVESTON, TX ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 12 Sep 1995 08:29:43 GMT From: Magnus Ensby Subject: Blues in Southern Spain? My partner and I are going to Spain for a holiday from october 20th to novenber 4th and would like some blues during our stay. The plane goes to Malaga but we will stay on the west coast not far from Cadiz. We have a car for the whole periode, which means that we are mobile. Does anybody know where and when to go in this area? Magnus ========================================================================= Date: Tue, 12 Sep 1995 08:45:10 GMT From: "Ian K. Mckenzie" Subject: SAXOPHONE AND THE BLUES BRENTS @ CLEMSON.EDU@CISHUB wrote: THis should have been posted last week. For some reason it didn't go! > Subject: SAXOPHONE AND THE BLUES > > Can y'all clue me into some blues that is heavy on the sax. A friend > and I can't think of too much that has it. Thanks in advance for your > help. One person you can't miss out on is Memphis Slim. In the 50s and 60s, particularly when he recorded in Paris, he almost always recorded with a tenor player. I had the great pleasure in 1981 of spending some quality time (and playing some blues with) Eddie Chamblee, who played on a number of records with Memphis Slim. Eddie was once married to Dinah Washington and had a foot in the blues and Jazz camps. He was born in Georgia and he once told me that his father though that being a musician was demeaning occupation, particularly when Eddie's brother had become a physician. Pa changed his mind though when Eddie got to play in the Whitehouse for Per Eisenhower's inauguration ball. Eddie was playing with Count Basie at that time. He also played tenor on the original Lionel Hampton recording of 'Flying Home'. Last I heard Eddie was living in NYC. Anyone know if he's still with us. He was playing in a band run by Doc Cheetham who I think passed on recently. ========================================================================= Date: Tue, 12 Sep 1995 09:10:00 UTC From: Moses Mullins Subject: Re: advertising on this l One factor that governs if you approve of advertising is if it benefits you. There are some ads that I hate, others I respond to. To clarify things, if we were to start using rules, I would propose requiring the first word in the subject line to say "AD". Then if someone is offended by ads, they can skip it. Or they could all be submitted to the List owner to be posted together. Of course, then the problem arises of compliance. One Heart, Moses ========================================================================= Date: Mon, 11 Sep 1995 20:22:01 -0400 From: Bkg agent Subject: Legendary Frank Frost & Sam Carr do Oxford Saturday, September 16th. Frank Frost and Sam Carr, Living Blues drummer of the year will be performing at Proud Larry's in Oxford, MS. Frank has been doing very well and doing some really good gigs and Sam, well Sam just keeps on drumming along. On the chairs, the tables, the walls, you name it. Proud Larry's has got an atmosphere that you just have to go and experience. When they have a good blues act like this, the mix of the very young and the "moderately" old (I refuse to say "very", after all I plan to be there), is very uplifting. So come on and join in. Take a stroll around the square, enjoy some of the fine restaurants and just have a great time! Janice Nickeltune Music, Inc. ========================================================================= Date: Tue, 12 Sep 1995 09:12:00 UTC From: Moses Mullins Subject: Bad Luck/Superstition Blu Mojo Boogie Bad Luck is Falling I was born with the Blues Murphy's Law If it Ain't One Thing It's Another Busted Hide nor Hair more later One Heart, Moses ========================================================================= Date: Mon, 11 Sep 1995 22:46:31 -0400 From: Luftr Subject: Re: Dan Penn & Spooner Oldham Thanks. A couple of people corrected me. It was Eddie Hinton who passed away a month or two ago. Penn & Odlham are going strong. ========================================================================= Date: Tue, 12 Sep 1995 10:34:28 GMT From: Steve Leigh Subject: Re: Owners of Nationals/Dobros -Reply >Mine is a model 33h, I beleive (although I'm not exactly sure!!), >it's the one with the chrome plated bell brass body etched with the >palm trees & clouds, & biscuit bridge & National style cone, i.e. not >the spider cone!. Andy... what's the difference between the spider cone and the National style cone? Guess I'm not sure which type I have. --Steve ========================================================================= Date: Tue, 12 Sep 1995 06:45:00 -0400 From: "J.E. Downey" Subject: Re: Friday night report. Koko Taylor is an old woman, eh? I guess there's a line between being respectful and appreciative of your elders and being ripped off by someone who's too feeble perform and really shouldn't. For my money, when I saw Koko Taylor (and a very nice opening by Dave Sherman and the Nightcrawlers), I felt I was just lucky for the experience. Koko herself didn't perform that much, but her band was truly stellar and it mattered nought. Muddy would be, what, in his 80s if he were around? I wouldn't expect him to be too athletic if I could go see him, but I'd walk many a mile to see him if I could. Joe Downey, Moscow J.E._Downey@bakermck.com "Hey, Mr. landlord! Knockin' on the door, When the police come, tell 'em The joint is closed! Let the good times roll!!!!" ========================================================================= Date: Tue, 12 Sep 1995 07:31:23 -0500 From: William A Morgan Subject: Re: SAXOPHONE AND THE BLUES On Tue, 12 Sep 1995, Ian K. Mckenzie wrote: > quality time (and playing some blues with) Eddie Chamblee, who played > on a number of records with Memphis Slim. > > Eddie was once married to Dinah Washington and had a foot in the blues > and Jazz camps. He was born in Georgia and he once told me that his > father though that being a musician was demeaning occupation, > particularly when Eddie's brother had become a physician. Pa changed > his mind though when Eddie got to play in the Whitehouse for Per > Eisenhower's inauguration ball. Eddie was playing with Count Basie at > that time. He also played tenor on the original Lionel Hampton > recording of 'Flying Home'. > > Last I heard Eddie was living in NYC. Anyone know if he's still with > us. He was playing in a band run by Doc Cheetham who I think passed on > recently. > I don't know if Eddie Chamblee is still alive, but Doc Cheatham is alive and well. He was in New Orleans less than two weeks ago to celebrate the issuance of the Louis Armstrong stamp. *********** Bill Morgan ========================================================================= Date: Tue, 12 Sep 1995 08:38:37 -0400 From: Barry Silverberg Subject: Re: House of Blues or Austin City Limits - Which is better? Dennis York (dyork%cvpoor1@CORVEL.COM) wrote: : After seeing both of these shows a few times I'm at a loss to decide which one : is better. : Any thoughts? Why do you think so? : Personally I think the photography is better at the House of Blues, seems like : more of a club atmosphere. My list of differences is as follows: ACL - no commercials mostly shots of the performers has complete 1/2 hr. to 1 hr. shows per performer a blues show generally is a blues show IMHO relatively good photography HOB - at least half commercials at least half the shots of the club and the walls might squeeze 3 or more performers into a segment a blues show may be 1/2 acid rock as you said good photography Doesn't seem like much of a choice unless the better photography is the criteria. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 12 Sep 1995 08:04:59 CDT From: L W Subject: House of Blues or Austin City Limits - Which is better? ----------------------------Original message---------------------------- >After seeing both of these shows a few times I'm at a loss to decide which one >is better. You gotta be kidding..... LW ========================================================================= Date: Tue, 12 Sep 1995 08:34:23 -0500 From: Bruce Roberts Subject: Re: House of Blues or Austin City Limits - Which is better? > After seeing both of these shows a few times I'm at a loss to decide which one > is better. > > Any thoughts? Why do you think so? > > Personally I think the photography is better at the House of Blues, seems like > more of a club atmosphere. Austin City Limits has some Blues and no commercials. House of Blues has very little Blues and a lot of commercials. The choice is obvious. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 12 Sep 1995 08:29:39 -0500 From: Richard Shurman Subject: Something morbid to ponder Here's an excerpt from an article by Michael Greene called "Sound Affects" in the Summer 1995 isue of Grammy Magazine: "The implications of the Blues Musicians' Access To Health Care Study, a newly published survey of professional blues musicians on Chicago's club circuit, are sobering indeed: More than two-thirds of these musicians suffered medical problems that impaired their ability to perform over the preceding year. More than a quarter currently suffer from a serious health problem, while a tenth of the singers report a diagnosis by a physician of vocal cord polyps. Nearly half have no health insurance." I'm not sure about the sampling method or the precision of the figures, but the generalities are far too accurate. I'll duck the politics of this and just say that it points up again the perseverance and dedication necessary to survive in the blues world. On the good side, I saw Bobby Bland do a very nice full-length set Saturday night. At least on stage, he seems to be bouncing back nicely from his heart surgery and I didn't hear a word about it being a farewell tour. ========================================================================= Date: Tue, 12 Sep 1995 10:57:46 -0300 From: Rob Hutten Subject: Re: Question on making a slide > OK. I enjoyed some wine saterday night and now I have a clean bottle > with a line around the neck drawn in felt marker. How do I finish > my slide? For the sake of authenticity - you might assume all the > tools you might have as a sharecropper in '30s are on hand or can be > acquired. Thanks, Bill Higdon. I made a couple using this following method: - score a line (with a glass cutter, nail, file, or whatever) around the neck where you want the cut - soak the bottle in boiling water for a minute or so - using an oven mitt, grab the bottle by the base, pour cold water over the neck - tap the neck with a wooden knife handle or whatever just above the line. *note* - I do this last step over my sink, in which I've placed some towels to cushion the fall of the (hopefully cleanly-cut) slide. It works for me about half the time... -Rob ========================================================================= Date: Tue, 12 Sep 1995 10:15:08 -0400 From: "David L. Prychitko" Subject: Re: Question on Making Slide William Higdon asked about making a slide out of his last wine bottle. I made one from a bottle of Kastelet (Croatian, don't ask). I used my wife's glass cutter from her set of stained glass tools. Scribe it where you want to break it. No need for string, kerosene, etc. Just scribe about a half or three quarters of an inch on opposite sides of the neck (no need to scribe all the way around the bottle's neck). Then give it one quick SNAP! I filed down the sharp edges. Works fine. Now I just have to learn how to use it. Yours, Dave Prychitko P.S. Saw Jimmy Johnson last week at the Dinosaur BBQ in Syracuse. Fine show. ========================================================================= Date: Tue, 12 Sep 1995 10:12:29 -0400 From: Willy Evans Subject: Re: House of Blues or Austin City Limits - Which is better? In my mind, Austin City Limits is a tribute to all music lovers. HOB merely tips its hat to popular culture. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Tue, 12 Sep 1995 10:15:42 CST From: William Shute Subject: happy birthday Marion Brown From: Bill Shute I see that the birthday of alto saxophonist/composer/music educator Marion Brown passed a few days ago. While many who know his name would place him in the post-Coltrane sixties avant-garde (after all, Shepp did the album Four For Trane, and then BRown recorded Three For Shepp on Impulse!), Mr. Brown has always been rooted in (like his pal Shepp) the totality of the African-American musical and cultural experience--in fact, on albums like the amazing Geechee Recollections (Impulse) and Afternoon of a Georgia Faun (ECM) he not only evokes pre-blues black musics, but pre-American continent black musics. While I'm not saying that his music is like what I'm about to mention, anyone who can appreciate the Fife and Drum music from Mississippi and the like would find something like Geechee Recollections to be fascinating. Brown also knows the pre-war jazz field quite well, having studied with the great reedman Wayman Carver when Brown was younger. I understand that Mr. Brown is primarily an academic nowadays, although he could possibly still be recording in Europe (I don't know---haven't checked the record lists in Cadence for awhile!). Were his last US recordings for Paul Bley's IAI label? (and he was on one of Harold Budd's lps, his best in my opinion) Anyway, though not a bluesman per se, Marion Brown is a great figure in African-American music and a man who has dedicated himself to keeping alive and REINVESTIGATING the many roots and branches of Af-Am culture...while at the same time intertwining these with extensions of ideas introduced by Ornette Coleman and John Cage. Wherever Mr. Brown is, I applaud him and thank him for the fine work (PORTO NOVO is one of my all-time fave 60s Blowout sessions). We need people like him more than ever today. ps, He has also set to music, beautifully I might add, sections of Jean Toomer's CANE. Bill Shute San Antonio, TX ========================================================================= Date: Tue, 12 Sep 1995 10:37:24 CST From: William Shute Subject: John Lee Hooker "The Rising Sun Collection" From: Bill Shute Here's yet another album in the series recorded live at Montreal's Rising Sun Celebrity Jazz Club, issued on the Canadian "Just A Memory" label. JOHN LEE HOOKER "The Rising Sun Collection" Just A Memory (canada) RSCD 0001 Recorded in l977 in Montreal Hooker--vcl, gtr, leader Steve Jones--bass Larry Martin--drums John Garcia--gtr Chicken and Gravy 6:35 It Serves Me Right To Suffer 6:10 Boom Boom 5:54 Black Night Is FAlling 8:12 One Bourbon, One Scotch, One Beer 5:02 One Room Country Shack 7:48 I don't think you'd need much "analysis" of this album. It's basically late 70s/early 80s Hook (the period I saw him, a few years after the One Bourbon... album on the then-in-decline ABC label), doing basically mid-tempo and some slower tunes with the patented walking boogie beat. This particular band--which seems similar to the one I saw a year or two after this--provides a constant underpinning for Hooker and don't seem to get in the way like some of the 50s and 60s recording backing-bands did. Working on the road with them must have given them a feel for each other, and really by this time Hooker really wasn't the young turk stamping on the floor and churning out super-distorto-gtr anymore the way he was in Detroit l949. But he's still in fine form here, blasting out his patented distortion-laden gtr runs that are like a joust from a switchblade, boogieing as well as ever, singing in his sincere, unaffected, always MOVING voice--well, it's a typical show from that period, but not an off-night. Not really essential, but since Mr. Hooker has finally become able to cut back on the touring and is only doing "special occasion" shows now, recordings like this become much more important, particularly for newer fans who have never seen him live, except loaded with "guest stars." This band stays in the background, where they ought to be, and let THE MAN take center stage. And Hooker like a ferocious wildcat let out of his cage, paces and struts and taunts and seethes...yet never really goes over the edge because he realizes that that constant bubbling-under tension is far more effective than blowing-off all at once. That's one of the things that's always been great about John Lee, and it's in evidence here. Since these CDs are cheap (usually around ten bucks, when I've seen 'em), this might be a nice item to get if you know JLH mostly from The Healer and more recent recordings. AND, as a special added attraction, neither Carlos Santana nor Van Morrison appear here! And the liner notes from Rising Sun mainman Roue-Doudou Boicel are a scream, full of choice anecdotes about Hooker! (if the remarks about Hooker's taste in YOUNG women are true, perhaps his next album ought to be produced by Huey Meaux!!) Now, to find the Lightnin' Hopkins album in this series!!! Bill "it's in him, and it's GOT to come out" Shute ========================================================================= Date: Tue, 12 Sep 1995 15:58:20 GMT From: Stessa Cohen Subject: Re: Please suggest acoustic performers I'd like to suggest Chris Smither -- he's often classified as *both* folk and blues. You can contact his booking agent and managment and find out his current touring schedule thgrough his web page, Blue Guitar: http://www.netaxs.com/~stessa/csmither/smither.html (btw, I don't reap any financial benefits; I just like the music) Stessa stessa@netaxs.com ========================================================================= Date: Tue, 12 Sep 1995 12:34:57 -0400 From: Tom Freeland Subject: AOL BLUES LISTERS ONLY: Problem Info crosspost from Folk-L This long piece of mail discusses the problems AOL is having with mail. NOT ALL THE PROBLEMS ARE DISCUSSED HERE-- I am convinced that AOL is simply deleting much mail, still. Tom Freeland SOME HEADER STUFF DELETED [Alanit appears that AOL has unintentionally stymied us once again. (now _that's_ customer service...) I am unsure if they ever solved the improper text conversion problem either. This is a major headache. 2k isn't big enough for any kind of digest and a file that won't drag and drop into your word processor without other conversion should be totally unacceptable. I suggest that you contact AOL customer support and voice your displeasure. Alternatively, you might check into another service provider. AOL is not the _only_ game in town and there are some excellent low cost alternatives. My favorite of the ones that I have tried for the Mac is the Internet Valet software from Software Ventures with PSI's InterRamp service. They also make a PC version of this service, but I haven't tried it. We have a lot of netcom users and they aren't too bad. Most major cities have a choice of local internet providers if you aren't on the road and needing dialups all over like I am. I forget where they keep the updated list of internet service providers. Does somebody want to post the URL or mail address? Sorry for the hassles, Alan] Alan: Now AOL has reversed its position & has admitted that Internet E-Mail has been reduced to 2K. Here's their response: ________________________________________________________________________ I apologize for the misinformation I gave you. Right after I sent this message I was handed a form that it was changed again. The reason it is now 2K is so you do not get half way into a message and then have to download the rest. Now, you can get a general idea of what the mail is about and read the body in the attached file. ________________________________________________________________________ So apparently AOL users will have to download almost all of their Folk Music Digests. Fortunately since I have a second E-Mail address through my Internet provider, I can always switch my subscription to the other account if it gets too cumbersome; but AOL only subscribers are S.O.L. Thought you'd like to know about this in case you get other queries. Ron Lewis --------------------- Forwarded message: From: mkaldin@ix.netcom.com (Mary Katherine Aldin) To: Skip@emin05 Date: 95-09-12 02:43:43 EDT ---- Begin Forwarded Message Return-Path: Received: from nysernet.org by ix5.ix.netcom.com (8.6.12/SMI-4.1/Netcom) id LAA03514; Mon, 11 Sep 1995 11:34:20 -0700 Received: from (localhost.nysernet.org [127.0.0.1]) by nysernet.org (8.6.11/8.6.11) with SMTP id OAA25600; Mon, 11 Sep 1995 14:29:39 -0400 Date: Mon, 11 Sep 1995 14:29:39 -0400 Message-Id: Reply-To: folk_music@nysernet.org Originator: folk_music@nysernet.org Sender: folk_music@nysernet.org Precedence: bulk From: RonL513297@aol.com To: Multiple recipients of list Subject: ADMINISTRIVIA: reocurrence of AOL Problem Confirmed X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas X-Comment: Folk Music Mailing List Sender: RonL513297@aol.com [Alanit appears that AOL has unintentionally stymied us once again. (now _that's_ customer service...) I am unsure if they ever solved the improper text conversion problem either. This is a major headache. 2k isn't big enough for any kind of digest and a file that won't drag and drop into your word processor without other conversion should be totally unacceptable. I suggest that you contact AOL customer support and voice your displeasure. Alternatively, you might check into another service provider. AOL is not the _only_ game in town and there are some excellent low cost alternatives. My favorite of the ones that I have tried for the Mac is the Internet Valet software from Software Ventures with PSI's InterRamp service. They also make a PC version of this service, but I haven't tried it. We have a lot of netcom users and they aren't too bad. Most major cities have a choice of local internet providers if you aren't on the road and needing dialups all over like I am. I forget where they keep the updated list of internet service providers. Does somebody want to post the URL or mail address? Sorry for the hassles, Alan] Alan: Now AOL has reversed its position & has admitted that Internet E-Mail has been reduced to 2K. Here's their response: ________________________________________________________________________ I apologize for the misinformation I gave you. Right after I sent this message I was handed a form that it was changed again. The reason it is now 2K is so you do not get half way into a message and then have to download the rest. Now, you can get a general idea of what the mail is about and read the body in the attached file. ________________________________________________________________________ So apparently AOL users will have to download almost all of their Folk Music Digests. Fortunately since I have a second E-Mail address through my Internet provider, I can always switch my subscription to the other account if it gets too cumbersome; but AOL only subscribers are S.O.L. Thought you'd like to know about this in case you get other queries. Ron Lewis ========================================================================= Date: Tue, 12 Sep 1995 16:46:14 +0000 From: Pat Hertel Subject: Eugene Smith & the Pony Baloney Band Anyone from Toronto who can tell me anything about this band. The name sure isn't magnetic. PS. Whoever was asking about naming his band this is how to do it. NOT phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [12/9/95 12:44 AM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 12 Sep 1995 12:49:48 EDT From: Toby Levy Subject: Julius Lester/ RL's Dream I stumbled upon a review of "RL's Dream" in the Washington Post the other day. The reviewer was Julius Lester, an ame that my crumbling memory vaguely recognizes but cannot place. Mr. Lester has little good to say about Mr. Mosely's novel, but one paragraph of interest to bluezellers I quote here: "In the mid- 60s I collected country blues in Mississippi and Alabama from unknown and unrecroded bluesmen...I also interviewed many of the legendary bluesmen including Son House, one of Robert Johnson's teachers. What remains with me even now is the dignity and self-possession with which these men carried themselves. There was no self-pity in their voices, their posture or their music. In their hands the blues was a weapon that defended their humanity from forces that would deny it. The blues was also a catharsis, cleansing the spirit of despair and enabling the singer and listener to remember that despite it all black people were more akin to angels than apes." Can anyone fill in the gaps in my memory concerning Julius Lester? Thanks, Toby ========================================================================= Date: Tue, 12 Sep 1995 10:25:26 -0700 From: Chris Adams Subject: Re: Please suggest acoustic performers I would suggest Paul Geremia, who has been around the New England folk/blues scene since the 60's. On his latest recording on Red House Records, the great fiddle man Howard "Louie Bluie" Armstrong. I can never get enough of that blues fiddle! Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 12 Sep 1995, Stessa Cohen wrote: > I'd like to suggest Chris Smither -- he's often classified as > *both* folk and blues. You can contact his booking agent and > managment and find out his current touring schedule thgrough > his web page, Blue Guitar: > > http://www.netaxs.com/~stessa/csmither/smither.html > > > (btw, I don't reap any financial benefits; I just like the music) > > > Stessa > stessa@netaxs.com > ========================================================================= Date: Tue, 12 Sep 1995 13:27:29 -4 From: "P.W. Fenton" Subject: Re: House of Blues or Austin City Limits - Which is better? Yesterday I sent a message to Dennis York, telling him first that it was hard to take his question seriously, and then second, pretty much echoing what everyone has been saying. To that they replied: > > But why do you think it's better? > > > I'm working with a group that's looking at doing a similar show, and we > want to make sure we do it right. Any thoughts or suggestions? So I answer.... It's difficult to believe that my original comments were not clear to you. Big Turn Off - Calls itself House of BLUES and presents very little actual Blues (Hootie & The Blowfish aren't even RELATED to the Blues.) A music lover does not tune in a show to see lots of slick video segues. They tune in to see MUSIC. ACL doesn't waste time with filmed segments of artificial hosts playing FICTIONAL characters, who are not even present at the concert, who add little or nothing to the appreciation of the artist featured. HOB spends most of it's time advertising their sponser's wares, the HOB itself, or the artists involved. The whole show amounts to a poorly disguised advertisement. ACL does not waste a third of it's time on teasers showing you what you are GOING TO see when they are done teasing and advertising. ACL goal is to present the artists and the music. They select their artists on the basis of their high quality as opposed to the amount of promotional money they have behind them. HOB's goal is to sell Pontiac Sunbirds, the worst piece of *#&% on four wheels. Any more questions? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 12 Sep 1995 12:33:32 CST From: William Shute Subject: Jay McShann "Paris All-Star Blues" From: Bill Shute JAY MCSHANN "Paris All-Star Blues" MusicMasters 5052 (CD, US) released l991 Someone asked about Jay McShann's recent activities a few months ago, so when I stumbled across this album while cleaning the trunk of my car (guess I took the cassette with me on a vacation once), I wanted to mention it. Legendary Kansas City pianist-bandleader-composer Jay McShann made his big splash nationally in the early 40s with the classic recordings he made with vocalist Walter Brown (listening to Brown's vocals today, there's an unrelenting sameness to the early 40s songs, most of which seem to have the same melody and are rewrites of the initial hit, "Confessin The Blues"). This band also featured the young Charlie Parker, when McShann gave him his "big break" and first national exposure. McShann has continued to represent that classic KANSAS CITY piano blues sound over the years: he made some fine records with Brown again in the 50s that DO NOT all sound the same, his l970s album Last of the Blue Devils (there's a wonderful documentary film of the same name--anyone know if it's on video?) is widely regarded as a classic, and he did fine work for the Canadian "Sackville" label in the 80s. PARIS ALL STAR BLUES, released in l991, may or may not be his most recent release, but MusicMasters releases are often automatically put in the "Big Band" section in some stores, so fans may have overlooked this upon its release. For a series of concerts in France, McShann assembled a diverse unit inclluding Benny Carter (one of the few active players who PREDATES McShann!); Phil Woods (who I never would have imagined playing this sort of music); stalwarts like Hal Singer and Jimmy Heath; and relative youngsters like Terence Blanchard. Vocals are handled by the soulful yet urbane Ernie Andrews, who's bluesy in the Joe Williams manner. Many of McShann's classics use the A-A-B structure common to many blues songs, and the master's piano has never abandoned that barrelhouse-rooted feel, although he's always had one foot in swing, yet has always, like Earl Hines, kept an ear open to the modern (Parker's playing made total "sense" to McShann and McShann could hear the blues roots in it at a time when many couldn't stand listening to the Bird). This live session has a relaxed feel, a spacious sound (a bit too "airy" for my tastes, but it must have been the nature of the "room"-- who am I to criticize producer John Snyder!), and a generous 70 min. playing time. The sparks don't fly, but they settle into a juicy groove with each tune and the solos are always imaginative (would you expect any less with players the calibre of Benny Carter, to me the most DISTINGUISHED living jazzman?). Kansas City-ites like McShann, Kirk, Basie, Mary Lou Williams, the Motens, Harlan Leonard, et al all interpreted the blues differently, but there is certainly a "sound" to all the bands that great city produced. I read a fascinating book about the pre-war Kansas City music scene that was published by some university press ("Goin' To Kansas City" perhaps was the name? I don't remember) in the late 80s that really opened my eyes about the wide-open nature of the city in the 20s and 30s. Perhaps someone can help us with the title/publisher/author, etc. It's a MUST read. And this album is a valuable document and another "branch" from the KC tree. ps, another album somewhat like this that I recommend is the early 90s Johnny Otis album "Spirit of the Black Territory Bands" on the Arhoolie label (w/ one of Johnny's beautiful paintings on the cover). Otis played in Harlan Leonard's Kansas City band before starting his own, so what goes around seems to come around in this case. Fine listening--again, the sparks don't really fly, but we'll credit that to "maturity," right? Bill Shute San Antonio, TX ========================================================================= Date: Tue, 12 Sep 1995 12:31:33 CDT From: L W Subject: ACL & HOB One MAJOR difference in ACL and HOB is one is a non-profit deal, as in Public Television, that is supported by various means, including the viewers. HOB is 100% for profit and that's the only concern they have, which is fine. That's why most people are in business.. LW ========================================================================= Date: Tue, 12 Sep 1995 10:39:19 PDT From: Gordon Fehlman Subject: Re: ACL I'm very dissapointed in HOB, man I thought finally a program that will showcase the blues. Boy, was I mistaken. I do really enjoy Austin City Limits. The only thing is here in Monterey it comes on Saturdays at 12:00am. But its a music lover show, not just blues. But the blues I've seen have been great. Loved Buddy Guy. I might be wrong but I heard that ACL is having a tribute to SRV? Is it true? Does anybody know what blues acts are coming up on ACL? Gordon ========================================================================= Date: Tue, 12 Sep 1995 14:43:10 -0300 From: Leonardo Kenji Shikida Subject: Re: Bad Luck/Superstition Blues Born under a bad sign! _____________________________ Leonardo Kenji Shikida "I've been driftin... like a ship out on the sea... Well I ain't got nobody, baby... in this world that would care for me..." Charles Brown -/- On Mon, 11 Sep 1995, Peter Welch wrote: > Next month during our station's (WTJU-FM 91.1, Charlottesville, > VA) fundraiser, I'm doing a "theme" show during my regular blues > program. Since it's on a Friday the 13th, I'm going to play > blues songs with a "bad luck" or superstition theme... > > I've got a few songs in mind already, but I wonder if y'all > have your own suggestions on this theme: > > Thanks, > > Peter W. > ========================================================================= Date: Tue, 12 Sep 1995 12:47:03 CDT From: L W Subject: Blues in Chicago Oct 12th-14th ? My wife is leaving me and going to Chicago for an Optometery thang. She will be in the Michigan Avenue area....Are there any blues clubs or any blues happenings that I should tell her about....If it's somebody really good somewhere on those days I might have to go with her Thanks LW ========================================================================= Date: Tue, 12 Sep 1995 12:58:53 -0500 From: Dave Daubard Subject: Re: Please suggest acoustic performers How about Lee McBee? Lee's doing lots of cool, lowdown & dirty duets with Billy Dye on guitar(formerly Little Hatch & Luther Allison-to name a few) around KC. We saw him without the whole band at B.B.'s Lawnside Bar-b-que. It was one of the highlights of the weekend. I know he would love to do it & wouldn't cost an arm & a leg. Just a fan. "Swingin'Dave" ========================================================================= Date: Tue, 12 Sep 1995 12:50:24 CDT From: L W Subject: Charles Brown Tommorrow At last the Charles Brown show will be in town and we will have the cake and party favors ready for his 73rd birthday. I've called the paper and told them to make sure and mention it was his birthday.....They said 'Wow great thanks we sure will"...Did they ...WHY NO !...I guess had his name been Hootie or Sheryl they'd have cared.... The club has not advertised AT ALL. They have completely dropped the ball. I talked to the MAIN ticket seller (who is rabidly mad about it) and he said he's sold about 50 tickets.....Wow a living legend comes to town and nobody cares Dan Caron called (woke me up) and said he can't get the club or agent to return his calls. They have no clue where to go after they arrive at the airport and is trying to get someone from the club to meet them and lead them to where they need to be. I may wind up having to leave work tommorrow and meet them at the airport so they can get where they need to be...Quicky and easily Sorry, venting frustration....I feel better LW ========================================================================= Date: Tue, 12 Sep 1995 13:07:13 -0600 From: James Foster Subject: Re: Jay McShann "Paris All-Star Blues" Bill Shute writes: >McShann has continued to represent that classic KANSAS CITY piano blues >sound over the years: he made some fine records with Brown again in the >50s that DO NOT all sound the same, his l970s album Last of the Blue >Devils (there's a wonderful documentary film of the same name--anyone >know if it's on video?) is widely regarded as a classic, and he did >fine work for the Canadian "Sackville" label in the 80s. Ah, yes...LAST OF THE BLUE DEVILS is a great film and IS available on video. You can rent it at some outlets and is still in print (it can ordered through videoexpress.com on the "net" or at your local video store...cost is about $20). I watched it a couple of times prior to a visit to Kansas City last year and you can visit the hall where this wonderful film was made. BTW, to link this with another thread, Arthur Bryant's classic Bar-B-Q is just around the corner and, while in KC, be sure to eat both some Gate's Bar-B-Q as well as Stroud's Pan Fried Chicken ("We choke our own chickens" is their motto...all this great KC food is immortilized in the book "American Fried" by Calvin Trillon). Enuf said... James Foster ========================================================================= Date: Tue, 12 Sep 1995 13:02:38 CDT From: L W Subject: Your Choice Who would you like to see that you've never seen or see again.....I'm talking about living artists of course... here's some of mine: Doug MacLeod (one day I'm gonna up and go to California just to see him) Ronnie Earl (I know I'll see him one day) Lyle Lovett (I will) Hank Crawford & Jimmy McGriff AGAIN Chet Atkins...I will see him again in November LW 'I'm leaving out somebody' ========================================================================= Date: Tue, 12 Sep 1995 13:33:23 -0400 From: Jerry Zolten Subject: Archie Edwards in Penna. Piedmont blues picker Archie Edwards from the DC/Maryland area will be performing at the Penn State Altoona campus on October 24, a Tuesday night, at 7:30 PM. Opener will be his niece, Diane McDaniel, a fine gospel/blues pianast/vocalist. ========================================================================= Date: Tue, 12 Sep 1995 13:44:13 -0400 From: Jerry Zolten Subject: Dixie Hummingbirds Got a chance to see the latest line-up of the Hummingbirds in action last week. Surviving members Ira Tucker, Paul Owens, and Howard Carroll are working with newest member Carl Davis on alternative leads. Though they rely on a drum machine to keep the beat, Carroll worked out on the guitar and the others managed to generate an enormous amount of electricity to a crowd that was complacent at best. Sad thing is, these guys are still doing some hard traveling, town to town, small money, big old van. I know they'd like to reach new audiences in better venues and, of course, at better prices. Anybody out there interested in presenting the legendary 'Birds, let me know. On a side note, Ira is very interested in getting copies of the group's early recordings. He has none. I made him a tape with 4 Apollo sides and some of their Peacock masterpieces. Anybody out there got any early material they can tell me about or put on tape to be forwarded to Ira? Thanks ========================================================================= Date: Tue, 12 Sep 1995 14:06:34 CDT From: L W Subject: Dixie Hummingbirds ----------------------------Original message---------------------------- The last CD I bought (my wife had to have it) was the Dixie Hummingbirds LIVE on Mobile F....It's good, but we haven't listened to it a whole lot yet LW ========================================================================= Date: Tue, 12 Sep 1995 21:13:34 GMT From: Bjorn Bergstrom Subject: Peter Green bio for trade Hi, I have obtained two signed copies (yes, signed by PG himself) of the new Peter Green biography by Martin Celmins. I'm willing to part with one of them for the Mike Bloomfield bio _The Rise and Fall of an American Guitar Hero, written by Ed Ward. Send private email. Bjorn ========================================================================= Date: Tue, 12 Sep 1995 14:30:10 -0500 From: Bruce Roberts Subject: Re: Please suggest acoustic performers Steve James ========================================================================= Date: Tue, 12 Sep 1995 16:14:48 -4 From: "P.W. Fenton" Subject: Re: Your Choice On12 Sep 95, L W had this to say... > Who would you like to see that you've never seen or see again.....I'm talking > about living artists of course... Never seen - Joe Louis Walker, Peter Green, Otis Rush See Again (and again) - B.B. King, Buddy Guy People I've Seen Live (That You Didn't;-) - The Beatles, Judy Garland P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 12 Sep 1995 16:16:05 -0400 From: Steve Levine Subject: Bluebird Blues Festival - Sunday Sept. 17, 1995 There will be a free blues festival, the Bluebird Blues Festival, this Sunday, Sept. 17 at Prince George's Community College, Landover, MD. I don't have all of the details with me but I can post them later if anyone's interested. I think it runs from noon to six pm. There will be performances by Cephas & Wiggins, John Jackson, The Hardway Connection, Nap Turner, Cathy Ponton King, Willie Cobbs and more. ========================================================================= Date: Tue, 12 Sep 1995 15:33:43 -0400 From: Willy Evans Subject: Re: Your Choice On Tue, 12 Sep 1995, L W wrote: > Who would you like to see that you've never seen or see again.....I'm talking > about living artists of course... > > here's some of mine: > Lonnie Brooks Kenny Neal Joe Louis Walker Jimmy Rodgers Patty Larkin Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Tue, 12 Sep 1995 15:14:04 CST From: Edward Komara Subject: Julius Lester Toby asked about Julius Lester, where he might have heard of him before. While finishing a research project last week, I found myself re-reading Lester's interview with Son House that appeared in SING OUT! magazine in April 1965--a landmark piece, one of the first (if not THE first) to feature House in his own words. Lester has had an outstanding career in black folklore and letters. I just saw in the Ole Miss library catalog that it has several volums written or edited by him, not least an edition of W.E.B. Dubois' writings and a compilation of slave narratives. I ought to read some more of his stuff... Edward Komara, Blues Archive, Ole Miss ========================================================================= Date: Tue, 12 Sep 1995 16:23:47 -0400 From: Barry Silverberg Subject: One Man's Opinion-Byther Smith. BYTHER SMITH / ADDRESSING TTHE NATION WITH THE BLUES (JSP #254) JSP RECORDS P. O. BOX 1584 LONDON N3 3NW ENGLAND Byther Smith has a wealth in his voice and an attitude in his fingers. He can really belt the blues or take you for a slow stroll down a country road. He is a very smooth and well heeled bluesman with a good band backing him up. Every cut on this CD is important and stands on its own. This is good music - played well. It is also well produced. The instruments blend perfectly and Byther Smith offers up some very fine Chicago vocals. You'll also find that each cut has a big well orchestrated ending. This is not just GOOD BLUES - it is GOOD MUSIC. Hello Mrs. Brown / I Was Coming Home / Looking For A Woman / Play The Blues On The Moon / What Have I Done / You Should Be Proud Of Your Daughter / What Is this / Addressing The Nation With The Blues / Movin' On / I Wish My Mother Was Here / Put Your Arms Around Me NYCD-Takes Hello Mrs. Brown: This tune opens with a hip shaking start followed by the rich vocal entry of Byther Smith. His vocals have the feel of the wonderful early Buddy Guy Chess recordings - very sweet and very musical. This is a finely tempered cut, like a thoroughbred warming up. The class is there, the action is loping and the race is about to begin. Get ready, because this CD will thrill you. I Was Coming Home: This is deep down Chicago blues - heavier in the vocals and apppropriate to the content of this song. George Hawkins on drums is solid throughout as is Tim McKinley on piano, but Byther Smith steals it with some high energy finger picking. This is a rich forceful tune right at the center of the best that Chicago has to offer. Looking For A Woman: Listen now to the Hawaiian guitar open up. Then a cut to more of Byther Smith's vocals. This is a hard driving side that's perfectly accentuated by that strange eerie guitar sound. This cut will take you all the way back to the very roots of the blues. Play The Blues On The Moon: This tune offers a wonderful guitar- sax duet by Mr. Smith and Manwell Burr. They form a perfect backdrop to the melodic call of Mr. Smith's vocals. This is an easy tune that will get you dancing. What Have I Done: Now the beat slows down but Mr. Smith pumps up his guitar sound while George Hawkins switches to the outside of his drums. Mr. Hawkins really offers a lot of tin here. Mr. Smith sings this cut poignantly. This is 7 minutes of great Chicago blues. You Should Be Proud Of Your Daughter: Here's a nice little jump blues side. Well done and showing yet another side to the talents of Byther Smith. This is a real pleasant tune - sit back and enjoy. What Is This: This is modern blues that captures the feel of a live club set. Byther Smith sings it straight out with plenty of punch. This is an easy tune to get up on. Addressing The Nation With The Blues: The cover cut now starts with an incredible fiery guitar opening. Byther Smith's voice rolls over itself and he takes each word and reverbs it right before it even comes out. This was a right on choice for naming this CD. Byther Smith's guitar work here is his most passionate, his fingers fly. DO NOT MISS THIS ONE. Movin' On: This tune is nice for dancing. It is real studio blues that you will like a lot. I Wish My Mother Was Here: Here we have a big winding guitar start - very open and very musical. As the liner notes say - here are some dirty guitar licks. The quick fiery guitar stabs of Byther Smith set against the warmth of his voice really establish Mr. Smith as a solid bluesman in today's scene. His work is not to be missed. It is constant and raw, yet refined when needed. He is a true artist. Put Your Arms Around Me: This is a nice choice to close out a stellar CD. Mr. Smith sings in double time. He fits two words in the space of one while never missing a beat - a great touch and a big accomplishment. BUY THIS CD for your birthday - sit back AND HAVE A HAPPY as Byther Smith delivers 11 solid cuts. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 11 Sep 1995 16:27:26 PDT From: rjbauman@IQUEST.NET Subject: Re: Friday night report. ====================Sorry to ramble, but I've seen Koko just tear up a festival and I'll never forget it...Young and old, black and white we were all shaking and groovin to THE QUEEN...... LW "IMHO"====================== I hope you saw her in Memphis in May this year, LW. She was AWESOME. This was the 4th time I've seen her. The whole show was in a driving rain storm (ouside, not in the blues tent) and she played the weather perfectly--- shouting as if in command of the skies, "Don't mess with mother nature, you'll be sorry if you do!!!!" I agree she's not on stage as much as she used to be, but her band is so good I'd pay to see them even without Koko. RJ Bauman ========================================================================= Date: Tue, 12 Sep 1995 15:35:24 CDT From: L W Subject: Re: Your Choice ----------------------------Original message---------------------------- >People I've Seen Live (That You Didn't;-) - The Beatles, Judy Garland Top this: I've seen THE OAK RIDGE BOYS about THREE times. I've seen Elvis Presley, Hank Williams Jr. , Jerry Reed, Waylon Jennings, Willie Nelson LW ========================================================================= Date: Tue, 12 Sep 1995 20:48:40 GMT From: william higdon Subject: Re: Question on Making Slide "David L. Prychitko" wrote: >William Higdon asked about making a slide out of his last wine bottle. > >I made one from a bottle of Kastelet (Croatian, don't ask). I used my >wife's glass cutter from her set of stained glass tools. Scribe it where >you want to break it. No need for string, kerosene, etc. Just scribe >about a half or three quarters of an inch on opposite sides of the neck >(no need to scribe all the way around the bottle's neck). Then give it >one quick SNAP! > I'd have to drink another bottle of wine first... -- William Higdon. ========================================================================= Date: Tue, 12 Sep 1995 16:26:48 CDT From: L W Subject: Re: Question on Making Slide ----------------------------Original message---------------------------- > I'd have to drink another bottle of wine first... -- William Higdon. When you mess that up you have drink anudder and shen shew are weady to twy agwain, oops bwoke anudder un..well damn, I'lls twys agwains wif dis bottle and shee ifs I kan due it wright jis time LW 'just go to Sears and get a Craftsman...after the wine wears off' ========================================================================= Date: Tue, 12 Sep 1995 17:34:34 -4 From: "P.W. Fenton" Subject: Re: Your Choice On12 Sep 95, L W had this to say... > ----------------------------Original message---------------------------- > >People I've Seen Live (That You Didn't;-) - The Beatles, Judy Garland > > Top this: I've seen THE OAK RIDGE BOYS about THREE times. I've seen Elvis > Presley, Hank Williams Jr. , Jerry Reed, Waylon Jennings, Willie Nelson > LW Oh Yeah...? Well I met Sammy Davis Jr. BACKSTAGE IN THE GREEN ROOM AT THE TONIGHT SHOW!!!!!!!! (Never mind the fact that my future wife and I snuck in through a fire exit) And topper of toppers I MET MOHAMMED ALI at a newstand. (I don't know WHY we started this Bonnie is just gonna jump in and trash us with another story about Howlin' Wolf feed chicken to her kid) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Tue, 12 Sep 1995 14:41:19 -0700 From: Chris Adams Subject: Re: Jay McShann "Paris All-Star Blues" Something to look forward to over the next year is Robert Altman's film on Kansas City jazz, with many current jazz musicians playing all the character roles. Not sure if "Hootie" McShann is one of those. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Tue, 12 Sep 1995, William Shute wrote: > From: Bill Shute > > JAY MCSHANN > "Paris All-Star Blues" > MusicMasters 5052 (CD, US) > released l991 > > Someone asked about Jay McShann's recent activities a few months > ago, so when I stumbled across this album while cleaning the trunk > of my car (guess I took the cassette with me on a vacation once), > I wanted to mention it. > > Legendary Kansas City pianist-bandleader-composer Jay McShann made > his big splash nationally in the early 40s with the classic recordings > he made with vocalist Walter Brown (listening to Brown's vocals today, > there's an unrelenting sameness to the early 40s songs, most of which > seem to have the same melody and are rewrites of the initial hit, > "Confessin The Blues"). This band also featured the young > Charlie Parker, when McShann gave him his "big break" and first national > exposure. > > McShann has continued to represent that classic KANSAS CITY piano blues > sound over the years: he made some fine records with Brown again in the > 50s that DO NOT all sound the same, his l970s album Last of the Blue > Devils (there's a wonderful documentary film of the same name--anyone > know if it's on video?) is widely regarded as a classic, and he did > fine work for the Canadian "Sackville" label in the 80s. > > PARIS ALL STAR BLUES, released in l991, may or may not be his most > recent release, but MusicMasters releases are often automatically > put in the "Big Band" section in some stores, so fans may have overlooked > this upon its release. > > For a series of concerts in France, McShann assembled a diverse unit > inclluding Benny Carter (one of the few active players who PREDATES > McShann!); Phil Woods (who I never would have imagined playing this > sort of music); stalwarts like Hal Singer and Jimmy Heath; and relative > youngsters like Terence Blanchard. Vocals are handled by the soulful > yet urbane Ernie Andrews, who's bluesy in the Joe Williams manner. > > Many of McShann's classics use the A-A-B structure common to many > blues songs, and the master's piano has never abandoned that > barrelhouse-rooted feel, although he's always had one foot in swing, > yet has always, like Earl Hines, kept an ear open to the modern > (Parker's playing made total "sense" to McShann and McShann could > hear the blues roots in it at a time when many couldn't stand > listening to the Bird). > > This live session has a relaxed feel, a spacious sound (a bit too > "airy" for my tastes, but it must have been the nature of the "room"-- > who am I to criticize producer John Snyder!), and a generous 70 min. > playing time. The sparks don't fly, but they settle into a juicy > groove with each tune and the solos are always imaginative (would > you expect any less with players the calibre of Benny Carter, to > me the most DISTINGUISHED living jazzman?). > > Kansas City-ites like McShann, Kirk, Basie, Mary Lou Williams, > the Motens, Harlan Leonard, et al all interpreted the blues > differently, but there is certainly a "sound" to all the bands > that great city produced. I read a fascinating book about the pre-war > Kansas City music scene that was published by some university press > ("Goin' To Kansas City" perhaps was the name? I don't remember) in > the late 80s that really opened my eyes about the wide-open nature > of the city in the 20s and 30s. Perhaps someone can help us with > the title/publisher/author, etc. It's a MUST read. > And this album is a valuable document and another "branch" from the > KC tree. > > ps, another album somewhat like this that I recommend is the > early 90s Johnny Otis album "Spirit of the Black Territory Bands" > on the Arhoolie label (w/ one of Johnny's beautiful paintings > on the cover). Otis played in Harlan Leonard's Kansas City band > before starting his own, so what goes around seems to come around > in this case. Fine listening--again, the sparks don't really fly, > but we'll credit that to "maturity," right? > > > Bill Shute > San Antonio, TX > ========================================================================= Date: Tue, 12 Sep 1995 16:33:20 CST From: John Wells Subject: LW's playing I had the enjoyment of watching and listening to LW play slide on his Dobro last Saturday night, and I thought he did a FINE job. The problem was with the venue/audience, neither of which was geared for acoustic playing at that particular moment. There seemed to be many distractions that kept attention from being focused on LW's music. The unamplified Dobro unfortunately lost the volume competition to the after-the-ballgame crowd vying for drinks at the bar, while outside at another stage, most of the audience talked noisily to each other during the soundcheck for the next band, unaware that someone was performing inside. The only reason I caught any of his playing was because I just happened to look inside and saw him playing, so I went in to listen. You most certainly didn't suck, Leonard. As often happens in our communication efforts, you were transmitting, there just weren't alot of people tuned-in to receive! Not really anyone's "fault". The Alabama Blues Society did a good job hosting a good event at a good club. I've either performed at or attended several similar events there, and I don't know if it was the full moon or WHAT, but it was just one of those nights where the audience seemed to keep their distance. I heard some good bands playing some good blues that night, and even they were having to WORK HARD for only a little response. The "Boogie Daddy" (whose own tranmitter seemed to be on the blink that night!) ========================================================================= Date: Tue, 12 Sep 1995 21:24:57 GMT From: Barry Bean Subject: Re: House of Blues or Austin City Limits - Which is better? In <199509121726.NAA63976@tequesta.gate.net>, "P.W. Fenton" writes: > >Any more questions? But how do you REALLY Feel? ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Tue, 12 Sep 1995 18:40:51 -0400 From: Tom Freeland Subject: Re: Your Choice In a message dated 95-09-12 16:33:02 EDT, LW wrote: > Who would you like to see that you've never seen or see again.....I'm >talking about living artists of course... LW didn't limit it to blues; my largest "wants" that I haven't seen are Richard Thompson with full band and the Staples Singers, ideally with Booker T. and the MGs. Of ones I've seen, another R. Thompson acoustic show, a P-Funk show, that Stax soul revue they had at B.B. Kings a few years ago (once again, with Booker T. and folks like Sam Moore, Eddie Floyd, and Jay Blackfoot), and, I guess technically possible but-it-ain't-going-to-happen, Dylan with the Band. That one should stay as-remembered and not try to repeat, I suspect. There are a lot of local folks (Jack Johnson, R.L. Burnside, Junior Kimbrough) that I always want to see and see pretty regularly. Tom Freeland ========================================================================= Date: Tue, 12 Sep 1995 17:59:48 -0500 From: Rob Varak Subject: Re: Your Choice At last , one of L W's patented post starters... My picks... Lyle Lovett Bobby Radcliff Gatemouth Brown (again) Buddy Guy (do the kind of show I saw when he recorded his forthcoming (?) live album) Prince/0(+> (again) R.L. Burnside(again) Bonnie Raitt Ray Charles (again) The list goes on and on. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 12 Sep 1995 17:54:00 PDT From: Meridith Farnworth Subject: Re: House of Blues or Austin City Limits - Which is better? No question in my mind... ACL to be sure! HoB is far too commercial and "in your face" about everything for my taste (but I'll still watch on the rare occasion they have a Blues artist). --Meri ========================================================================= Date: Tue, 12 Sep 1995 23:17:38 -0000 From: Ken Peace Subject: UK Blues gigs Here are the gigs for my band "Down at Antone's" for the rest of this month. Fri 22nd Sept at The George, Accrington Jeez is that all? Things are getting really tight around here. Cheers Ken --------------------------------------------------------------- Ken Peace |Down at Antone's kenpeace@acer.u-net.com |Red Hot Texas Blues Chester, UK |Swinging 'n' Shuffling in the U.K. ---------------------------------------------------------------- ========================================================================= Date: Tue, 12 Sep 1995 23:17:36 -0000 From: Ken Peace Subject: Re: Koerner, Glover and RAy >Does anyone know of a story or company that will send me airmail to Japan >the _Koerner, Glover and Ray_ CD re-release of the old album from the >sixties. Try Red Lick Records in the good old U.K. +44 1766 770990 Fax 771010 Happy hunting... Ken --------------------------------------------------------------- Ken Peace |Down at Antone's kenpeace@acer.u-net.com |Red Hot Texas Blues Chester, UK |Swinging 'n' Shuffling in the U.K. ---------------------------------------------------------------- ========================================================================= Date: Tue, 12 Sep 1995 19:03:00 CDT From: "" Subject: Re: House of Blues or Austin City Limits - Which i After much viewing and reflection, IMHO House of Blues is another farce burger joint copy of the Hard Rock Cafe, both started by Isaac Tigret and Akroyd. AT least the Hard Rock didn't advertise something yet deliver something else. Anyone ever heard of 'Bait and switch'? This seems to be the HOB's MO. But unfortunately, there seems to be an unlimited number of suckers that will pay to participate in such a farce. No flames please. I will refuse to reply if there are. THIS IS JUST IMHO. Thanks for the vent, Richard Chalk TopCat Records ========================================================================= Date: Tue, 12 Sep 1995 19:07:22 -0500 From: "Henry Busse Jr." Subject: birthdays 9/13/95 ABRAMS, RICHARD ( MUHAL RICHARD, ABRAHAMS ) Born:1930 CHICAGO, IL Occupation:PIANO / CELLO / CLARINET / ARRANGER Worked With:MILES DAVIS / MAX ROACH / SONNY ROLLINS Style:JAZZ / BIG BAND BERRY, CHU ( LEON BERRY ) Born:1910 WHEELING, WV Died:10 31 1941 CONNEAUT, OH Age:31 Occupation:TENOR SAX Worked With:BENNY CARTER / CHARLIE JOHNSON / TEDDY HILL / FLETCHER HENDERSON / CAB CALLOWAY DIED IN AUTO ACCIDENT Style:JAZZ / BIG BAND BROWN, CHARLIE Born:1922 TEXAS CITY, TX Occpation:PIANO / SINGER Worked with:JOHNNY MOORE'S THREE BLAZERS Style:BLUES EWART, DOUGLAS ( RANDOLPH ) Born:1946 KINGSTON, JAMAICA Occupation: ALTO SAX /FLUTE Worked With:CHICO FREEMAN / ROSCOE MITCHELL / FRED ANDERSON Style:JAZZ FEATHER, LEONARD ( GEOFFREY ) Born:1914 LONDON, ENGLAND Died:09 22 1994 LOS ANGELES, CA Age:80 Occupation:JAZZ CRITIC / PIANO / COMPOSER / PRODUCER Style:JAZZ / BIG BAND HALLBERG, BENGT Born:1932 STOCKHOLM, SWEDEN Occupation:PIANO / ARRANGER / COMPOSER Worked With:ARNIE DARMNERUS / LARS GULLIN / STAN GETZ / KARIN KROG Style:JAZZ / BIG BAND HAYMES, DICK Born:1916 BUENOS AIRES, ARGENTINA Died: 03 28 1980 LOS ANGELES, CA Age:64 Occupation:64 Worked With:HARRY JAMES / HELEN FORREST Style: POP / BIG BAND LUKLWSKI, TERRY Born:1950 ESTERHAZY,SASK, CANADA Occupation:TROMBONE Style:JAZZ SHIELDS, LARRY Born:1893 NEW ORLEANS, LA. Died:11 21 1953 LOS ANGELES, CA Age:60 Occupation:CLARINET / COMPOSER Worked with:ORIGINAL DIXIELAND JAZZ BAND Wrote:AT THE JAZZ BAND BALL / FIDGETY FEET / LIVERY STABLE BLUES Style:JAZZ THOMAS, GEORGE aka CLAY CUSTER Born:1885 HOUSTON, TX Died:10 30 1930 CHICAGO, IL Age:45 Occupation:PIANO(BOOGIE WOOGIE) COMPOSER / PUBLISHER Worked With: CLARNECE WILLIAMS Wrote:NEW ORLEANS HOP SCOP BLUES / THE FIVES / THE ROCKS BROTHER HERSAL THOMAS Style:BLUES TORME, MEL (MELVIN, HOWARD ) Born:1925 CHICAGO, IL Occupation:SINGER / DRUMMER / COMPOSER / ARRANGEER / AUTHOR Worked With:CHICO MARX / ARTIE SHAW / GEORGE SHEARING Wrote:THE CHRISTMAS SONG Style:JAZZ / BIG BAND ========================================================================= Date: Tue, 12 Sep 1995 15:33:34 PDT From: rjbauman@IQUEST.NET Subject: Re: Your Choice ====Who would you like to see that you've never seen or see again.....I'm talking about living artists of course...================= I've got both of Smokey Wilson's recent CD's and I would drive up to 4 or 5 hours to see him live. It's almost like hearing the Wolf himself, except with a really agressive guitar style. RJ Bauman ========================================================================= Date: Tue, 12 Sep 1995 20:18:02 -0400 From: Dick Waterman Subject: EMAIL FOR BB'S BIRTHDAY After a bit of arm-twisting, I was able to get Chastain Park in Atlanta to accept birthday wishes that will be printed out and given to B.B. King as he celebrates his 70th birthday there on Saturday. The machine shuts down at 4:00PM on FRIDAY so everything must be received by that time. It would be my suggestion that we go about it this way: 1/ Tell him where the message is coming from so he'll know that his fans are global. 2/ Give him the name of the hall/theater/arena where you saw him in your city/province/country. 3/ A brief statement from the heart about what the man and his music have meant to you. Enjoy . . . . B.B. King Birthday Wishes CONSOPRO@MINDSPRING.COM dick waterman ========================================================================= Date: Tue, 12 Sep 1995 21:51:23 -0400 From: ConnorRay Subject: Re: Please suggest acoustic performers Ranko, You can't go wrong with Tom Ball & Kenny Sultan from Santa Barbara. I think they are on Flying Fish and have quite a few good records to their name. I saw them many times when I lived in Ca. Absolutely can't go wrong! Has anyone else seen them recently? Steve Krase ConnorRay@aol.com ========================================================================= Date: Tue, 12 Sep 1995 22:09:56 -0400 From: Jim McGlynn Subject: Re: Jay McShann "Paris All-Star Blues" Bill Shute wrote: >I read a fascinating book about the pre-war >Kansas City music scene that was published by some university press >("Goin' To Kansas City" perhaps was the name? I don't remember) in >the late 80s that really opened my eyes about the wide-open nature >of the city in the 20s and 30s. Perhaps someone can help us with >the title/publisher/author, etc. It's a MUST read. You've got the name right -- "Goin' To Kansas City" by Nathan Pearson (Univ. of Illinois Press,1987) and I agree that it's a must for anyone with an interest in blues-driven big-band jazz. The book is largely oral history based on interviews with folks who were part of that musically magical time and place. Jim McGlynn -- ========================================================================= Date: Tue, 12 Sep 1995 23:18:53 -0400 From: Neil Cassidy Subject: roberts suggests Steve James Yes! Steve James is a great show. An incredible perfromer and scholar of the blues. ========================================================================= Date: Tue, 12 Sep 1995 20:22:12 PDT From: Jim Rutherford Subject: junior parker anyone know of a good place to find cd's by little junior parker? been a fan since the early 60's and my vinyl's pretty scratchy. regards, jim rutherford ========================================================================= Date: Tue, 12 Sep 1995 23:49:23 -0400 From: "John Puleo. User" Subject: Re: Looking for a Name for my blues band. Thanks to all who sent there suggestions. There were many good ones but I still haven't found one I like. I am still taking names if anyone has any good ones. I would like it to have the word "Blues" in it. Come on I know you can do it!!! John ========================================================================= Date: Wed, 13 Sep 1995 00:01:25 -0400 From: James Leftwich Subject: SRV Tribute hey all, What's the deal with the SRV tribute. Will there be a CD, a video, a televisiton program? Anyone know? Jim ========================================================================= Date: Tue, 12 Sep 1995 15:58:28 -0400 From: Steve Levine Subject: Re: Your Choice *Who would you like to see that you've never seen or see again.....I'm talking *about living artists of course... BB King, Jimmie Vaughan, James Harman, Gary Primich (seen once, HAVE to see again!) Never seen: Paul deLay Paul Rishell and Little Annie Raines Jimmy Johnson John Lee Hooker Tom Waits Toots Thielemans Larry Adler Bobby Radcliff ========================================================================= Date: Wed, 13 Sep 1995 00:41:44 -0400 From: Bill Reiser Subject: Re: Looking for a Name for my blues band. On Tue, 12 Sep 1995, John Puleo. User wrote: > Thanks to all who sent there suggestions. There were many good ones but I > still haven't found one I like. I am still taking names if anyone has any > good ones. I would like it to have the word "Blues" in it. Come on I know > you can do it!!! John Puleo. User Blues Explosion Case closed? How about the Blues Deacons? Blues Meanies Little Boys Blues Doesn't someone in the band have some annoying quirk you can point out in the band name? Stinky Joe and the Tube Socks or something? Stinky Joe and the Blues Tube Socks? Hootie and the Bluefish might pack 'em in. BR ========================================================================= Date: Wed, 13 Sep 1995 00:43:19 -0400 From: Patti Bowman Subject: Re: Your Choice Ok, so I haven't seen the "greatest" like PW or LW (are you guys the W Bros.?) perhaps but I have seen a DIVERSE spectrum............. BB King (of course) and Eric Clapton (3rd row & RR row............3rd row was better), Tori Amos (2x, she's awesome) and Elvis (with my mom when I was 12 or 13), Tom Petty (very cool, great show) and KoKo Taylor (seemed tired but posed for lots of pics), Concrete Blonde (great) and John Prine (came across as NOT such a great guy back stage 1982?), 10,000 Maniacs (DUI on the way back) and Jeff Healey (would leave my husband for him), Melissa Etheridge (man, can she rock) and Charlie Musselwhite (blew in my harmonica earring), Springsteen (4x and would pay premium for 4 more ) and Duke Robillard (sweaty but great), Grateful Dead (1x, long story) and Satan & Adam (3x, three long stories), Dire Straits (shitty seats, great sound, great lights) & Denise LaSalle (incredible sound but quite a primadonna backstage), Peter Grabriel (one of THE BEST concerts of my life) & Santana (no comment necessary), Dylan (my lifetime fav.) and Barry Manilow (my first love - musically), George Thoroughgood ( definitely bad to the bone) and Sapphire (too cool for words), Aaron Neville (the voice of an angel) and The Beach Boys (Mike Love invited me backstage '81), Bonnie Raitt ( THE best) Allman Bros. (loved the energy) I love MOST music ( perhaps because I am such a lousy musician.) Plan to share all of this with my daughter (9 years old) whose favorites are TLC, Tori Amos, Mozart, Bryan Adams, and the Righteous Bros. Gotta love that. I feel proud to have nutured such an open-mind. -Patti ========================================================================= Date: Wed, 13 Sep 1995 00:43:31 -0400 From: Patti Bowman Subject: Re: ACL & HOB >One MAJOR difference in ACL and HOB is one is a non-profit deal, as in Public >Television, that is supported by various means, including the viewers. > >HOB is 100% for profit and that's the only concern they have, which is fine. >That's why most people are in business.. > >LW But this is America. I was really excited that HOB was happening but after a few weeks, I was unsatisfied. I stopped watching it. That's the only way to vote here in the US - don't support what you don't believe in. I send money to PBS when they have their telethon. I can't imagine them not being there......bringing me the stuff I want....like ACL. My, isn't it simple? -PBB ========================================================================= Date: Wed, 13 Sep 1995 01:00:09 -0400 From: "John Puleo. User" Subject: Anyone Know the Lyrics to "Couldn't Stand The Weather"? Does anyone know the lyrics to "Couldn't Stand the Weather"? I have checked all of the Lyric Servers and have not been able to find them. Help!!! John ========================================================================= Date: Wed, 13 Sep 1995 00:31:52 -0600 From: Watterworth Jay Subject: Re: Looking for a Name for my blues band. Let's see, Blue Cheer has a nice ring to it. Jay Watterworth CU Boulder On Tue, 12 Sep 1995, John Puleo. User wrote: > Thanks to all who sent there suggestions. There were many good ones but I > still haven't found one I like. I am still taking names if anyone has any > good ones. I would like it to have the word "Blues" in it. Come on I know > you can do it!!! > > > John > ========================================================================= Date: Wed, 13 Sep 1995 00:46:13 -0600 From: Watterworth Jay Subject: Re: Your Choice I think your posting is the most interesting I have read during this thread. Nicely done. I have seen BB King twice, Eric (with Cream) 3x, Tori Amos 3x (she is wonderful live. I have a cd of a concert here in Boulder that shows what she does so well - create magic.) Saw a later Dylan concert, George Thoroughgood twice (the ulimate frat band) But I have also seen a nice number of blues players, too. But considering the ones I would like to see that I haven't gotten to yet it all gets blurry. The answer seems to be all of them, particularly the next real good one. And, contrary to those who feel there isn't much new or cutting edge in the blues, I have a feeling they're out there. Jay Watterworth CU Boulder On Wed, 13 Sep 1995, Patti Bowman wrote: > Ok, so I haven't seen the "greatest" like PW or LW (are you guys the W Bros.?) > perhaps but I have seen a DIVERSE spectrum............. > > BB King (of course) and Eric Clapton (3rd row & RR row............3rd row > was better), > Tori Amos (2x, she's awesome) and Elvis (with my mom when I was 12 or 13), > Tom Petty (very cool, great show) and KoKo Taylor (seemed tired but posed > for lots of pics), > Concrete Blonde (great) and John Prine (came across as NOT such a great guy > back stage 1982?), > 10,000 Maniacs (DUI on the way back) and Jeff Healey (would leave my > husband for him), > Melissa Etheridge (man, can she rock) and Charlie Musselwhite (blew in my > harmonica earring), > Springsteen (4x and would pay premium for 4 more ) and Duke Robillard > (sweaty but great), > Grateful Dead (1x, long story) and Satan & Adam (3x, three long stories), > Dire Straits (shitty seats, great sound, great lights) & Denise LaSalle > (incredible sound but quite a primadonna backstage), > Peter Grabriel (one of THE BEST concerts of my life) & Santana (no comment > necessary), > Dylan (my lifetime fav.) and Barry Manilow (my first love - musically), > George Thoroughgood ( definitely bad to the bone) and Sapphire (too cool > for words), > Aaron Neville (the voice of an angel) and The Beach Boys (Mike Love invited > me backstage '81), > Bonnie Raitt ( THE best) Allman Bros. (loved the energy) > > I love MOST music ( perhaps because I am such a lousy musician.) Plan to > share all of this with my daughter (9 years old) whose favorites are TLC, > Tori Amos, Mozart, Bryan Adams, and the Righteous Bros. > Gotta love that. I feel proud to have nutured such an open-mind. > > -Patti > ========================================================================= Date: Wed, 13 Sep 1995 05:00:54 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 13th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- AUGUST, JOE "MR. G" (v) b. 1931-0913, NEW ORLEANS, LA BERRY, LEON BROWN "CHU" (tsax/BASIE) b. 1908-0913, WHEELING, W. VA BROWN, CHARLES (p) b. 1922-0913, TEXAS CITY, TX CARTER, NELL (v) b. 1948-0913, BIRMINGHAM, AL CHARLES, RAY SINGERS [RAYMOND OFFENBERG] b. 1918-0913, CHICAGO, IL CLAYTON-THOMAS, DAVID(v/BLOOD SWEAT&TEARS)b. 1941-0913, SURREY, UK DEPARIS, SIDNEY (tpt) d. 1967-0913, NEW YORK CITY, NY 62 FEATHER, LEONARD G. (p/author/songw) b. 1914-0913, LONDON, UK FORD, HERBERT E. (d/arr/MERCURY REC) b. 1950-0913, BROOKLYN, NY GORDON, ISSACHER "IZZYCOO"(of THE SPIDERS)b. 1934-0913, NEW ORLEANS, LA GREEN, LILLIAN PEARL (v/gospel/MYRRH REC) b. 1951-0913, RENFREW, ONTARIO HUMES, HELEN (v/BASIE) d. 1981-0913, SANTA MONICA, CA 68 JOHNSON, JAMES(of THE VIBRATIONS/JAYHAWKS)b. 1939-0913, BROOKLYN, NY JORDAN, STEVE (g) d. 1993-0913, ALEXANDER, VA 74 LEWIS, MEADE ANDERSON "LUX"(p/boogie woo) b. 1905-0913, CHICAGO, IL MONROE, WILLIAM SMITH "BILL" (md/songw) b. 1911-0913, ROSINE, KY SEMIEN, IVORY LEE "KING" (d/HOP WILSON) b. 1931-0913, WASHINGTON, LA SLEDGE, JONI (of THE SLEDGE SIS) b. 1956-0913, PHILADELPHIA, PA TRIETSCH, KEN (lead/HOOSIER HOT SHOTS) b. 1903-0913, MUNCIE, IN UZZELL, MOSES (of THE CORSAIRS) b. 1939-0913, LA GRANGE, NC ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Sep 1995 05:45:49 -0400 From: Fred Sokolow Subject: Re: Soundies (1940s short musical films) The soundies are great...I see them played as fillers on the cable TV channel, AMC (American Movie Classics)...Fred S. ========================================================================= Date: Wed, 13 Sep 1995 07:46:44 CDT From: L W Subject: LW's playing ----------------------------Original message---------------------------- > I had the enjoyment of watching and listening to LW play slide on >his Dobro last Saturday night, and I thought he did a FINE job. >ar, while outside at another stage, most of the audience talked >noisily to each other during the soundcheck for the next band, >unaware that someone was performing inside. The only reason I caught >any of his playing was because I just happened to look inside and saw That' 100% MY FAULT. The "MC" (Randy Turner) was going to the main electric stage to introduce me and let people know I was playing inside. Being the shizoid that I am when it comes to performing, I asked him not to. My eight year old yougun said people were saying "yeah" when I was playing and and if an 8 yr old thinks you suck, he'll tell you without hesitation. I also want to mention John Wells gave my 6 yr old 25 cents as a down payment on a drum set. I spent most of Sunday telling him "No we aren't going to look for drums" :-) Thanks John ....I really needed that LW ========================================================================= Date: Wed, 13 Sep 1995 07:57:04 -0500 From: Jeff Seale Subject: can't lose labels I was in the cd store last night and saw several cds that I want. I picked up the Li'l Son Jackson, Blues Come to Texas on Arhoolie. I got to thinking, are there any *bad* Arhoolie releases? I don't think so. What are some of the other "can't lose" labels? By that I mean, you could almost blindly buy anything on that label and be satisfied. Arhoolie, Prestige-Bluesville, Testament, Delmark???? -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Wed, 13 Sep 1995 07:58:36 -0500 From: Jeff Seale Subject: Texas Johnny Brown in SA Just a reminder for everyone within driving distance of San Antonio - TEXAS JOHNNY BROWN will be playing at Billy Blues on Friday night. The show starts at 9:00. Fellow Blues-l'er James Foster and I will be there and we'd like to see some more of you! -Jeff (TEXAS JOHNNY BROWN for sale) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Wed, 13 Sep 1995 08:01:44 -0500 From: Jeff Seale Subject: Re: LW's playing I'd pay good money to see LW headlining a gig opened by Keb Mo! -Jeff ( ;-) ) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Wed, 13 Sep 1995 09:07:48 -0400 From: Jim McGlynn Subject: Re: junior parker Jim Rutherford wrote: >anyone know of a good place to find cd's by little junior parker? been a >fan since the early 60's and my vinyl's pretty scratchy. Parker's "Junior's Blues: The Duke Recordings, Vol.1" (MCA MCAD 10669) is a wonderful (and I mean go out and find it NOW) collection of his stuff for Don Robey's Houston-based Duke label from 1954-64. There's a range evident over those years from the rawness of early Memphis electric (he played harp in one of Wolf's earlier Memphis bands) to an almost Sam Cooke- ish urbanity in some of the later sessions (with driving arrangements from Duke's in-house man Joe Scott.) Through it all, Parker blows fine, tasty harp and his vocals are sublime. I'm keeping an eye out for volume 2, which is presumably in the works. There's also "Mystery Train" on Rounder which has great Sun recordings from Parker, Pat Hare and James Cotton and a nice cover photo of Junior shaking hands with the young Elvis who was to turn Parker's "Mystery Train" into the kind of mainstream hit the man himself was never to have. Jim McGlynn -- ========================================================================= Date: Wed, 13 Sep 1995 06:19:06 -0700 From: Garry Segal Subject: HOB/ Good to Artists As a traveling musician constantly on the road, here is something I posted several months ago. HOB treats the artists who play there fantastic ! They are an oasis on a road filled with clubs that barely advertise, charge bands full price for everything and generally act like bands are a big bother. NOT AT HOB ! They give bands free food ,drink and help with moving equip etc. Whatever you think about their TV show, marketing ploys etc. They treat the blues artists (and rock artists) with more respect and generally more $$s than the average club. Because they offer more than just blues maybe they should change their name but then we remove another mainstream boost to the music in the media. I ask if anyone knows of a fulltime touring blues artist that felt ripped off after playing a HOB. LW recently posted that Charles Brown is coming to town and has not been getting any advertising and the band doesnt even know how to get to the club! Charles would do better to play at the HOB. There are many facets to the HOB organization, not all of which I agree with but they do not deserve the constant bashing they always get on this list. Garry and those eager to play HOB again MOODSWINGERS MOODSWINGERPAGE http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 13 Sep 1995 09:19:01 -0400 From: CATBAUER Subject: Robert Cary/Bob Margolin show Saw...or should I say heard Robert Cray last night at the Water St. Music Hall while doing an online chat with his opening act, Bob Margolin. Very simply a great show. He did his classics, his voice was in top form, considering the driving they are doing from show to show and the lack of sleep they are probably exhausted. I was amazed at the energy he had. The crowd couldn't have been happier having him here. When the other musicians in the crowd are raving about a performance you can be sure it's good. As far as Bob Margolin...what can you say about a guy who has the confidence to toss Sam Cooke's "Good Times" into his set? Bob did a couple of his new ones but didn't forget the Muddy Waters tunes he does so well. I had read some negative comments about Bob's recent shows and didn't see that last night. He came into a room of 1,000 people who had paid $20 to see Robert Cray and the majority had no clue who Bob Margolin was. He did a wonderful job of introducing himself to the audience and gained a number of new fans. I overheard a number of people asking, "who is this guy & where's he been hiding?" He did a wide variety of tunes, all different tempos...this crowd actually listened to him, not normal for an opener here. I saw a couple of other blues-l people there last night and would love to know how they liked the show. I'd suggest anyone who has the chance to catch both of these acts on their respective tours. Cat Catbauer@vivanet.com ========================================================================= Date: Wed, 13 Sep 1995 06:26:26 -0700 From: Garry Segal Subject: South Africa Now that its politically and morally correct to play South Africa I have accepted an invite to bring the band to Capetown. Does anybody have any info on what to expect? Advice on culture ? Food? Beer? Thanks ! Garry and those globe trotting MOODSWINGERS email BlueSngr@ix.netcom.com BTW as a formewr AOLer, I sympathize with those continuing to get screwed by them. Just dump 'em ! I did ,its ez! ========================================================================= Date: Wed, 13 Sep 1995 10:31:23 -0300 From: Rob Hutten Subject: Re: Your Choice > Who would you like to see that you've never seen or see again.....I'm talking > about living artists of course... I've never seen *anyone* - closest thing I've seen to a real live blues show out here in this blues vacuum is Joe Murphy, a local blues/rock/zydeco act. You people who've seen Wolf and Muddy et al - I'm supreeeeeemly jealous. My big list is: Jack Owens & Bud Spires Honeyboy Edwards Pops Staples I have to admit that there's a bias here - I'm fascinated with this older generation of musicians and I hate to think that they could soon be gone... But I'd love to see some "young'uns", too: John Hammond Taj Mahal Bonnie Raitt (I'd LOOOOOOVE to see her to a solo acoustic set) Ari Eisinger (How 'bout a Halifax gig, Ari? :) Bring some Blues to this land of the never-ending celtic fiddle) -Rob ========================================================================= Date: Wed, 13 Sep 1995 07:00:47 -0800 From: Michael Hewitt Subject: Re: Looking for a Name for my blues band. Hmmm...I believe there was a band called Blue Cheer in the mid to late 60's. I keep thinking they did a cover of Summertime Blues....or was that Vanilla Fudge? Anyway, I think Blue Cheer has been used. : ) At 12:31 AM 9/13/95, Watterworth Jay wrote: >Let's see, Blue Cheer has a nice ring to it. >Jay Watterworth >CU Boulder > Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Wed, 13 Sep 1995 09:15:23 -0400 From: Willy Evans Subject: Re: LW's playing > mention John Wells gave my 6 yr old 25 cents as a down payment on a drum set. > I spent most of Sunday telling him "No we aren't going to look for drums" :-) > Thanks John ....I really needed that > LW > Don't discourage the boy. We need to start raising drummers and bass players NOW!! I've got my nephew on bass and drums!! Loosen up dad! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 13 Sep 1995 08:59:18 CDT From: L W Subject: musician question..Am I weird I hope ya'll don't think I'm a mental case (shut up :-)) for saying this, cause I very well my be..... Do you not feel like you exposing a deep part of yourself when you play LIKE YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner feelings when I play. I play from deep down inside and I feel like I'm kind of exposing a very private part of me......Am I making sense. It's like the real me coming out when I play my best....Which is usually when I'm alone (I bet that sounds familar)...It's frightening to me to share my inner most feeling with strangers and even some friends. My wife and close friends has experiecned it and I usually have to rest a minute or two after I "let go".... I think that's what seprarates the "really good" from the mediocre....The really good consistently let themselves "be exposed".... I'm etiher CRAZY or do someof you feel that way. Am I "romanticing" the whole she-bang Does anyone feel that way, How can I break out of my self-imposed shell LW 'A bonafide nut-case....I really hope not" ========================================================================= Date: Wed, 13 Sep 1995 10:14:53 -0400 From: Rick Miller Subject: ACL v. HOB YOu kiddin? Austin City Limits is far superior, for all of the previously posted reasons. AND...I have seen many GREAT non-blues acts on ACL as well. Lyle Lovett and Neil Young, just for openers. It seems like such a cool stage too. :) Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 13 Sep 1995 10:18:28 -4 From: "P.W. Fenton" Subject: HOB - The good parts I have to concur with Gary about the good side of the House Of Blues. I know a couple of small time bands who managed to get themselves booked at the New Orleans H.O.B. They tell me they were treated like kings. They were treated the way you would imagine a big star would be treated. AND they were paid very, very well for playing just one set. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 13 Sep 1995 08:33:11 -0600 From: Bruce Pech Subject: Re: Looking for a Name for my blues band. On Wed, 13 Sep 1995, Watterworth Jay wrote: > Let's see, Blue Cheer has a nice ring to it. SHAME on you Jay. Remember, "Just say 'no'." BP Boulder, CO (Who liked the pun better than their music) ========================================================================= Date: Wed, 13 Sep 1995 10:41:10 GMT From: "DUTTWEILER.J" Subject: Re: Looking for a Name for my bl Date: Wednesday, 13 September 1995 10:41am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Looking for a Name for my bl In-Reply-To: The letter of Wednesday, 13 September 1995 10:35am ET It *was* Blue Cheer, I had that album a *long* time ago. I thought their version was pretty killer until I heard the Who "Live at Leeds" - which totally blue me away. ========================================================================= Date: Wed, 13 Sep 1995 11:48:43 -0300 From: Rob Hutten Subject: Trouble, I've Had It All My Days Hiya - any of your geetar pickers know what tuning & key John Hurt used for "Trouble, I've Had It All My Days"? I'm suspecting DADGBE (low -> high) tuning in the key of D, similar to Tommy Johnson's voicings in that key (eg Big Road blues, Canned Heat Blues), but I've been wrong before. I worked out an arrangement in open D tuning, but it doesn't sound a whole herd of a lot like Hurt's... Thanks.. -Rob Rob Hutten UNIX guy Achtentachtig rob@acadiau.ca Acadia University, Wolfville NS drachtige 902 542 2200 x 1158 http://dragon.acadiau.ca/~rob/ varkens ========================================================================= Date: Wed, 13 Sep 1995 09:49:05 CDT From: L W Subject: HOB - The good parts ----------------------------Original message---------------------------- >I have to concur with Gary about the good side of the House Of >lues. I know a couple of small time bands who managed to get >themselves booked at the New Orleans H.O.B. They tell me they were >treated like kings. They were treated the way you would imagine a >big star would be treated. AND they were paid very, very well for >playing just one set. I think that's very important, but I wonder how ACL treats their artists. That of course, doesn't matter cause the post said HOB pays them well and IMHO that's a great point, thatnks for bringing it up LW ========================================================================= Date: Wed, 13 Sep 1995 09:51:49 -0500 From: Bruce Roberts Subject: Re: HOB/ Good to Artists > [...] LW recently posted that > Charles Brown is coming to town and has not been getting any > advertising and the band doesnt even know how to get to the club! > Charles would do better to play at the HOB. [...] Then why don't they have Charles Brown on their TV show? It's great that they treat the musicians that play there well, but the bottom line is - if you're going to call yourself House of Blues shouldn't the Blues be the main music you promote? Bruce Roberts Austin, TX ========================================================================= Date: Wed, 13 Sep 1995 10:51:38 -0400 From: Steve Levine Subject: Re: can't lose labels *What are some of the other "can't lose" labels? By that I mean, you could *almost blindly buy anything on that label and be satisfied. Yazoo and Rhino (most of the time). ========================================================================= Date: Wed, 13 Sep 1995 10:53:57 -0400 From: Steve Levine Subject: Re: HOB/ Good to Artists LW recently posted that *Charles Brown is coming to town and has not been getting any *advertising and the band doesnt even know how to get to the club! *Charles would do better to play at the HOB... But would HOB hire Charles Brown? ========================================================================= Date: Wed, 13 Sep 1995 09:54:47 CDT From: L W Subject: Charles Brown & The club to set things straight the agent and club manager will be meeting Charles amd the guys at the airport today. I expected a sellout and instead it's going to be realtively empty,..but hey Charles still gets his money... I'll try and get his inenteray tonight and post it to the list and all other places of interest so the club did behave somewhat better LW ========================================================================= Date: Wed, 13 Sep 1995 11:07:23 -0400 From: Peter Welch Subject: HOB..TV Show is the Problem As Gary Segal says, HOB is a good place for bands, but the complaint, I think, isn't so much about HOB itself, but about it's TV show, which generally doesn't show blues. I've noticed that Houses of Blues have booked many fine blues performers, but the TV show just doesn't show them with a couple of very rare exceptions. That's my complaint with HOB. -Peter ========================================================================= Date: Wed, 13 Sep 1995 10:36:27 -0500 From: Roger Struve Subject: Re: Looking for a Name for my blues band. -Reply Yes, Blue Cheer was a psychedelic band known for not moving during their performance. They did a cover of Summertime Blues which was an Eddie Cochran hit. Personally, I liked the group... Great name, comes out clean, in the wash or something. :-) regards, d.d.r. ========================================================================= Date: Wed, 13 Sep 1995 10:38:49 -0500 From: Baseflug Michael Subject: Re: musician question..Am I weird > Do you not feel like you exposing a deep part of yourself when you play LIKE > YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner > feelings when I play. I play from deep down inside and I feel like I'm kind of > exposing a very private part of me......Am I making sense. It's like the real LW, if your playing is like exposing a "private part of yourself", then, my friend, you are hung like a horse! ;) ;) Seriously, though. I, though I am still a rookie player, feel the same way. When I jam with others, I am quite reserved, since I'm a pretty quiet guy when it comes to emotions. When I'm playing all by myself with my 4-track and guitar, its a whole different story, ESPECIALLY if I have something to say (play). Believe me, I can relate exactly with you. Sometimes, especially lately (Labor Day was the 1 year anniversary of "the incident") I play for about 30 minutes, then have to sit down, have a smoke and a beer as it was just so intense of a moment, before I go back. I look back on my jams and rehearsals with others, including the POB thing, and just wish I could get that same thing out when I'm not alone. Comparing the 2, I'm a complete moron when playing with/for others. But, you just can't expose that part of ya, scared straight that people will just give you that look and laugh, or worse, ignore what you just expressed. i think I know what you're feeling, how you break that barrier and play through your feelings, I don't know yet. michael B i am the llama king. i can do anything ========================================================================= Date: Wed, 13 Sep 1995 10:46:02 -0500 From: Roger Struve Subject: musician question..Am I weird -Reply LW, You're right on the money....it's those feelings that people pay to see and experience...maybe because they don't have great expanse of ability to express those nonverbal feelings themselves, and are living vicariously through you, your feelings, which are expressed in your music. I played the Blues Saloon Monday night, second appearance there, and the reception was absolutely heady. Some guy comes running up as i am leaving the stage...eyes all ablaze...(i know the feeling...i used/still do feel that way about John Hammond when he plays) telling me how "perfect" my playing was...wondering if i would accompany him as he sings later and blows some harp. Sorry to disappoint him, but i am a solo act...never could, actually don't want to, play with other people...i like it just fine me, all alone on the stage, where i HAVE to pull it off, with no one to back me up....its a feeling of accomplishment that i could not walk away from... But anyway, people come up to talk after i played, that were sitting right there during the first half of the show right next to me...and didn't have a word to say...until i got done playing. I interpret this to mean that they are hearing/feeling something that i am doing that touched them. Therefore, i actually "crave" sharing my feelings through my music to the crowd. When i find i really did "touch" someone, it gives me a deep feeling inside of having connected....i don't know, but i like that feeling very much. The adoration of the crowd isn't so unpleasant either! :-) BUT, on the other hand, i feel just like you do about my singing...i know i can do it...i just can't seem to let loose of my inner feelings in my VOICE...so far, just in my instrumental musings. Therefore, i have made NO attempt to sing in public yet, until some point where i am as comfortable with my singing as i seem to feel about my playing. Best regards, delta doc roger ========================================================================= Date: Wed, 13 Sep 1995 09:46:48 CST From: JBards Subject: Re: HOB/ Good to Artists Hmmm, I wouldn't have called the recent thread on this "bashing" with regard to HOB- it was simply a comparison between the relatively straight-forward approach that ACL ( one of my favorite all-time shows) and the overproduced, commercial product that HOB televises. GRanted, I'd rather have the latter than nothing at all, but the amount of music that actually seeps through the commercials, outtakes and gratuitous fluff on HOB is really frustrating. Other than that, Ihave no complaint about HOB and think the chain is good for the industry. It's particuarly great to hear that they treat the artists well, BTW. -Jim _______________________________________________________________________________ Subject: HOB/ Good to Artists From: Garry Segal at INTERNET-SH Date: 9/13/95 8:58 AM As a traveling musician constantly on the road, here is something I posted several months ago. HOB treats the artists who play there fantastic ! They are an oasis on a road filled with clubs that barely advertise, charge bands full price for everything and generally act like bands are a big bother. NOT AT HOB ! They give bands free food ,drink and help with moving equip etc. Whatever you think about their TV show, marketing ploys etc. They treat the blues artists (and rock artists) with more respect and generally more $$s than the average club. Because they offer more than just blues maybe they should change their name but then we remove another mainstream boost to the music in the media. I ask if anyone knows of a fulltime touring blues artist that felt ripped off after playing a HOB. LW recently posted that Charles Brown is coming to town and has not been getting any advertising and the band doesnt even know how to get to the club! Charles would do better to play at the HOB. There are many facets to the HOB organization, not all of which I agree with but they do not deserve the constant bashing they always get on this list. Garry and those eager to play HOB again MOODSWINGERS MOODSWINGERPAGE http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 13 Sep 1995 11:02:21 -0400 From: Willy Evans Subject: Re: musician question..Am I weird LW, The only way that you can play your best is to give it all you got. You can't hold back. The emotional drain of playing is a large part of the fatigue of playing. A lot of times when you play, you'll be tired or disgusted at something, that's when you have to force the emotion out. When the emotion is there and you don't use it, shame on you! The reluctance to "expose" yourself is a large part of stage fright. Just keep doing it and you get over it! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 13 Sep 1995 08:43:10 -0700 From: Garry Segal Subject: Re: HOB/ Good to Artists You wrote: > > LW recently posted that >*Charles Brown is coming to town and has not been getting any >*advertising and the band doesnt even know how to get to the club! >*Charles would do better to play at the HOB... > >But would HOB hire Charles Brown? > Charles Brown has already played the HOB several times. Garry S. ========================================================================= Date: Wed, 13 Sep 1995 13:11:04 EST From: Leonardo Kenji Shikida Subject: From: Leonardo Kenji Shikida To: "John Puleo. User" Subject: Re: Looking for a Name for my blues band. In-Reply-To: <950912234922_17784279@emout05.mail.aol.com> Message-Id: Mime-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Once, I've thought about name my friends' band "Curacao Blues" because Blues is a music style that talk about many bourbons, scotchs and beers... and to make a tribute to "Blues Etilicos", a very famous blues band here in Brazil. My friends' band didn't even begin and it`s over. Maybe, you can have a better destiny to this name. _____________________________ Leonardo Kenji Shikida "I've been driftin... like a ship out on the sea... Well I ain't got nobody, baby... in this world that would care for me..." Charles Brown -/- On Tue, 12 Sep 1995, John Puleo. User wrote: > Thanks to all who sent there suggestions. There were many good ones but I > still haven't found one I like. I am still taking names if anyone has any > good ones. I would like it to have the word "Blues" in it. Come on I know > you can do it!!! > > > John > ========================================================================= Date: Wed, 13 Sep 1995 11:15:31 -0500 From: Roger Struve Subject: Re: Your Choice -Reply Whatever you do, SEE JOHN HAMMOND...there's nothing like him young or old...a show you WILL NOT forget, ever! regards, delta doc roger ========================================================================= Date: Wed, 13 Sep 1995 10:25:15 -0600 From: Watterworth Jay Subject: Re: Looking for a Name for my blues band. It was a joke son, a joke. (To quote the cartoon character.) Blue Cheer did do "Summertime Blues". They had a reputation as being the loudest band period. That song was used to open the first "underground" radio station (in San Fransico) around 1966 and therefore, an era. As I recall, their second lp was recorded on a pier in NYC because of the mass of equipment they drove and their volume precluded a studio environment. Yeah, it was used to death. Jay Watterworth CU Boulder On Wed, 13 Sep 1995, Michael Hewitt wrote: > Hmmm...I believe there was a band called Blue Cheer in the mid to late > 60's. I keep thinking they did a cover of Summertime Blues....or was that > Vanilla Fudge? Anyway, I think Blue Cheer has been used. : ) > > > At 12:31 AM 9/13/95, Watterworth Jay wrote: > >Let's see, Blue Cheer has a nice ring to it. > >Jay Watterworth > >CU Boulder > > > > Michael Hewitt mhewitt@telis.org > Region 7 Telementor MDH1953@aol.com > California Technology Project Troutbusters - Modesto, CA > > "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt > "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King > > > ========================================================================= Date: Wed, 13 Sep 1995 09:08:16 MST From: Bill Breen Subject: Re: Your Choice Want to see: Little Milton, Luther Allison, Kenny Neal, Guitar Shorty ....many more See again: BB King, Buddy Guy, Eric Clapton, Keb' Mo, Coco Montoya --bill-- ---------- From: owner-blues-l To: BLUES-L; bbreen Subject: Your Choice Date: Tuesday, September 12, 1995 1:00PM DATE: Sep 12 12:48:10 1995 -07:00 relative to GMT IPMessageID: ?BLUES-L(p)95091214110440(a)BROWNVM.BROWN.EDU? FROM: BLUES-L AUTHORIZED: ISTS024 TO: BLUES-L BCC: bbreen SUBJECT: Your Choice REPLY TO: ISTS024 IMPORTANCE: normal PRIORITY: ---------------------------------------------------------------------------- -- Who would you like to see that you've never seen or see again.....I'm talking about living artists of course... here's some of mine: Doug MacLeod (one day I'm gonna up and go to California just to see him) Ronnie Earl (I know I'll see him one day) Lyle Lovett (I will) Hank Crawford & Jimmy McGriff AGAIN Chet Atkins...I will see him again in November LW 'I'm leaving out somebody' ========================================================================= Date: Wed, 13 Sep 1995 10:28:14 -0600 From: Watterworth Jay Subject: Re: can't lose labels Rounder, Alligator, Elektra, Vanguard..... Jay Watterworth CU Boulder On Wed, 13 Sep 1995, Jeff Seale wrote: > I was in the cd store last night and saw several cds that I want. I > picked up the Li'l Son Jackson, Blues Come to Texas on Arhoolie. I > got to thinking, are there any *bad* Arhoolie releases? I don't think so. > > What are some of the other "can't lose" labels? By that I mean, you could > almost blindly buy anything on that label and be satisfied. > > Arhoolie, Prestige-Bluesville, Testament, Delmark???? > > -Jeff > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / Saint Valentine drove a red Continental > \ / with a headlight out and a dent in the side. > \( He swore it wasn't his, it was only rental > but he drove it every single night. -Joe Ely > ========================================================================= Date: Wed, 13 Sep 1995 16:32:21 +0000 From: Pat Hertel Subject: Re: HOB - The good parts On Wed, 13 Sep 1995, P.W. Fenton wrote: > I have to concur with Gary about the good side of the House Of > Blues. I know a couple of small time bands who managed to get > themselves booked at the New Orleans H.O.B. They tell me they were > treated like kings. They were treated the way you would imagine a > big star would be treated. AND they were paid very, very well for > playing just one set. > I too have spoken to people that have played the HOB and they all like it very much. You would think that that would translate into more audience satisfaction. My own opinion is that the negatives on the audience side outweigh this. It's too bad that the HOB doesn't show similar respect for its patrons. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [13/9/95 12:26 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 13 Sep 1995 14:47:28 GMT From: william higdon Subject: "Fever" - blues? I hope you folks won't bannish me from the list after this. Last night as I flipped by CMT, I heard Don Williams doing a vidio of a song called Fever. I have to tell you that it worries me a lot to think of Don Williams and Blues together:)... In our bygone (and happily bygone) lingo, Don Williams is NOT! But the music (I really don't know the words) sounds cool. <>, Bill Higdon. ========================================================================= Date: Wed, 13 Sep 1995 09:35:24 -0800 From: Don Cicchetti Subject: Re: musician question..Am I weird LW said: >Do you not feel like you exposing a deep part of yourself when you play LIKE >YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner >feelings when I play. I play from deep down inside and I feel like I'm kind of >exposing a very private part of me......Am I making sense. It's like the real >me coming out when I play my best....Which is usually when I'm alone (I bet >that sounds familar)...It's frightening to me to share my inner most feeling >with strangers and even some friends. My wife and close friends has experiecned >it and I usually have to rest a minute or two after I "let go".... > >I think that's what seprarates the "really good" from the mediocre....The >really good consistently let themselves "be exposed".... Abso-fuggen-lutely Leonard. Each time you play, its like making love for the first time with your honey. You need to get over being embarrased cuz yer nekkid, and get down to it son... You can't express yourself while you're worried about what you look like can you? It's twoo it's twoo..... The magic never happens till you let go... That doesn't mean technique etc is not important, it simply means that technique must *serve* the music making, and the artist must open up their heart to the music and the audience. Then, and only then does lightning strike.. kerrrrrr....... POWWWW! Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Wed, 13 Sep 1995 11:40:54 CST From: William Shute Subject: "can't lose" labels From: Bill Shute Perhaps some of these have already been mentioned, but here are a few of my picks: JSP Earwig Bear Family (if the reissue is of an artist you like, you can trust they've done it right!) Ace (UK--same as above. If it's an artist you like, they've done it right) Black Top (most of the time) Bullseye Blues (most of the time) American Music Topcat Billy Vera-compiled/annotated reissues (Specialty/Vee-Jay et al) Ichiban Soul Classics series Modern Blues Recordings Red Hot (based on their first two releases!) Winner (Evidence's blues reissues have had a pretty high batting average too) Bill Shute San Antonio, TX ========================================================================= Date: Wed, 13 Sep 1995 19:40:59 +0300 From: Jouni Ilari Hyyti{inen Subject: Oliver Morgan+where is Mr. Downey ? Oliver Morgan has a tour in Finland at October with Rockin Jake band. Please, our dear N.O experts, what shall we expect ?. If you have opinions about the man or the band, please let me/us know. Jake has done some gigs here in FUNland (har har, do you remember that song by Michael Palin...) with T.J. Wheeler. Does Jeff Hannusch (sorry if I write the name wrong) mention Mr. Morgan in his book ?. I do remember that one hit. regards, Jouni SERIOUS STUFF. JOE DOWNEY. PROMBLEMS WITH SERVER ?. MY MESSAGES TO YOU HAVE BEEN RETURNED TO ME. "550 host unknown". ========================================================================= Date: Wed, 13 Sep 1995 11:45:06 -0500 From: Jeff Seale Subject: Re: can't lose labels On Wed, 13 Sep 1995, Watterworth Jay wrote: > Rounder, Alligator, Elektra, Vanguard..... ^^^^^^^^^ After that Corky dude's Chamber Blues, I don't think I'd include Alligator... ;-) -Jeff (I do like the label for the most part though) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Wed, 13 Sep 1995 09:56:57 -0700 From: Adrian Spidle Subject: Re: Please suggest acoustic performers Cephas and Wiggins. Excellent Piedmont/ragtime ========================================================================= Date: Wed, 13 Sep 1995 10:14:32 -0700 From: Joe Lempkowski Subject: Chicago Blues Clubs Here is a list of clubs in the Chicago Metropolitan Area that feature blues on a regular basis. There are actually a boatload of them, but these are the clubs I can remember off the top of my head. Artis' 1249 E. 87th Street Chicago, IL (312) 734-0491 B.L.U.E.S. 2519 N. Halsted Chicago, IL (312) 528-1012 B.L.U.E.S. Etc. 1124 W. Belmont Chicago, IL (312) 549-5436 Blue Chicago 536 N. Clark Chicago, IL (312) 642-6261 Blue Chicago 736 N. Clark Chicago, IL (312) 661-0100 Buddy Guy's Legends 754 S. Wabash Chicago, IL (312) 427-1190 Checkerboard Lounge 423 E. 43rd St. Chicago, IL (312) 624-3240 Del Rhea's Chicken Basket 645 Joliet Road Willowbrook, IL (708) 325-0780 Fitzgeralds 6615 Roosevelt Road Berwyn, IL (708) 788-2118 Gavroche 1935 W. Irving Park Road Chicago, IL (312) 871-2233 Kingston Mines 2548 N. Halsted Chicago, IL (312) 447-4646 Koko Taylor's Chicago Blues 7 W. Division Chicago, IL (312) 337-2587 Rosa's 3420 W. Armitage Chicago, IL (312) 342-0452 ========================================================================= Date: Wed, 13 Sep 1995 12:18:41 CDT From: L W Subject: "Fever" - blues? ----------------------------Original message---------------------------- >I hope you folks won't bannish me from the list after this. >Last night as I flipped by CMT, I heard Don Williams doing a vidio >of a song called Fever. I have to tell you that it worries me a lot I don't know about that , the blues man Eric Clapton and Don Williams are/were close at one time. EC has covered a couple of DW's tunes. I bought a Don Williams album, wasn't too shabby...I like it better than some of the Billboard blues charts cd's.....Don Williams is a very interesting guy, also. I like him and would probally go see him in a club atmosphere LW 'been listening to Patsy Cline most of today...BY CHOICE' ========================================================================= Date: Wed, 13 Sep 1995 12:28:14 CDT From: L W Subject: Labels I can't lose ONLY ONE: ARHOOLIE. I haven't heard a bad one.......HAVE YOU (lemme know I might like it) :-) LW ========================================================================= Date: Wed, 13 Sep 1995 13:31:32 -4 From: "P.W. Fenton" Subject: Re: HOB - The good parts On13 Sep 95, Pat Hertel had this to say... > I too have spoken to people that have played the HOB and > they all like it very much. You would think that that would > translate into more audience satisfaction. My own opinion > is that the negatives on the audience side outweigh this. > It's too bad that the HOB doesn't show similar respect > for its patrons. What are the "negatives" on the audience side? How does HOBs show disrespect for it's audience. I've been to the HOB in New Orleans a few times as a customer and had a really good time. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 13 Sep 1995 14:41:45 -0300 From: Rob Hutten Subject: Re: musician question..Am I weird > Do you not feel like you exposing a deep part of yourself when you > play LIKE YOU KNOW YOU CAN. I would almost be naked on stage than to > expose my inner feelings when I play. What little performing I've done (coffee houses & variety shows) has always been a very different thing from what happens when I'm playing and singing alone at home. If my emotional state is right and I get a good song going, inevitably the tears start flowing. It's not crying - it's just a physiological reaction to singing that I get when the mood is right. Same thing happens in church sometimes. I think this is music at its best - a catharsis of sort. Now I'm not sure I'd even *want* that to happen during a performance. It'd be a little too intimate to share that with a bunch of strangers. I think that's what separates non-performers like me with great performers like Son House, who could achieve this emotional directness with the audience. (Well, there's also a huuuuuuuuge talent factor that separates us as well :-) ) In the footage I've seen, Son seems to almost collapse in his chair after the song is finished. I wouldn't feel comfortable exposing my emotional state like that on stage... I guess I'm just uptight :-) -Rob ========================================================================= Date: Wed, 13 Sep 1995 12:48:55 PDT From: rjbauman@IQUEST.NET Subject: Re: musician question..Am I weird So, like.... you're sorta *shy* when it comes to letting it all hang out?? Sounds normal to me! RJ Bauman >I hope ya'll don't think I'm a mental case (shut up :-)) for saying this, >cause I very well my be..... > >Do you not feel like you exposing a deep part of yourself when you play LIKE >YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner >feelings when I play. I play from deep down inside and I feel like I'm kind of >exposing a very private part of me......Am I making sense. It's like the real >me coming out when I play my best....Which is usually when I'm alone (I bet >that sounds familar)...It's frightening to me to share my inner most feeling >with strangers and even some friends. My wife and close friends has experiecned >it and I usually have to rest a minute or two after I "let go".... > >I think that's what seprarates the "really good" from the mediocre....The >really good consistently let themselves "be exposed".... > >I'm etiher CRAZY or do someof you feel that way. Am I "romanticing" the >whole she-bang > >Does anyone feel that way, How can I break out of my self-imposed shell > >LW 'A bonafide nut-case....I really hope not" > ========================================================================= Date: Wed, 13 Sep 1995 17:46:57 +0000 From: Pat Hertel Subject: Re: HOB - The good parts On Wed, 13 Sep 1995, P.W. Fenton wrote: > What are the "negatives" on the audience side? How does HOBs show > disrespect for it's audience. I've been to the HOB in New Orleans a > few times as a customer and had a really good time. > Well you have probably read about the problems in the L.A. HOB (how folks are treated relative to celebs). My own personal experience is with the Boston HOB and I am not alone in having a problem with this one. Just the fact that they make you stand - no tables no seats (accept maybe 3-4 at the bar) alone is IMHO unmitigated CRAP. We are talking a supposed blues bar not a outdoor venue or the like. If I remember correctly we have (being old farts) soemthing in common ... bad backs, even without that it's a negative experience. New Orleans might be an exception, probably HAS to be because in New Orleans you have the kind of competition you can't ignore. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [13/9/95 13:37 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 13 Sep 1995 13:32:37 -29900 From: Michael Kaloyanides Subject: Re: HOB/ Good to Artists As many of you remember, my band and I played the House of Blues, Cambridge several months ago and I posted an account of the experience which differed markedly from Garry's. In a nutshell, we paid for our own drinks, got abused by management when they disagreed with the reinforcement people as to show time, were given the runaround about parking, harrassed about the seven people we had on the guest list, in no way aided in moving equipment and had our final set cut short abruptly because a piano was being delivered for a later show. Maybe they all had a bad day, but I certainly can't gush with appreciation over the way they treat artists. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 13 Sep 1995 13:54:16 -0400 From: Rick Miller Subject: Dobro string recommendations please. Hi gang, can you guys recommend some good strings for my new Epiphone resonator that faithfully reproduce that nice swampy tone? I think the strings on this thing have been on it awhile. I place mostly a brass slide on it, in Open G, if that means anything vis-a-vis string choice. Oh, and this is (obviously) a wood guitar with the big insert in the middle with two vented sound holes up near the neck. It looks just like Keb Mo's axe on the album cover, 'except blonde wood on top. Oh yeah, and I use a combination of finger picking and flat picking. Thanks a bunch. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 13 Sep 1995 17:54:56 GMT From: "Snorri Kristjansson"@RHI.HI.IS Subject: Leadbelly/Guthrie Hello there. I have a question maybe some of you might be able to answer. I have heard that a CD will be/or have been issued recently. The interesting thing about this CD is that it (is supposed to) contains material by Leadbelly and Woody Guthrie, together performing some songs. IS this true?? Did they perform together at anytime?? I hope some of you blues experts out there mignt be able to help me out in this one! Thank you. Snorri (snorrkr@rhi.hi.is) ========================================================================= Date: Wed, 13 Sep 1995 13:13:02 -0400 From: Willy Evans Subject: Re: "Fever" - blues? On Wed, 13 Sep 1995, william higdon wrote: > I hope you folks won't bannish me from the list after this. > Last night as I flipped by CMT, I heard Don Williams doing a vidio > of a song called Fever. I have to tell you that it worries me a lot > to think of Don Williams and Blues together:)... In our bygone (and > happily bygone) lingo, Don Williams is NOT! But the music (I really > don't know the words) sounds cool. > > <>, Bill Higdon. > Well if you don't think that Don Williams is cool then you ain't payin' attention. And Fever is as cool as tune as there is! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 13 Sep 1995 12:56:52 CDT From: L W Subject: Dobro string recommendations please. ----------------------------Original message---------------------------- Hi gang, can you guys recommend some good strings for my new Epiphone resonator that faithfully reproduce that nice swampy tone? I think the strings on this thing have been on it awhile. I place mostly a brass slide on it, in Open G, _____________________________ I strongly recommend Daddario (sp) Flat-Tops....STRONGLY ..A medium gauge set and get an UNWOND G string cause the G is wound....GREAT STRINGS. I wouldn't use anything else on a guitar set up for slide. I even use them on my regular acoustic....great tone, less surface noise...no,sounds great...no,less surface noise...no,sounds great....no,less....etc LW ========================================================================= Date: Wed, 13 Sep 1995 10:17:00 -0400 From: "J.E. Downey" Subject: Yr Choice/B Fair 2 Halifax Rob in Halifax complains that the provincial capital has nought but never-ending celtic fiddling. Isn't that a little unfair, Rob? What about the mindless, everpresent drone of Country & Western? Joe Downey, Moscow J.E._Downey@bakermck.com (BTW, fell and badly sprained my ankle in the subway 'couple days ago and the locals just looked away & left me for dead in that um, way of theirs.) ========================================================================= Date: Wed, 13 Sep 1995 12:46:06 -0500 From: Richard Shurman Subject: Re: Blue Cheer Who can forget the immortal analysis of Blue Cheer's music uttered by their manager "Gut" (a Hell's Angel): "My boys sound like bikes." ========================================================================= Date: Wed, 13 Sep 1995 18:23:45 GMT From: Tracey Milton Subject: NE KEROUAC FESTIVAL OCT 4-9 Nope, its not really the blues...but there will be saxophone blues as well as many blues literary references... here goes (hit D if not interested) LOWELL CELEBRATES KEROUAC! 1995- 4-9 October PATTI SMITH, HERBERT HUNCKE and WILLIE ALEXANDER will headline the 1995 celebration of Jack Kerouac in Lowell, MA. This year, the festival will take place 4-9 October. Wednesday the "Visions of Kerouac" International Art Exhibition followed by readings and jazz from the "Book of Blues" will open the festival. Thursday, UMASS Lowell will host a Beat Lit Symposium featuring Ann Charters, Ann Douglas, Ed Adler, Rona Johnson, Dan Terkla, and William Tremblay. For info and Registration, call508-934-2405. Thursday evening "Recovering a Lost Poet: Sebastian Sampas of Lowell" will present unpublished writings and explore the life of Sebastian Sampas, close friend and influence on Jack Kerouac. Friday evening, Patti Smith will join the original beat, Herbert Huncke, and Boston Rocker, Willie Alexander, in a performance of readings, acoustic music to pay tribute to Jack Kerouac and the beat movement. Saturday afternoon, a panel of Keoruac scholars will discuss the international influences of Jack Kerouac. Saturday evening, Jeff Robinson will perform, "Bird" his one-man drama based on the life and music of jazz musician Charlie Parker. Also a bunch of guided tours, Small Press Fair and many opportunities to read your own work. Jack said: "Everyone comes home in October." This year, you come too. For more info, write Lowell Celebrates Kerouac!, Box 1111, Lowell, MA 01853 or call the Lowell National Historical Park 508-970-5000, or "reply" ========================================================================= Date: Wed, 13 Sep 1995 13:17:45 CDT From: L W Subject: Yr Choice/B Fair 2 Halifax >(BTW, fell and badly sprained my ankle in the subway 'couple >days ago and the locals just looked away & left me for dead >in that um, way of theirs.) Would never happen in my neighborhood. Then again most high school football games don't give away a 20 pound bag of dog food as a door prize...I swear OBC: They do however put up with the POB music LW ========================================================================= Date: Wed, 13 Sep 1995 11:26:00 -0700 From: Ned Kraft Subject: Weird? Yup, you're just as weird as anyone else. Now that I've been singing on stage for a few years the only wish I have is that I had started sooner. Until you get over the trauma of being on stage in front of a crowd (from your "don't alert the other stage" statement - been there, done it) you won't be able to consistently put everything into a performance that you get sitting on the porch, bus stop, back yard ... I think it's a lot like dating. First date is really rough, then you spend a lot of time feeling out (?up) the other person, then, if you're lucky you get to the point where communication is natural. IMHO the best performers are those who COMMUNICATE with their audience. Keep playing and don't run yourself down - others will do that for you (don't listen to them unless you respect them as a performer). Go out and do it, again and again ... As far as drinking, I'm all for it, but you have plenty of time for that after the show if you "sucked". I think my Mom had Wes Montgomery tell her this when she told him I was starting as a musician. Ned Hoosier Daddys ========================================================================= Date: Wed, 13 Sep 1995 14:29:14 GMT From: "DUTTWEILER.J" Subject: "can't lose" labels Date: Wednesday, 13 September 1995 2:28pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: "can't lose" labels In-Reply-To: The letter of Wednesday, 13 September 1995 1:46pm ET I will put a vote in for Evidence's reissues - I've bought 8 so far and not a bum one in the bunch. I also agree with Alligator (save for Mr. Siegal's lastest outing) and has anyone mentioned Black Top yet? ========================================================================= Date: Wed, 13 Sep 1995 13:38:16 -0500 From: Jeff Seale Subject: Lil Son Jackson discog? I have the Arhoolie cd of the Gold Star Sessions, the Arhoolie Blues Come to Texas, and the Complete Imperial Recordings by Lil Son Jackson. Is that everything recorded by LSJ? Also, he was in a group in Dallas called the Blue Eagle Four. Are there any recordings of this group available, perhaps some field recordings? Thanks. -Jeff (Son-head) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Wed, 13 Sep 1995 14:49:51 -4 From: "P.W. Fenton" Subject: Re: HOB - No seats On13 Sep 95, Pat Hertel had this to say... > On Wed, 13 Sep 1995, P.W. Fenton wrote: > > > What are the "negatives" on the audience side? How does HOBs show > > disrespect for it's audience. I've been to the HOB in New Orleans a > > few times as a customer and had a really good time. > > > > Well you have probably read about the problems > in the L.A. HOB (how folks are treated relative > to celebs). > My own personal experience is with the Boston HOB > and I am not alone in having a problem with this one. > Just the fact that they make you stand - no tables > no seats (accept maybe 3-4 at the bar) alone is > IMHO unmitigated CRAP. We are talking a supposed > blues bar not a outdoor venue or the like. Sadly, no seats is the rule of the day. Even the famed Tipitina's has no seats, and NO AIR CONDITIONING. I'm with you. If they don't have seats to watch the show from, then they don't want my money. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 13 Sep 1995 13:51:29 -0500 From: David Silberberg Subject: Re: "Fever" - blues? At 02:47 PM 9/13/95 GMT, william higdon wrote: >I hope you folks won't bannish me from the list after this. >Last night as I flipped by CMT, I heard Don Williams doing a vidio >of a song called Fever. Is this the Little Willie John (covered reasonably competently by Peggy Lee) "Fever"? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 13 Sep 1995 14:07:22 CDT From: L W Subject: I just bought a National I just ordered a 1932 National Duolian.... I best be ready to get exposed :-) LW ========================================================================= Date: Wed, 13 Sep 1995 15:10:11 -0400 From: Barry Silverberg Subject: Re: "can't lose" labels William Shute (WSHUTE@ACCDVM.ACCD.EDU) wrote: : From: Bill Shute : Perhaps some of these have already been mentioned, but here are : a few of my picks: : JSP Always glad to see JSP included and especially as the first in a list. They do put out consistent can't lose issues and they also present artists early in their career or when the artist is being overlooked. My personal feelings from list- ening to many of their discs is that they offer the artists quite a lot of room to generate their own brand of music. As an addendum - some their live stuff is 'can't can't lose stuff'. In particular a couple of discs by Professor Long- hair, Champion Jack Dupree and yes Buddy Guy. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 13 Sep 1995 15:11:21 -4 From: "P.W. Fenton" Subject: Re: musician question..Am I weird On13 Sep 95, LW had this to say.. > > Do you not feel like you exposing a deep part of yourself when you > > play LIKE YOU KNOW YOU CAN. I would almost be naked on stage than to > > expose my inner feelings when I play. and Rob Hutten had this to say... > > What little performing I've done (coffee houses & variety shows) has always > been a very different thing from what happens when I'm playing and singing > alone at home. If my emotional state is right and I get a good song going, > inevitably the tears start flowing. It's not crying - it's just a > physiological reaction to singing that I get when the mood is right. Same > thing happens in church sometimes. I think this is music at its best - > a catharsis of sort. > > Now I'm not sure I'd even *want* that to happen during a performance. > It'd be a little too intimate to share that with a bunch of strangers. > I think that's what separates non-performers like me with great > performers like Son House, who could achieve this emotional directness > with the audience. (Well, there's also a huuuuuuuuge talent factor > that separates us as well :-) ) In the footage I've seen, Son seems to > almost collapse in his chair after the song is finished. I wouldn't feel > comfortable exposing my emotional state like that on stage... I think yooz guys have got it all backwards. The stage is someplace where you're ALLOWED to show your emotions. The audience WANTS to see your guts. They need to BELIEVE that you mean what you're singing/playing about. They want to FEEL what you are feeling. If I put half as much emotion into "real" life THEN people would think I was crazy for sure. P.W. ------------------------------------------------------------------------ You're looking straight at me But you don't here a word I'm sayin' My words are all lost on you ...Like tears in rain P.W. Fenton ========================================================================= Date: Wed, 13 Sep 1995 19:39:24 GMT From: kyle quevillon Subject: Youngster Blues Anybody know the name of a young (18ish) guitar player from Austin, Texas, I believe. Also I think he has a new release, any idea what it's name is. I read about him in a guitar mag - guitar world/player october issue, but can't remember exactly where. He was toted as the next SRV. As if. ========================================================================= Date: Wed, 13 Sep 1995 16:15:22 -4 From: "P.W. Fenton" Subject: Re: I just bought a National On13 Sep 95, L W had this to say... > I just ordered a 1932 National Duolian.... > > I best be ready to get exposed :-) > I just spent about the same amount of money sending my daughter to school in Germany for a year. I don't know why, but I feel jealous... ...of BOTH of you. P.W. ------------------------------------------------------------------------ She seems to barely touch the ground Like misty morning rain This child that makes me tremble Doesn't even know my name To her I am.... The invisible man P.W. Fenton P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Wed, 13 Sep 1995 15:08:27 CDT From: L W Subject: Weirdness...THANKS/Charles Brown Thanks for the responses on my weird "exposure" problems. I actually think it helped....Now I have this problem when I....(just kidding) The agent that booked CB called me (how he got my work number who knows) and said "The ticket sales for Charles Brown are very low"..... I have no idea why he called me unless Dan Caron told him to , I'm not the one responsible. I told him WE bought a cake at lunch and I have a Happy Birthday banner to hang up at the club....etc. I thought he was calling to tell me he can't make it to the airport or something. I told him that if he would only ADVERTISE these blues shows he would get better crowds. I said if you let me know who's when and what not. My wife and I will help with the advertising. Maybe he called me out of respect cause my wife and I have worked our butts off to make sure Charles has a proper birthday party. We have done more advertising than the club has. WE PAID $18.00 A TICKET, when we could have got in as "guests"....The only reason we did all of it was for Charles Brown we respect him......We don't deserve (nor want) a pat on the back cause all of YOU would have done the same...I'll be glad when this show is "on"... LW 'sorry' ========================================================================= Date: Wed, 13 Sep 1995 15:28:31 CDT From: L W Subject: Re: I just bought a National ----------------------------Original message---------------------------- > I just ordered a 1932 National Duolian.... > > I best be ready to get exposed :-) > >I just spent about the same amount of money sending my daughter to >school in Germany for a year. You daughter has a VERY FINE daddy...Your money is better spent than mine A child is more important than any musical instrument ever made....Sorry but Mr. Fenton put IT all into perspective. LW ========================================================================= Date: Wed, 13 Sep 1995 14:42:22 -0600 From: Gary Constantine Subject: suggestions please!! I am leaving this weekend for a six week European Vacation. No plans (well, not very many), just drive around Europe and Britain and have a lot of I&I (Intoxication & Intercourse). I would like to take in some blues while I am away. If anyone has any suggestions about clubs/pubs that I should see I would appreciate hearing from you. PRIVATE REPLIES ONLY PLEASE Thanx, Gary ............ Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Wed, 13 Sep 1995 21:00:03 GMT From: toulouse Subject: Re: SAXOPHONE AND THE BLUES >Last I heard Eddie was living in NYC. Anyone know if he's still with >us. He was playing in a band run by Doc Cheetham who I think passed on >recently. Doc Cheetham is alive and well. At 90 or so, he still blows the trumpet with great finesse and nuance. He just recently did a show in N.O. in conjuncture with The Louis Armstrong stamp release and N.O. Jazz Centennial. ========================================================================= Date: Wed, 13 Sep 1995 17:22:04 -0400 From: Dick Waterman Subject: Re: Leadbelly/Guthrie The material to which you refer is probably the box set from Library of Congress. Quite extensive in length and generally recommended. Did they record together? Suprisingly, yes, they did. The label was Stinson Records amd I believe the others in that drunken ensemble were Cisco Houston and Brownie McGhee. They do a version of "Stewball" complete with bottle falling over audibly and rolling across the table. Brownie is currently writing his autobiography so perhaps the details of that session will eventually emerge. dick waterman ========================================================================= Date: Wed, 13 Sep 1995 17:21:10 -0400 From: Dick Waterman Subject: Fwd: Re: Leadbelly/Guthrie --------------------- Forwarded message: Subj: Re: Leadbelly/Guthrie Date: 95-09-13 17:23:02 EDT From: Jinxblues To: Snorri Kristjansson@rhi.hi.is To: BLUES-L@brownvm.brown.edu The material to which you refer is probably the box set from Library of Congress. Quite extensive in length and generally recommended. Did they record together? Suprisingly, yes, they did. The label was Stinson Records amd I believe the others in that drunken ensemble were Cisco Houston and Brownie McGhee. They do a version of "Stewball" complete with bottle falling over audibly and rolling across the table. Brownie is currently writing his autobiography so perhaps the details of that session will eventually emerge. dick waterman ========================================================================= Date: Wed, 13 Sep 1995 17:57:39 -0400 From: Barry Silverberg Subject: Re: Leadbelly/Guthrie Snorri Kristjansson (@RHI.HI.IS) wrote: : I have a question maybe some of you might be able to answer. : I have heard that a CD will be/or have been issued recently. : The interesting thing about this CD is that it (is supposed to) : contains material by Leadbelly and Woody Guthrie, together performing : some songs. : IS this true?? : Did they perform together at anytime?? Snorri The CD is in my hand at the moment. The one I have is Legacy #300 - A Vision Revisited / Pete Seeger, Woody Guthrie & also Leadbelly. The liner notes are less than scarce, but do note another CD called A Vision Shared / which is a tribute to the artists (Githrie & Leadbelly anyway) featuring Willie Nelson, Bruce Springsteen, U2, Pete Seeger, Little Richard, Bob Dylan, Brian Wilson, Emmylou Harris, Taj Mahal, Arlo Guthrie as well as Joh Mellecamp and others. It says royalties paid will be paid to the Smithsonian Institute. Sound qulaity as far as I remember is not stellar although I guess the historical attr- ibutes here probably outweigh the sound quality. Hope this is of help. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Wed, 13 Sep 1995 15:57:18 -0700 From: Ron Wack Subject: Re: Youngster Blues ORIGINAL MESSAGE > Anybody know the name of a young (18ish) guitar player from Austin, Texas, I bel > ieve. > Also I think he has a new release, any idea what it's name is. > I read about him in a guitar mag - guitar world/player october issue, but can't > remember exactly where. > He was toted as the next SRV. As if. > I saw a young guitar player for a trio by the name of "WIDE MOUTH MASON" a couple of weeks ago. I think his name was Kelly something. Don't know where he's from originally, booking out of Edmonton, Alta. Can. I think, but if your guy is half as good as he was, then you don't want to miss him. The kid I'm talking about had everyone in the crowd staring slack jawed while he put his B.B. King signed strat through shit I've never seen. From SRV to Jimi to B.B. and even some Jesus Christ Superstar (What's the Buzz). One technique I was really impressed with was him doing hammer-ons and pull-offs up and down the neck while working the hell out of his pickup selector switch. Wild sound! Natural talent in someone so young sure is a pretty sight. This guy will go far. (He won't make it on his looks. %) Wears baggy pants tucked into army boots, waist length hair in a pony tail. There was a thread about this a while ago, wasn't there? ) RW ========================================================================= Date: Thu, 14 Sep 1995 05:09:40 +0700 From: "Peter E. Beal" Subject: Re: New Orleans My wife and I will be visiting New Orleans in the middle of next month. I would appreciate any advice on: Where to stay- reasonable, close to the action. A friend mentioned the Downtown (or Downtowner). Where to go (food)- Anything goes. Where to go (music)- After Preservation Hall (OK, that's jazz), what's best? Thanks in advance. ========================================================================= Date: Wed, 13 Sep 1995 17:22:30 PDT From: rjbauman@IQUEST.NET Subject: Re: Youngster Blues I helped with the National Best Unsigned Blues Band Contest (for Indiana's representative in Memphis) on Sunday and there was an act from Richmond ahere the guy had a SRV strat and sang exactly like him, played behind the back, behind his head, and basically aped SRV completely. He even removed the bridge/trem. assembly cover on the back to expose the springs, etc like SRV. The crowd loved him, but sure enough when I tallied the judges scores, he was not even in the top half. These kids should be careful what they wish for. RJ Bauman >Anybody know the name of a young (18ish) guitar player from Austin, Texas, I believe. >Also I think he has a new release, any idea what it's name is. >I read about him in a guitar mag - guitar world/player october issue, but can't remember exactly where. >He was toted as the next SRV. As if. > ========================================================================= Date: Thu, 14 Sep 1995 08:25:58 +1000 From: Daniel Bruce Subject: Re: Your Choice > > Who would you like to see that you've never seen or see again.....I'm talking > about living artists of course... > > here's some of mine: > > Doug MacLeod (one day I'm gonna up and go to California just to see him) > Ronnie Earl (I know I'll see him one day) > Lyle Lovett (I will) > > Hank Crawford & Jimmy McGriff > > AGAIN > Chet Atkins...I will see him again in November > > > LW 'I'm leaving out somebody' > Top 'o the list Bobby Bland James Brown John Lee Hooker Hubert Sumlin Matt 'Guitar' Murphy I could go on & on -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Wed, 13 Sep 1995 23:43:55 GMT From: catfish@RADIX.NET Subject: Long Live the Taj As a blues lover and harmonica fanatic, I must tip my hat to Taj Mahal, who is one of the greatest resources alive in bluesicology. I have seen and heard him play blues from every style, every era, and all with equal conviction and virtuosity. He is also in my opinion one of the greatest blues vocalists, an incredibly charged live preformer and an incredibly smooth and sweet harp player. Just wish he hit the East Coast a bit more. Anyone with info on Taj dates or rare recordings let me know, Taj , if your out ther keep it up ========================================================================= Date: Wed, 13 Sep 1995 23:48:48 GMT From: catfish@RADIX.NET Subject: Great Blues-Related Book RL's Dream by Walter Mosley is a great read. It has to do with a blesman who played with RL (Robert Johnson). Check it out it's truly not to be missed. If you have any other bleas-related book to reccomend please let me know. catfish@radix.net ========================================================================= Date: Wed, 13 Sep 1995 19:56:40 -0400 From: John Subject: Richard Shurman How about an update on Otis Rush. In July you said he was going into the hospital for a foot operation. Did it happen yet? How's Otis getting on. A lot of his fans would like to wish him well. Update please. Thank you ========================================================================= Date: Wed, 13 Sep 1995 18:10:18 -0600 From: Watterworth Jay Subject: Re: Your Choice -Reply On Wed, 13 Sep 1995, Roger Struve wrote: > Whatever you do, SEE JOHN HAMMOND...there's nothing like him young or > old...a show you WILL NOT forget, ever! > > regards, > delta doc roger > I second this one. I saw John last spring at the Bluebird Theater in Denver. Incredible. The other time I saw him was about 29 years ago at a club in NYC. Incredible. The first time John was young and dangerous (weren't we all), with a small back up band. It was the Big City Blues era and I was blown away. When I saw him a few months ago, I was impressed at how he had grown yet still had that youthful flare as he spun his (and other's) tales using the medium of the blues that was, for me, at once poetic and musically transfixing. His respect of his forbearers was evident also. He was an interpreter who breathed life into the songs he was performing. It was just John and his voice, guitars & harps. That was all that was needed. And he broke 4 strings. (for those of you familiar with this idiosyncrasy of Mr. Hammond's.) IMHO, Jay Watterworth CU Boulder ========================================================================= Date: Wed, 13 Sep 1995 18:11:49 -0600 From: Watterworth Jay Subject: Re: Blue Cheer On Wed, 13 Sep 1995, Richard Shurman wrote: > Who can forget the immortal analysis of Blue Cheer's music uttered by > their manager "Gut" (a Hell's Angel): "My boys sound like bikes." > That works! Jay ========================================================================= Date: Wed, 13 Sep 1995 17:27:46 -0700 From: Garry Segal Subject: Re: HOB/ Good to Artists You wrote: >In reference to your bad gig at HOB, >Maybe they all had a bad day, but I certainly can't gush with >appreciation over the way they treat artists. > >Michael G. Kaloyanides >Department of Music & Sound Recording >University of New Haven > > Wow Im honestly shocked. I was treated great at all our gigs there. Believe me, I know they are just another nighclub though not a blues nirvana. Oh well there are plenty of other joints in beantown to play. Sorry it didnt work out for you. Whats the name of your band ? Hey we are both in the New Haven area lets get together sometime. Take it ez, Garry S Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 13 Sep 1995 20:38:23 -0400 From: "r.d. tebby" Subject: Re: Looking for a Name for my blues band. How about JP's Blues Band, assuming you are the leader, of course. rdt On Tue, 12 Sep 1995, John Puleo. User wrote: > Thanks to all who sent there suggestions. There were many good ones but I > still haven't found one I like. I am still taking names if anyone has any > good ones. I would like it to have the word "Blues" in it. Come on I know > you can do it!!! > > > John > ========================================================================= Date: Wed, 13 Sep 1995 17:39:55 -0700 From: Garry Segal Subject: Re: HOB/ Good to Artists You wrote: > > >* Charles Brown has already played the HOB several times.Garry > >That's great, but has he ever been on their tv show?Steve L > Steve, I'm not an apologist or publicist for HOB. I have had good experiences playing at the one in Cambridge MA. Mike K from the Univ of New Haven did not have a good experience with them. As far as TV goes I vote for Austin City Limits and The Simpsons. I generally feel HOB has been more of a help than a hindrance to blues, even though they also have other genres of music at the club and on TV. Just like some "blues" bars have country , rock and karaoke along with blues to stay alive. Take it ez, Garry S Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Wed, 13 Sep 1995 18:15:29 -0600 From: Watterworth Jay Subject: Re: "Fever" - blues? On Wed, 13 Sep 1995, william higdon wrote: > I hope you folks won't bannish me from the list after this. > Last night as I flipped by CMT, I heard Don Williams doing a vidio > of a song called Fever. I have to tell you that it worries me a lot > to think of Don Williams and Blues together:)... In our bygone (and > happily bygone) lingo, Don Williams is NOT! But the music (I really > don't know the words) sounds cool. > > <>, Bill Higdon. > Whatever medium it is, I love the song. It has had some very interesting interpertations over the years. Peggy Lee (who might have been first) does a respectable 50's jazz version. Maria Muldar does it well. It can be cool or hot or just for fun. Jay Watterworth CU Boulder ========================================================================= Date: Wed, 13 Sep 1995 20:02:00 CDT From: Bonnie Kalmbach Subject: Muddy on Guitar?? A friend just asked me about a CD compilation of Muddy Waters singles recorded from 1955-1959. He noted that Muddy is listed as doing vocals only. I said this was probably the period when Muddy left off playing guitar and played the role of a "stand-up singer" ala Bobby Bland. And I further guessed it was because that he was still playing for primarily black audiences during this time period, and slide guitar was a little too old fashioned for many black Chicagoans in the late fifties. But my friend said - "I definitely can hear two guitars on these tracks even though only one (either by Jimmy Rogers or Pat Hare) is listed". So I said I would ask the list - is Muddy playing along on these sides?? Mary Katherine I bet would know...anybody else?? -Bonnie the K. ========================================================================= Date: Wed, 13 Sep 1995 20:21:36 -0500 From: William A Morgan Subject: Re: Oliver Morgan+where is Mr. Downey ? > On Wed, 13 Sep 1995, Jouni Ilari Hyyti{inen wrote: > > > Oliver Morgan has a tour in Finland at October with Rockin Jake band. > > Please, our dear N.O experts, what shall we expect ?. If you have > > opinions about the man or the band, please let me/us know. Jake has > > done some gigs here in FUNland (har har, do you remember that song by Michael > > Palin...) with T.J. Wheeler. Does Jeff Hannusch (sorry if I write the > > name wrong) mention Mr. Morgan in his book ?. I do > > remember that one hit. > > regards, > > Jouni Jouni, I'm not sure if Oliver is mentioned in Hannusch's book. Oliver Morgan is a New Orleans Rhythm and Blues singer and a contemporary of Fats Domino (and Ernie K-Doe), although his body of work is much thinner. I think he also went to high school with Fats. I'm assuming that Rockin' Jake is backing him, which should make for a solid performance. Oliver's most famous song is "Who Shot the La La?" Early this year he recorded a CD on a local label. Unfortunately I don't know the name of the CD, but I've heard it. I used to work in the same building with Oliver before he retired as a New Orleans city government employee. During that time, he played his latest recording for me. I thought the music was fun, but tended to be overly repetitious; I wouldn't recommend that CD, although Oliver tries his hand at some bluesier numbers on it. Nevertheless, the La La Man is an entertaining performer and probably worth seeing if tickets are reasonably priced. Oliver also recorded a Mardi Gras tune which came out late in the carnival season and after the previously mentioned CD. The song is called "Show Me Your Pretties" and is better than the stuff on his CD. The song was written by Rockin' Jake, and Jake performs on the song as well. That recording with Jake leads me to believe that they would work well together on stage. If you get a chance tell Oliver that his pale cousin Bill from the New Orleans city annex building says hello. ************ Bill Morgan (actually no relation to the La La Man) ========================================================================= Date: Thu, 14 Sep 1995 00:16:12 GMT From: Andy Synyszyn Subject: Re: Owners of Nationals/Dobros -Reply In article <433n64$ck9@ns1.moran.com> leighs@MORAN.COM writes: > >Mine is a model 33h, I beleive (although I'm not exactly sure!!), > >it's the one with the chrome plated bell brass body etched with the > >palm trees & clouds, & biscuit bridge & National style cone, i.e. not > >the spider cone!. > > Andy... what's the difference between the spider cone and the National > style cone? Guess I'm not sure which type I have. > --Steve > When playing the guitar, the National style cone has the wide open end of the cone pointing in to the guitar body with the strings passing over the biscuit/bridge attached to the narrow end of the cone. With the spider type cone arrangement the open end of the cone faces out of the guitar (like a speaker cone). The bridge is attached to a metal frame which contacts the cone on its edges. National Type Spider/Dobro Type _ __________ / \ \ / / \ \ / / \ \/ ___________________ ___________________ back of guitar back of guitar Hope that clears it up! -- Andy Synyszyn.. ============================================================================ Is That The Blues? "If it wasn't for bad luck Wey Valley Radio 102 & 101.6 FM I'd have no luck at all" Alton, Hants - Albert King ============================================================================ Monday Nights 22:00 'till Midnight for the best in Live & recorded Blues ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Sep 1995 20:39:21 -0500 From: William A Morgan Subject: Re: Looking for a Name for my blues band. (fwd) On Tue, 12 Sep 1995, John Puleo. User wrote: > Thanks to all who sent there suggestions. There were many good ones but I > still haven't found one I like. I am still taking names if anyone has any > good ones. I would like it to have the word "Blues" in it. Come on I know > you can do it!!! > > > John I was thinking something regurgitory (in case you do a lot of covers) like BLUE CHUNKS. ******************* Bill Morgan ========================================================================= Date: Tue, 12 Sep 1995 21:22:22 -0400 From: Jinxblues Subject: Re: Julius Lester/ RL's Dream Julius Lester now lives in the Amherst (Mass.) area and I believe he is on the faculty of UMass. I spoke to him during the Spring when I tried to coax him to Memphis for a panel during Memphis In May. Mr. Lester is intellectually brilliant, opinionated, crusty, blunt and a tad impatient with those who would waste his time with foolishness. Therefore . . approach at your own risk. dick waterman dick waterman jinxblues@aol.com ========================================================================= Date: Wed, 13 Sep 1995 21:52:28 EDT From: Joseph Leichter Subject: Re: ACL & HOB Saw akroyd on TV the other day..he reminded us that HOB is backed by $$ from the River Phoenix estate and the Harvard endowment..beam me up, Scotty.. ========================================================================= Date: Thu, 14 Sep 1995 10:42:08 +0900 From: "R.St. Pierre" Subject: Koerner, Glover & Ray Thanks to all of you who replied to my request for a mail order source for the Koerner, Glover & Ray CD. I already ordered it. A few days ago someone complained about CD prices in Japan. Take if from me a 14 year resident of Kobe (Motto: A Whole Lot of Shaking Going On), CD designed for local consumption are high, going for $22 to 32 dollars. Fortunately, many import stores have croppedd up in the last few years and with the high yen, CDs are only a couple dollars more than they are in the States. One more note about Japan. I you come to Japan and stay in a hotel that has cable radio (radios with up to 440 stations), toy with it till you find the all day blues channel. They really have a good selection of blues from the earliest recordings to living performers. Thanks again for the information. Ron (The Saint) St. Pierre Saint@shoin.ac.jp ========================================================================= Date: Wed, 13 Sep 1995 22:03:19 EDT From: Joseph Leichter Subject: Re: musician question..Am I weird -Reply "The blues isn't something you play to feel better, its something you play to make other people feel worse..and make a few bucks" .Heard on "The Simpsons" ========================================================================= Date: Wed, 13 Sep 1995 22:07:34 EDT From: Joseph Leichter Subject: Re: 'Fever' - blues? Once saw James Cotton segue from "Fever" into Little Walter's "Nobody but You".......One of my top 10 blues moments.......chills just at the thought.. ========================================================================= Date: Wed, 13 Sep 1995 21:21:37 -0600 From: Tom Rossen Subject: No-blues-content-nomail blues Due to my primary client going through a panic "rightsizing" spasm, I'm in scramble mode for no-blues-content day gigs. So I'm clearing the decks for massive search, and that includes going nomail for the duration. I'll still be at at least 1.5 of my addresses (see my new sig). =81 Tom Rossen TomR36@aol.com (random logins, may phase out entirely) rossen@lmis.loral.com (weekdays ~10:00-6:30) Phasing out.... rossentj@interaccess.com (eves and weekends) Disclaimer: I don't speak for LMIS, Loral, Interaccess or AOL, and they sure as hell don't speak for me! ========================================================================= Date: Wed, 13 Sep 1995 21:36:38 -0600 From: David Silberberg Subject: Re: "can't lose" labels As someone said about a different label, if you like the artist, you can't lose with Mosaic product. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Wed, 13 Sep 1995 21:43:00 CDT From: Joe Mayes Subject: Re: Blue Cheer On Wed, 13 Sep 1995, Richard Shurman wrote: > Who can forget the immortal analysis of Blue Cheer's music uttered by > their manager "Gut" (a Hell's Angel): "My boys sound like bikes." And mighty fine bikes they were [and still are]! Best Regards, Joe Mayes ========================================================================= Date: Wed, 13 Sep 1995 23:16:18 -0400 From: Jacquelin Katz Subject: Re: Robert Cary/Bob Margolin show I saw the same show last night that Cat reviews below, and would like to echo her assessment. Robert Cray's singing was flawless: i can't think of anyone I've heard in recent years who approach his accuracy. I felt like, wow, I never saw Marvin Gaye, but at least I've seen Robert Cray: hey, that rhymes :) It just sent me back a little to the joy of that sweet soul sound of the sixties, with a harder, much more sophisticated edge. His guitar playing was so crisp I could only watch in awe: this man is one focused, finely-tuned music machine. See him, especially if you can get in the front row like I was :>> Yaaasss... only in Rochester can you walk into a place 1/2 an hour after the doors opened and still get in the front row for a major act. Only problem, not much room to move, and did I want to ! The keyboard player did his share of revving the crowd, and the drummer had me in a solid groove all evening. Instant addition to my list of people I'd see again, tonight would be fine. Bob Margolin clearly is a master of the guitar, and he displays very refined taste in the selection of voicings and different techiniques. I liked his arrangements and the way he mixed his program. a little T-Bone, a little Muddy, Sam Cooke, some R&R...the crowd did indeed dig his show, and so did I. He also had on a very cool shirt, and a good bass player named Mookie: I wouldn't lie! Jackie On Wed, 13 Sep 1995, CATBAUER wrote: > Saw...or should I say heard Robert Cray last night at the Water St. Music > Hall while doing an online chat with his opening act, Bob Margolin. Very > simply a great show. He did his classics, his voice was in top form, > considering the driving they are doing from show to show and the lack of > sleep they are probably exhausted. I was amazed at the energy he had. The > crowd couldn't have been happier having him here. When the other musicians > in the crowd are raving about a performance you can be sure it's good. > > As far as Bob Margolin...what can you say about a guy who has the > confidence to toss Sam Cooke's "Good Times" into his set? Bob did a couple > of his new ones but didn't forget the Muddy Waters tunes he does so well. > I had read some negative comments about Bob's recent shows and didn't see > that last night. He came into a room of 1,000 people who had paid $20 to > see Robert Cray and the majority had no clue who Bob Margolin was. He did > a wonderful job of introducing himself to the audience and gained a number > of new fans. I overheard a number of people asking, "who is this guy & > where's he been hiding?" He did a wide variety of tunes, all different > tempos...this crowd actually listened to him, not normal for an opener > here. I saw a couple of other blues-l people there last night and would > love to know how they liked the show. I'd suggest anyone who has the > chance to catch both of these acts on their respective tours. Cat > > Catbauer@vivanet.com > ========================================================================= Date: Wed, 13 Sep 1995 22:28:46 PDT From: rjbauman@IQUEST.NET Subject: Re: 'Fever' - blues? One of my favorite selections is from "This Is Buddy Guy" called "Fever." Is this the same song you folks are discussing? RJ Bauman (wish BG still toured with hoens like that) >Once saw James Cotton segue from "Fever" into Little Walter's "Nobody but >You".......One of my top 10 blues moments.......chills just at the thought.. > ========================================================================= Date: Wed, 13 Sep 1995 23:24:01 -0400 From: Patti Bowman Subject: Re: Your Choice Rob, WHERE do you live?! -Patti >I've never seen *anyone* - closest thing I've seen to a real live >blues show out here in this blues vacuum is Joe Murphy, a local >blues/rock/zydeco act. You people who've seen Wolf and Muddy et al - >I'm supreeeeeemly jealous. >My big list is: >Jack Owens & Bud Spires >Honeyboy Edwards >Pops Staples ========================================================================= Date: Wed, 13 Sep 1995 23:24:21 -0400 From: Patti Bowman Subject: Re: Long Live the Taj > Taj Mahal, who is one of the greatest resources alive in bluesicology. >I have seen and heard him play blues from every style, every era, and all >with equal conviction and virtuosity. >He is also in my opinion one of the greatest blues vocalists, an >incredibly charged live preformer and an incredibly smooth and sweet harp >player. I agree. One of the best concerts I ever saw was an outdoor gig at a campgrounds (1982/3?): Taj Mahal, Richie Havens (the hippest), Ronnie Blakely and Leon Russell. A day I will never forget. -Patti ========================================================================= Date: Thu, 14 Sep 1995 04:12:06 GMT From: Jef Jaisun Subject: Re: Blue Cheer Richard Shurman (rshurman@CCS.NSLSILUS.ORG) wrote: : Who can forget the immortal analysis of Blue Cheer's music uttered by : their manager "Gut" (a Hell's Angel): "My boys sound like bikes." Actually, they sounded like choppers on STP (and I don't mean the oil additive, either)....with a stack of Marshalls. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Thu, 14 Sep 1995 04:20:27 GMT From: Jef Jaisun Subject: Re: Leadbelly/Guthrie I've got the original Stinson SLP #8, Chain Gang Vol. 2. It features Woody, Sonny, and Alek Stewart. I'd be curious to know if this series has been reissued, as well. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Thu, 14 Sep 1995 04:32:17 GMT From: Jef Jaisun Subject: Re: New Orleans Peter E. Beal (pbeal@MOZART.INET.CO.TH) wrote: : My wife and I will be visiting New Orleans in the middle of next month. : I would appreciate any advice on: : Where to stay- reasonable, close to the action. A friend mentioned the : Downtown (or Downtowner). : Where to go (food)- Anything goes. : Where to go (music)- After Preservation Hall (OK, that's jazz), what's best? Food? You're going to New Orleans and you're asking about food??? You can pretty much just open your mouth and point your tongue at the map. :) Plenty of good places in the French Quarter, but you should also drive out to the lakefront and hit Bruning's. Music-wise, grab copies of Offbeat (free in the music stores) and Lagniappe (in the newspaper). Then start with the Lion's Den or anyplace else Irma Thomas is playing. The bowling alley gigs are notoriously good, and Michaud's (840 St. Charles) has everything from blues to cajun to Tex-Mex. And GREAT food!!! Btw, Irma is on line: BlusSinger@aol.com Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Thu, 14 Sep 1995 00:53:37 -0500 From: Bob Soron Subject: Re: HOB/ Good to Artists In article <199509131319.GAA01028@ix9.ix.netcom.com>, Garry Segal wrote: > As a traveling musician constantly on the road, here is something I > posted several months ago. HOB treats the artists who play there > fantastic ! They are an oasis on a road filled with clubs that barely > advertise, charge bands full price for everything and generally act > like bands are a big bother. NOT AT HOB ! They give bands free food > ,drink and help with moving equip etc. Whatever you think about their > TV show, marketing ploys etc. They treat the blues artists (and rock > artists) with more respect and generally more $$s than the average > club. Because they offer more than just blues maybe they should change > their name but then we remove another mainstream boost to the music in > the media. I ask if anyone knows of a fulltime touring blues artist > that felt ripped off after playing a HOB. I do. Without naming names, it's an Alligator recording act. The band called the Cambridge HOB the day before the show to find out when sound check was. They got there at the appointed time and found no one there to do the sound check. One performer played without a monitor for the first set, despite repeated requests to the crew to have it turned on. The band has played twice in the Boston area since that show and neither time was at the HOB. I think that's no coincidence. That night was also significantly miserable for the people in the audience, for reasons having nothing to do with the band or the sound. Maybe the HOB near you treats you well on your side of the stage, but the Cambridge HOB does not treat its patrons well. (It may have improved since my last trip there, which was just about a year ago. But I've heard nothing to suggest that it has.) Now, at least in Cambridge, there's a lot of people who go to HOB just to get trashed while listening to what they think is Da Blooz, which means that security's main function is containment. (Not that they stopped some drunk kids -- and I mean people who may have had phony IDs but who clearly weren't 21 if you looked at them rather than the phony IDs -- from getting up on stage during the aforementioned show and spastically dancing along with the band. Not that the band was dancing, you understand.) But security *does* assume that if you're there, you're there to get trashed, not to listen to the show, and tends to overreact to some situations. They also tend to contradict themselves if you ask them the same question at different times; usually, the first time, they'll tell you what they think you want to hear, and then the second time they tell you whatever's most convenient for them. The bottom line, IMHO, is that it's great you're being treated well, because the crowd listening to you isn't, and the majority may well have no idea who you are and may not remember your band's name the next day. (That's no reflection on you at all. It's a comment on the audience.) > LW recently posted that > Charles Brown is coming to town and has not been getting any > advertising and the band doesnt even know how to get to the club! > Charles would do better to play at the HOB. There are many facets to > the HOB organization, not all of which I agree with but they do not > deserve the constant bashing they always get on this list. Brown played HOB here. I went to Newport's R&B Festival and saw him there. The tickets were cheaper, the set was probably about the same length, and there were nearly a dozen other performers. Bob bobsoron@world.std.com "It's getting harder and harder to act weird" -- Bill Griffith via Zippy ========================================================================= Date: Thu, 14 Sep 1995 05:52:14 GMT From: Bruce Davis Subject: Colin James Are there any fans of Colin James here? I can't believe how few people have heard of him. IMO he's simply the best blues-rock guitarist alive and if anyone who likes blues-rock hasn't heard his "Sudden Stop" cd then you're missing out on one of the very best cd's ever!! He has a new one due out next week called "Bad Habits" and I've heard one song called "Saviour" which is an incredible mix of funk and blues-slide. If anyone out there is also a fan please write me with any info you have, especially concerning tour dates in the states, videos, etc. ========================================================================= Date: Wed, 13 Sep 1995 23:21:09 -0700 From: Garry Segal Subject: Re: HOB/ Bar Scene Hi Bob, Wow I had know idea audiences were so pissed off at HOB. I occaisionally play the Cambridge one, they've been nice, so have the audiences. The bar scene generally sucks period though and bands have very little to do with club policies and are frequently victims also. Your description of the audience bs and security bs are all too common in lots of bars and it drives me batty also. Its a drag that I actually have to make a living in a circuit whos main goal is to sell liquor not music, and I sympathize with the more mature audience that wants to enjoy a show not jostle for a spot to stand. What you hope for as a band is to transcend/overcome whatever bar crap is in the way on any given night, and try and bring the audience along to a place where the music takes over.( Hopefully the audience buys into this, will try to overcome also;-) But man... why are so many clubs a coverted bowling alley or Dry Cleaners, with electricity 2 rooms away from an extension cord, never meant to be an entertainment venue! :-D) Not enough places are actually audience friendly in their layout, seating and stage area. ****Luckiliy there are just enough cool joints out there to keep us going and audiences happy.****!!!!!!! Maybe some Blues Lers want to name the favorites in their region. When I deal with clubowners who are curious as to how we will draw at their club,I respectfully ask what do they do to make people want to come to the club. How did they advertise it? Then I can give him a more accurate answer. Definetly support the clubs that are good to you, and maybe the others will change or go away. Garry S ========================================================================= Date: Thu, 14 Sep 1995 05:11:41 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 14th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ADAMS, CHRIS (BLUES L MEMBER) b. 1951-0914, SHARON, CT ARCHIBALD (LEON T. GROSS)(p/IMPERIAL REC) b. 1912-0914, NEW ORLEANS, LA BEAL, CHARLIE (p) b. 1908-0914, LOS ANGELES, CA BERLIN, STEVEN (of LOS LOBOS) b. 1955-0914, PHILADELPHIA, PA BROWN, JOHNNY BLIND (g/hca) d. 1981-0914, ST. PETERSBURG, FL 70 CAMERON, JAY (bsax) b. 1928-0914, NY DELANEY, TOM (p/COLUMBIA REC) b. 1889-0914, CHARLESTON, SC GELLERT, LAWRENCE (critic/author) b. 1898-0914, BUDAPEST, HUNGARY JARMAN, JOSEPH (sax) b. 1937-0914, PINE BLUFF, AR JOHNSON, J. C.(JAY CEE JOHNSON) (p/songw) b. 1896-0914, CHICAGO, IL KAYE, THOMAS JEFFERSON(prod/MAXINE BROWN) d. 1993-0914, WARWICK, NY 51 KID SHEIK (GEORGE COLAR) (tpt) b. 1908-0914, NEW ORLEANS, LA LAKE, OLIVER EUGENE (sax) b. 1942-0914, MARIANNA, AR LEWIS, WALTER "FURRY" (g) d. 1981-0914, MEMPHIS, TN 88 MOODY, TIM (BLUES L MEMBER) b. 1957-0914, PORTLAND, OR MOORE, EDDIE (d) b. 1940-0914, SAN FRANCISCO, CA NULISCH, DARRELL (v/ANSON FUNDERBURGH) b. 1952-0914, DALLAS, TX PAHINUI, BLA (of PAHINUI BROS) b. -0914, HONOLULU, HI PRADO, PEREZ [DAMASO PEREZ PRADO] (mambo) d. 1989-0914, MEXICO CITY, MEXICO 72 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 14 Sep 1995 10:15:00 UTC From: Moses Mullins Subject: Anyone Know the Lyrics to How do you reach the lyric servers? Please reply to 102533.1676@compuserve.com thanks moses ========================================================================= Date: Thu, 14 Sep 1995 06:49:29 -0400 From: Stew Crossen Subject: Youngster Blues Reply There is a young guitarist out of Galveston by the name of Hamilton Loomis. His independently produced CD is pretty good. He had help from a good friend of his, Bo Didley. Its on Ham-Bone Records, PO Box 16161, Galveston, TX 77552 (409) 740-0322 Beef Stew Anybody know the name of a young (18ish) guitar player from Austin, Texas, I believe. Also I think he has a new release, any idea what it's name is. I read about him in a guitar mag - guitar world/player october issue, but can't remember exactly where. He was toted as the next SRV. As if. ========================================================================= Date: Thu, 14 Sep 1995 06:58:45 -0400 From: Stew Crossen Subject: Colin James Reply We've played Colin James on WHUS. Beef Stew Are there any fans of Colin James here? I can't believe how few people have heard of him. IMO he's simply the best blues-rock guitarist alive and if anyone who likes blues-rock hasn't heard his "Sudden Stop" cd then you're missing out on one of the very best cd's ever!! He has a new one due out next week called "Bad Habits" and I've heard one song called "Saviour" which is an incredible mix of funk and blues-slide. If anyone out there is also a fan please write me with any info you have, especially concerning tour dates in the states, videos, etc. ========================================================================= Date: Thu, 14 Sep 1995 07:09:27 -0400 From: Stew Crossen Subject: Leadbelly Newsletter There is very good newsletter called the Leadbelly Letter published by Sean Killeen, PO Box 6679, Ithaca, NY 14851. If it has anything to do with Leadbelly, this guy knows about it. Beef Stew Snorri Kristjansson (@RHI.HI.IS) wrote: I have a question maybe some of you might be able to answer. I have heard that a CD will be/or have been issued recently. The interesting thing about this CD is that it (is supposed to) contains material by Leadbelly and Woody Guthrie, together performing some songs. IS this true?? Did they perform together at anytime?? > > Snorri > The CD is in my hand at the moment. The one I have is Legacy > #300 - A Vision Revisited / Pete Seeger, Woody Guthrie & also > Leadbelly. The liner notes are less than scarce, but do note > another CD called A Vision Shared / which is a tribute to the > artists (Githrie & Leadbelly anyway) featuring Willie Nelson, > Bruce Springsteen, U2, Pete Seeger, Little Richard, Bob Dylan, > Brian Wilson, Emmylou Harris, Taj Mahal, Arlo Guthrie as well > as Joh Mellecamp and others. It says royalties paid will be > paid to the Smithsonian Institute. Sound qulaity as far as I > remember is not stellar although I guess the historical attr- > ibutes here probably outweigh the sound quality. Hope this is > of help. > >-- > NY CD Blues > Definitive In-Depth Blues Reviews > c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 > e-mail bsco@panix.com > > ========================================================================= Date: Thu, 14 Sep 1995 07:18:24 -0400 From: Stew Crossen Subject: More Can't Lose Labels 1. Burnside Records - 3158 East Burnside - Portland, OR - 97214 - (503) 231-8943 John Wingert - Burnside@eek.com 2. Blues Factory Records - 2911 Elmhurst Ave. - Royal Oak, MI - 48073 - (313) 280-0363 Stephen L. Sanchez - President 3. Bee Bump Records - 2256 Magnolia Ave. - Long Beach, CA - 90806 -(310) 426-0761 Bernie Pearl - President Beef Stew ========================================================================= Date: Thu, 14 Sep 1995 07:42:45 -0400 From: Hugh Hardy Subject: Colin James I totally agree with Bruce about Colin James. I think he is one of the greatest. His new album "Bad Habits" is an incredible blues/soul album. We Canucks seem to be familiar with our local boy. Is he known in the States? Hugh H. ========================================================================= Date: Thu, 14 Sep 1995 09:37:37 -0300 From: Rob Hutten Subject: Re: musician question..Am I weird > I think yooz guys have got it all backwards. The stage is someplace > where you're ALLOWED to show your emotions. The audience WANTS to > see your guts. They need to BELIEVE that you mean what you're > singing/playing about. They want to FEEL what you are feeling. I agree - that's why I'm not a good performer. That's what I was trying (unsucessfully, I guess) to get across. -Rob ========================================================================= Date: Thu, 14 Sep 1995 08:08:19 -0400 From: Willy Evans Subject: Re: Yr Choice/B Fair 2 Halifax On Wed, 13 Sep 1995, L W wrote: > >(BTW, fell and badly sprained my ankle in the subway 'couple > >days ago and the locals just looked away & left me for dead > >in that um, way of theirs.) > > Would never happen in my neighborhood. Then again most high school football > games don't give away a 20 pound bag of dog food as a door prize...I swear > > OBC: They do however put up with the POB music > > LW > Up until about 12:00, anyways! Willy ========================================================================= Date: Thu, 14 Sep 1995 09:52:34 -0300 From: Rob Hutten Subject: Re: Your Choice > Rob, WHERE do you live?! -Patti Wolfville, Nova Scotia, 100km from Halifax... It's right purdy here, but if you wanna hear live acoustic blues you've got the following choices: 1. listen to me warble away in my kitchen 2. play it yerself. You'd almost definitely be better off going with option #2... -Rob ========================================================================= Date: Thu, 14 Sep 1995 08:45:56 -0500 From: Bruce Roberts Subject: Re: Youngster Blues > Anybody know the name of a young (18ish) guitar player from Austin, Texas, I believe. > Also I think he has a new release, any idea what it's name is. > I read about him in a guitar mag - guitar world/player october issue, but can't remember exactly where. > He was toted as the next SRV. As if. I think your talking about Kenny Wayne Shepherd. He's from Shreveport, LA. He has a new CD out called "Ledbetter Heights" on Gaint Records. I haven't heard him, but I've heard a lot about him. Here in Austin we have Jake Andrews, who is about 16, he plays some killer Blues guitar. You will hear from him someday. As a side, don't you get tired of every white boy who play guitar being toted as the next SRV? Of course when I first started hearing about SRV in the early 80's, he was being toted as the next Jimi Hendrix... Bruce Roberts Austin, TX ========================================================================= Date: Thu, 14 Sep 1995 08:18:42 -0500 From: Richard Shurman Subject: Re: Otis Rush update Otis is supposed to decide this week whether to have his foot surgery right away. If he does, he intends to use the down time to get ready to record his next project. I saw/heard him ten days ago and he sounded great as usual. I'll post more when there's definite news. ========================================================================= Date: Thu, 14 Sep 1995 13:45:09 GMT From: Barry Bean Subject: Re: Muddy on Guitar?? In <25091320020625@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: >But my friend said - "I definitely can hear two guitars on these tracks >even though only one (either by Jimmy Rogers or Pat Hare) is listed". That would have to be Jimmy Rogers. I don't think Pat Hare made it North until 1959 or 1960. While I'm certain I'll be corrected, I also think Muddy ALWAYS played SOME guitar. I don't think he ever did the Bobby Bland bit for any length of time. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 14 Sep 1995 10:15:27 -0400 From: Rick Miller Subject: SRV/Texas Flood credits question Question: Did Stevie Ray pen all the songs on Texas Flood himself? My cd basically lists no credits on the liner notes, but a musician friend of mine thinks that Mary Had a Little Lamb is an old song, not an SRV original. On the cd it is dedicated to "Rockin' Robin", -born 10/31/82. Any insight, you SRV buffs? Thanks Riffin Rick (((( oo-) /- You been playin' dirty pool.... F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Sep 1995 10:22:11 -0400 From: Rick Miller Subject: YOur choice-live Never seen BB King....I hang my head in shame. :( 'specially since he's one of the guitarists I emulate. WOuld love to see Ray Charles. Here's a novel idea, please don't flame me, but I would LOVE to see Jimmy Page do an all blues show/album. The old wizard has it in him somewhere. :) Anybody else think this would be cool? ..and I need to see Etta James! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Sep 1995 10:23:05 -0400 From: Patti Bowman Subject: Re: LW's question: Is he weird LW Yes................... you are weird, but THIS is not the proof of it! ;-> Play on- -Patti who is listening to the Alligator 20th Anniversary Tour CD (- Little Ed, Koko, Katie Webster, Lonnie Brooks and Elvin Bishop...........Can't let these Blues Go!.......) er......um........hmmm......instead of working.......... might have to fire myself for being a slackard.....ah but I'm a blues-lovin' slackard so I'll cut myself some slack and crank the volume up to 11. (not-so-subtle Spinal Tap reference for the musically broad-based.) ========================================================================= Date: Thu, 14 Sep 1995 10:23:28 -0400 From: Patti Bowman Subject: Patsy/Secrets (WAS "Fever") >LW 'been listening to Patsy Cline most of today...BY CHOICE' I'd add PC to my list of people I wish I'd seen in person. I go to Pieces............ Patti Deepest darkest music secret: I actually own the Helen Reddy Greatest Hits CD and sometimes I play it loud and sing along into my hairbrush when I'm alone and the curtains are drawn. Deepest darkest music secret #2 I know all the words to Muskrat Love, Blindman in the Bleachers and Billy Don't be a Hero. See, LW, there are certainly different definitions for wierd. ========================================================================= Date: Thu, 14 Sep 1995 10:37:38 -0400 From: Rick Miller Subject: Garry Segal-HOB is good to artists! Thanks Garry for sharing that! Seriously. From my own point of view, and I'm sure one that's shared by lots of gigging blues-meisters out there, clubs love to dump all over you. My band takes care of business- by that I mean we are as good as our word and a handshake. We show up on time, play what's expected and more, are respectful, courteous and friendly to club management, staff and patrons, and IMHO we put on a good show. We are finding the same is not true of club owners/managers. We get shanked left and right, but will not lower ourselves to that level. Our reputation is all we have. Nice to know that HOB, for all its perceived faults, is great to it's performers. Professionalism goes a long, long way in my book. Riffin Rick (((( oo-) /- ...well, well, WELL! F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Sep 1995 08:41:45 -0700 From: Ron Wack Subject: Re: Colin James I'm also a big fan of Colin James. He's an exceptional guitarist! The Bad Habits disc see's a lot of time in my CD player. I also enjoyed his last disc "Now and Again" which is a best of and new material compilation. He does get a fair bit of radio time in Canada. I've seen some stores put him in the pop/rock section(?) but he sure doesn't belong there. Not when he does songs like Milk Cow Calf Blues. RW ========================================================================= Date: Thu, 14 Sep 1995 10:46:37 -0400 From: "David L. Prychitko" Subject: James Harman on "...Blues Band" names John Puleo was looking for a name for his band, with "Blues" in the title. It reminded me of something James Harman said in a recent interview (BLUES CONNECTION, July 1995, pp. 20-22): "I come home and pick up the SOUTHLAND BLUES magazine -- there's seventy-five places they're advertising they have live blues. I go down the list -- The Back Pocket Blues Band, The Dropped Quart Blues Band, The Refrigerator Door Handle Blues Band, The Suitcase Blues Band, The Pocketknife Blues Band, The Postage Stamp Blues Band, The Whiteout Blues Band, The Answering Machine Blues Band -- well, you get the picture. There's ten thousand blues bands, they're all playin' blues..." Heck, my own brother-in-law is in The Flat Broke Blues Band up in the U.P. (have you heard of them, Abe?). Take it for what it's worth, I guess. Dave Prychitko P.S. I'm a fool for using twists on the leader's name. To a guy in Marquette named Ray Dollar, I once suggested "Ray Dollar and the Kennedy Halves." To Steve Fleury whom I played with here in Oswego I suggested "Steve Fleury and the Snowflakes." There's also a guy up here named Zuckergood. I'm tempted to suggest "Bill and the Motherzuckers." I don't know, how'sabout "John Puleo and the Pushups"? ========================================================================= Date: Thu, 14 Sep 1995 10:52:29 -0400 From: CATBAUER Subject: BB King B-day A friend asked me to pass this information along... I have made arrangements for Atlanta promoter Alex Cooley to receive and print out birthday wishes for B.B. King who will be 70 years old when he plays Atlanta's Chastain Park on Saturday, September 16th. The EMail address there will close down at 4:00PM on FRIDAY, September 15th, so people are advised to get their messages in there a day early. I have posted this on AOL but I hope that you can make the information available through other Internet formats. The address is: B.B. King Birthday Wishes CONSOPRO@MINDSPRING.COM Catbauer@vivanet.com ========================================================================= Date: Thu, 14 Sep 1995 10:59:18 -0400 From: Rick Miller Subject: LW's musician query Well, LW, you're bang on the money. See? You're not so odd after all. :) The songs I've written and the ones I choose to perform I do so because they reflect similar experiences to ones I've had, emotions I feel. Friends who've seen me play originals ask me "where the hell do find inspiration for blues like that?" I can only say to them that I've been there, and that song is a part of me. Exposed...as you said. I'm basically exhausted when we're done. It's therapy for me. I kinda get off o that whole feeling of emotinal exposure. People relate to it. They hear you talking to them. Nuff said. Would love to see you play sometime... Riffin Rick (((( oo-) /- It's 3 o'clock in the morning, and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Sep 1995 16:56:23 EZT From: Jean-Pierre Urbain Subject: Re: Labels.... I'm so busy these time that I haven't had time to seriously follow Blues-L over the last month ... but I'd like to add my own (humble ?) opinion about this issue. Obviously, ARHOOLIE is number one, you can't go wrong. Many other labels have been quoted (some of which I -IMHO- would really not place in this category) but I was really surprised not to see the different labels related to Interstate in the Uk : FLYRIGHT, KRAZY KAT, TRAVELLIN MAN, .... Seldom been disappointed. Some wondefull albums! Another one which I do really recommend (and surprisingly not often discussed on this list) is TRIX records (they've now reissued almost all their great catalog -supreb country blues from the 70's) Among the smaller ones, don't forget ST GEORGES Georges, RELIC and as I'm European, I really like what the Ducth SWINGMASTER label has issued (unfortunately not yet on CD, but almost everything is still available in LP). In relation to Swingmatsre, I just also wanted to point out and recommend their great album by J.W.Warren which has finally accepted to cross the ocean. He will play the Utrecht Blues Estafette in november. I'll be there! Hope to have more time in the future.... Jean-Pierre ========================================================================= Date: Thu, 14 Sep 1995 10:32:19 -0400 From: Willy Evans Subject: Born Under a Bad Sign Something came up last week that got me curious! In reading Willie Dixon's book, he states that he wrote _Born Under a Bad Sign_. Several other people attributed it to other people. This is a favorite song of mine and one I perform a lot. I'd like to know what other performers claim this song. I've got a feeling that WD copyrighted a lot of traditional blues. Anybody got an opinion on that? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 14 Sep 1995 10:34:21 -0400 From: Willy Evans Subject: Re: YOur choice-live On Thu, 14 Sep 1995, Rick Miller wrote: > Here's a novel idea, please don't flame me, but I would LOVE to see Jimmy Page > do an all blues show/album. The old wizard has it in him somewhere. :) > Anybody else think this would be cool? > I'm not sure I'd call it blues, but Since I Been Lovin' You from LZIII(?) is very bluesy and I really like the guitar playing, very dramatic. But as always, with big Jimmy, a lot of notes per measure! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 14 Sep 1995 12:05:30 -0400 From: James Leftwich Subject: Black Top advice Hey, Just discovered that I'm on the Black Top mailing list and thus eligible for their blowout sale. Can someone suggest CDs? The only Black Top CD I have is Hollywood Fats _Rock This House_ (which is wonderful BTW). How about Anson Funderburgh stuff? Jim ========================================================================= Date: Thu, 14 Sep 1995 10:36:21 -0600 From: George McClellan Subject: Suggested Acts R.L. Burnside is a good choice as is Katie Webster. Three others I would suggest are H-Bomb Ferguson (terrific showman), Pistol Pete (local Chicago guitarist - very hot!), and Ronnie Brooks (son of Lonnie, terrific stage presence and strong player). George Chicago > Johnson County Blues Society is trying to organize a > Winter Folk and Blues festival. One day, 10 hours of blues. > > We have some names in mind, but I would like to hear from > Blues-Lers who should we get to play here. We'll have Catfish Keith > and Dave Moore (local guys), and we need 5-6 more people. > Who would you suggest? No John Hammond please - he was here > few months ago. Please, suggest people you saw only and > know they will put on a good show. > > Here are some people we are considering: > > 1. Honeyboy Edwards > 2. Henry Townsend > 3. RL Burnside and Kenny Brown (acoustic) > 4. Keb Mo (Sorry LW - women want him) > 5. Big Jack Johnson and Lester "Mad Dog" Davenport > 6. Rory Block > 7. Katie Webster (has she started performing again) > 8. Safire > > Ranko ========================================================================= Date: Thu, 14 Sep 1995 10:40:34 -0600 From: George McClellan Subject: My Apologies (Was Suggested Acts) It wasn't until I read several of the follow up posts that I realized you were looking for acoustic acts. Ronnie Brooks would still be someone to contact. If he's not out on the road or in the studio with Lonnie, he would be a terrific addition to your program. George Chicago ========================================================================= Date: Thu, 14 Sep 1995 11:27:38 GMT-6 From: Eliot Williams Subject: Re: SRV/Texas Flood credits question > From: Rick Miller > Question: Did Stevie Ray pen all the songs on Texas Flood himself? Don't have the track listing, but I know the title cut was a cover of a Larry Davis song. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 14 Sep 1995 16:29:05 GMT From: toulouse Subject: Re: ACL & HOB What he probably did not remind you of is that the HOB operations are profit driven. They do have some good foundation activity, but this is only to put some of their massive profits into a NPO op to reduce or defer taxes. Don't get me wrong, there are many things that are done by HOB that serve a good purpose, however, preserving and educating the Blues is not at the top of their list. This is OK of course, because this is America, and in America, a Canadian, (or any other nationality for that matter), can make as much money as they like and donate a portion to a "good cause" and get a tax writeoff. These guys have so much money, as do a lot of their investors, that it does not surprise me that they spend MILLIONS OF DOLLARS developing and promoting their club scenes. All of this is a deduction. God Bless America. ========================================================================= Date: Thu, 14 Sep 1995 12:30:49 -0400 From: Barry Silverberg Subject: Re: SRV/Texas Flood credits question Rick Miller (MILLER@SCI.WFEB.EDU) wrote: : Question: Did Stevie Ray pen all the songs on Texas Flood himself? My cd : basically lists no credits on the liner notes, but a musician friend of mine : thinks that Mary Had a Little Lamb is an old song, not an SRV original. On the : cd it is dedicated to "Rockin' Robin", -born 10/31/82. Rick, Buddy Guy does MHALL on his Vanguard CD - A Man & The Blues. The writer's credit listed is Buddy Guy / Avalon Music, BMI. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 14 Sep 1995 16:30:41 GMT From: toulouse Subject: Re: musician question..Am I weird -Reply Surely Homer Simpson is not the prophet du jour? ========================================================================= Date: Thu, 14 Sep 1995 16:36:03 GMT From: toulouse Subject: Re: Black Top advice Solomon Burke, Terrence Simmien, Earl King, are some other good ones on Black Top worth checking out. ========================================================================= Date: Thu, 14 Sep 1995 09:45:06 -0700 From: Joe Lempkowski Subject: Re: can't lose labels I have had a lot of luck with Evidence lately. I've liked everything I've heard/bought on that label. (I am impatiently awaiting the arrival of "The Golden Voice of Robert Covington". I hope Evidence owns the rights to this one.) I've also had pretty good luck with Wolf and Rooster. (I'd really love to see Magic Slim's Grand Slam released on CD.) Earwig is usually good too. Joe ========================================================================= Date: Thu, 14 Sep 1995 16:45:33 GMT From: Art Schuna Subject: Re: Labels.... In article <01HV9V6KEIIQ0004BH@RLMAT1.RULIMBURG.NL>, Jean-Pierre Urbain says: >really surprised not to see the different labels related to Interstate in the >Uk : FLYRIGHT, KRAZY KAT, TRAVELLIN MAN, .... Seldom been disappointed. Some >wondefull albums! I would have to agree here. I own most of the Travellin' Man and a few of the Krazy Kat. The pre-war compilations are great starting places and sound quality is very good. I was disappointed to read somewhere that there probably will not be new issues in the Travellin' Man series due to competition from Document (someone correct me if I'm wrong on this... actually, I really hope I am wrong). Haven't gotten into the Flyright series much due to the AVI/Excello reissue program and other domestic label reissues of this stuff. >Another one which I do really recommend (and surprisingly not often >discussed on this list) is TRIX records (they've now reissued almost all >their great catalog -supreb country blues from the 70's) I've been picking up this series as well. Just listened to Guitar Shorty's CD from this series last night. Very nice solo acoustic country blues set. > >Among the smaller ones, don't forget ST GEORGES Georges, RELIC and as I'm >European, I really like what the Ducth SWINGMASTER label has issued I own most of Relic's output on CD. They don't have a lot of straight blues reissues but if you are a fan of R&B and vocal group recordings from the 50s, you've got to learn more about this label. I can't say I know anything about St. George label. Tell me more about this. What artists should I look for (I guess your post would suggest any of them)and where do I start? Haven't seen Swingmaster label LPs, could anyone recommend a source? To add to this thread, I find myself buying FAT POSSUM CDs without knowing about the artist or hearing there music. I've only been disappointed once (I won't tell you who the artist is, to avoid the flames). Art Schuna ========================================================================= Date: Thu, 14 Sep 1995 16:47:24 GMT From: william higdon Subject: Blues/Jazz Festival in Ann Arbor, MI I know Ann Arbor is having a Blues/Jazz festival in Ann Arbor from 9/15 - 9/17 both inside and outside. I phoned them twice, and they said that they would send me details but apparently they lost my address both times... Does anyone know whether any of the shows there will feature acoustic blues (traditional). Thanks, Bill Higdon. ========================================================================= Date: Thu, 14 Sep 1995 10:02:16 -0700 From: Jennifer Meserve Subject: Re: Born Under a Bad Sign >From what I understand, yes, Willie Dixon wrote MANY great blues tunes, including "Born under a bad sign," but Albert King was the first to record it. Jennifer M. Baldwin (ex-Meserve) On Thu, 14 Sep 1995, Willy Evans wrote: > Something came up last week that got me curious! > > In reading Willie Dixon's book, he states that he wrote _Born Under a Bad > Sign_. Several other people attributed it to other people. This is a > favorite song of mine and one I perform a lot. I'd like to know what > other performers claim this song. > > I've got a feeling that WD copyrighted a lot of traditional blues. > Anybody got an opinion on that? > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** Let me live it like I please! **** > > > ========================================================================= Date: Thu, 14 Sep 1995 12:03:43 -0500 From: David Silberberg Subject: HOB in Chicago - Plans According to articles in both Chicago newspapers, the HOB is planning on developing (with a Chicago real estate development company) the commercial areas of a noted Chicago condominium property (Marina City, downtown on the river)into (quotes are from the Sun Times article): A 400-room, $40 million "juke joint hotel", offering "blues decor and paraphernalia, such as Blues Brothers motif bedspreads...direct television hookup that enables guests to watch live blues performance", etc. Tigrett is looking to make this a three-star hotel, with rooms costing about $100 per night. A 350-seat restaurant with Southern-style home cooking A 1,500 seat auditorium "House of Blues also plans to renovate the property's marina. The company will bring in a yacht and begin offering a so-called "Blues Cruise" along the Chicago River and shore of Lake Michigan." All of this leading, obviously, at some point, to "Apartments of Blues", "Condos of Blues", "Golf Course Fairway Homes of Blues", "Gated Communities of Blues" - the mind boggles at the possibilities.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 14 Sep 1995 13:06:13 -4 From: "P.W. Fenton" Subject: Re: BB King B-day On14 Sep 95, CATBAUER had this to say... > A friend asked me to pass this information along... > > I have made arrangements for Atlanta promoter Alex Cooley to receive and > print out birthday wishes for B.B. King who will be 70 years old when he > plays Atlanta's Chastain Park on Saturday, September 16th. > The EMail address there will close down at 4:00PM on FRIDAY, September > 15th, so people are advised to get their messages in there a day early. > I have posted this on AOL but I hope that you can make the information > available through other Internet formats. > The address is: > B.B. King Birthday Wishes > CONSOPRO@MINDSPRING.COM > > Catbauer@vivanet.com > Sure seems like Dick Waterman made this arrangement a day or two ago. But my thanks to whoever it is. B.B.'s the greatest man in the Blues, in my book. Sent my greetings yesterday. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 14 Sep 1995 13:04:41 EDT From: Henry Gould Subject: Original No Expectations? A qvick qvestion - can someone tell me the background on Stones' tune "No Expectations" (have I got the title right)? Who wrote/first recorded? "So take me to the station put me on a train I got no expectation to pass through here again" etc. Maybe it's their own? Thanks! - HG ========================================================================= Date: Thu, 14 Sep 1995 17:38:15 GMT From: George Myers Subject: Re: Long Live the Taj Many say the greatest Taj gig they ever saw was on the Ultimate Rhythm & Blues Cruise 3 where Taj himself said "I've been playing music for 30 years and this is the most fun I have ever had!" Taj is joining the Ultimate Rhythm & Blues Cruise 4 along with Magic Dick/J Geils BluesTime, Koko Taylor, Lonnie Brooks, Latimore, Jimmy Thackery, James Harman, Debbie Davies, WAR, and Chubby Carrier. ========================================================================= Date: Thu, 14 Sep 1995 18:47:00 GMT From: Dennis Miele Subject: Re: House of Blues or Austin City Limits - Which is better? In article <4335ue$535@maureen.teleport.com> Dennis York writes: >After seeing both of these shows a few times I'm at a loss to decide which one >is better. Austin City Limits does not pander to current commercial trends. It seems that their criteria for guests is based solely on musical considerations. This is an excellent show with a long history of spotlighting talented artists. ========================================================================= Date: Thu, 14 Sep 1995 14:05:03 -0400 From: Rick Miller Subject: SRV/Texas Flood credits part deux Okay, the consensus (as I expected) is that a number of those tunes are covers of older material. Next question: How come there are no song credits OF ANY KIND on my Texas Flood liner notes? Seems odd. Anybody out there still got the vinyl version? Does it have song credits on it? Is the lack of song credits on this album consti- tute an oversight at Epic? Or maybe they're there on the album (vinyl) and just didn't make the translation into jewel-box-ese? Just a matter of curiostiy... Riffin Rick F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 14 Sep 1995 18:07:03 GMT From: Sarah Cookinham Subject: charles brown where?!!!?? Charles Brown, wow. i am a huge fan of charles brown and i have absolutely no idea where or when i can see him. i also have no idea how to find this out. i have seen him before and he was brilliant! thank you so much for celebrating his birthday, lw, and had i known, i would've loved to have been a part. please, any information you can give me about charles brown appearances or contacts i would love to receive. i have not been an active reader of the blues list serve throughout previous summer months. did i miss important charles brown information? thank you very much, sarah ========================================================================= Date: Thu, 14 Sep 1995 12:51:42 -0500 From: Richard Shurman Subject: Re: can't lose labels Release on Evidence of "The Golden Voice Of Robert Covington" is imminent; I don't have a release date. ========================================================================= Date: Thu, 14 Sep 1995 14:25:27 -0400 From: "David L. Prychitko" Subject: Re: Your Choice Patti offered a quite a diverse list, which prompts me (after some debate with myself) to do the same. (There is a moral to it at the end, I think). Here's some that I've seen (non-blues) Frankie Vali & the Four Seasons (Arie Crown Theater; my first concert, I was about eleven years old, around 1973-4). Surprised my junior high school friends didn't beat me up for it. Black Sabbath (Chicago Stadium; my second concert; some unknown band opened, called Van Halen... we all said Van WHO?). Yes ("in the round," Chicago Stadium, 1978). My first Maslowian peak experience, no hallucinogens necessary. The Moody Blues (about four times, after Mike Pinder left). Justin Hayward! Big Twist & the Mellow Fellows (back when it was all called Chicago Fest) Willie Nelson a couple times; Oak Ridge Boys; CS&N; Neil Young; Harry Chapin (Northern Michigan University, around 1980 or 81, several months before he died. Harry walked out into the crowd, about ten feet away from me, and sang "Mail Order Annie" without a mike, and with his hands in his pockets. Another peak experience. Wish he never left us...) Riders in the Sky (Birchmere, mid 1980s). Fun show. And learned that Woody Paul has a PhD in physics. Gordon Lightfoot (BTW, I was up in the U.P. for a couple weeks last month, and just missed G.L.'s performance in Ishpeming -- part of a short tour commemorating the 20th anniversary of the Wreck of the Edmond Fitzgerald). 10,000 Maniacs (couple times) and Guadalcanal Diary Les McCann (twice in Syracuse). Compared to What! Dave Brubeck Michael Ray and the... ? (At least I got to see some members of Sun Ra's Intergallactic Arkestra) McCoy Tyner Big Band (excellent show) And the thing is this: none of the big venues (stadium concerts, etc) beats a live blues performance. How is it that a blues musician can play his heart out to an audience of fifty people, or fifteen, or even five? Outside the big summer festivals (which are certainly a blast), the "typical" blues club is at a much healthier, human scale. I got my first experience of the importance of scale when Harry Chapin went into the small crowd -- not to display guitar pyrotechnics or to "walk" on the uplifted hands of a mob -- just to sing... unplugged! There is much more communication going on between performers and their audience. At times it even borders on a true dialogue. ... Thanks for letting me indulge myself for a minute. Dave Prychitko ========================================================================= Date: Thu, 14 Sep 1995 14:27:49 -0400 From: Jim McGlynn Subject: Re: Black Top advice Jim Leftwich wrote: >Just discovered that I'm on the Black Top mailing list and thus eligible >for their blowout sale. Can someone suggest CDs? Before you run yourself ragged doing research, I'd suggest you call Black Top and see if they're still taking orders. They told a friend who called on Monday that the sale ended last Friday and they weren't willing to make an exception. But then again they told me when I first called a few weeks ago that the sale was only for people on their mailing list. After the urging of several folks here to try again, I did and had no problem ordering a batch. So maybe there's wriggle room, maybe not. Good luck, Jim McGlynn -- ========================================================================= Date: Thu, 14 Sep 1995 14:33:53 -0400 From: Steve Fay Subject: Acoustic Blues If you had to pick your top 5 acoustic blues recordings what would they be? I've been listening to mostly electric blues for some time and I am in the mood for a change of pace. Also, any boxed set or compilations reccomendations would be appreciated. Thanks SFDBLUES.aol.com ========================================================================= Date: Wed, 13 Sep 1995 19:21:06 PDT From: Michael Suffern Subject: Re: musician question..Am I weird LW, 1. Most important, what you have discovered something deeply powerful. Don't abandon it. I think the rewards are greater than the embarasment you currently feel (which will go away slowly). At least doing it on the guitar you're not as completely exposed as if you wrote and sang lyrics of the same transparency. You should do it in public more! 2. You may have discovered Guitarist's Nirvana. Does it all happen automatically, with no warning you're just totally in the groove and all is right. It almost happens without you doing anything, and the emotions well up in your chest, ascending higher and higher. That's why I play - for that elusive moment. I had it Friday night in Tampa, playing with P.W on "Stormy Monday" (about the third time I fell into Harpist's Nirvana). It's usually not as intense when I'm playing alone though it happens more often then because I practice more than I play out. 3. How to break out? Just do it, a bit at a time if necessary. Great poets and writers, players and singers all do it. That ought to be a good incentive. You would follow in a time honored path of creative people and spirtual seekers. It is a most noble goal and you shouldn't waste it. Mike On Wed, 13 Sep 1995 08:59:18 CDT L W wrote: >I hope ya'll don't think I'm a mental case (shut up :-)) for saying this, >cause I very well my be..... > >Do you not feel like you exposing a deep part of yourself when you play >LIKE YOU KNOW YOU CAN. I would almost be naked on stage than to expose my >inner feelings when I play. I play from deep down inside and I feel like >I'm kind of exposing a very private part of me......Am I making sense. It's >like the real me coming out when I play my best....Which is usually when >I'm alone (I bet that sounds familar)...It's frightening to me to share my >inner most feeling with strangers and even some friends. My wife and close >friends has experiecned it and I usually have to rest a minute or two after >I "let go".... > >I think that's what seprarates the "really good" from the mediocre....The >really good consistently let themselves "be exposed".... > >I'm etiher CRAZY or do someof you feel that way. Am I "romanticing" the >whole she-bang > >Does anyone feel that way, How can I break out of my self-imposed shell > >LW 'A bonafide nut-case....I really hope not" ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/13/95 Time: 19:21:06 ------------------------------------------------------- ========================================================================= Date: Thu, 14 Sep 1995 14:36:14 -0500 From: Erica Wissolik Subject: Re: Born Under a Bad Sign -Reply The copyright records show that a song with this name, originally written in June of 1967, was just registered in Jan of this year. RE-688-175 TITL: Born under a bad sign. NOTE: Words & music. CLNA: acBooker T. Jones & acWilliam Bell (A) DREG: 3Jan95 ODAT: 8Jun67; OREG: EU999315. >>> Jennifer Meserve 09/14/95 12:02pm >>> >From what I understand, yes, Willie Dixon wrote MANY great blues tunes, including "Born under a bad sign," but Albert King was the first to record it. Jennifer M. Baldwin (ex-Meserve) On Thu, 14 Sep 1995, Willy Evans wrote: > Something came up last week that got me curious! > > In reading Willie Dixon's book, he states that he wrote _Born Under a Bad > Sign_. Several other people attributed it to other people. This is a > favorite song of mine and one I perform a lot. I'd like to know what > other performers claim this song. > > I've got a feeling that WD copyrighted a lot of traditional blues. > Anybody got an opinion on that? > > Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu > **** Let me live it like I please! **** > > > ========================================================================= Date: Thu, 14 Sep 1995 14:41:16 -0400 From: Tom Freeland Subject: Re: Acoustic Blues In a message dated 95-09-14 14:37:13 EDT, SFDBLUES@AOL.COM (Steve Fay) writes: > >If you had to pick your top 5 acoustic blues recordings what would they be? > I've been listening to mostly electric blues for some time and I am in the >mood for a change of pace. Also, any boxed set or compilations >reccomendations would be appreciated. > Jesus, this is a broad question! Prewar included? Postwar only? Some you should consider are very obvious: The Complete Robert Johnson box The Muddy Waters Plantation Recordings on MCA/Chess If you were going to start with one single disk, I would get the later of those two. There's also among my most-often-played-favorites: Skip James Today! (Vanguard) and Skip James 1932 Sessions (Yazoo) Robert Wilkins The Original Rolling Stone (Yazoo) John Hurt 1927 Sessions (Yazoo) I would recommend the first of the Yazoo Blind Willie McTell, except that I have very reliable information that much of that is going to come out very soon on reissue with better sound and excellent liner notes written by an esteemed fellow blues lister. And there's lots and lots others. What specifically are you looking for? Tom Freeland ========================================================================= Date: Thu, 14 Sep 1995 14:50:00 EDT From: "(Brent M. Smith)" Subject: Columbia House records Can somebody please send me the list of the blues stuff that CH has. I have lost my copy. Thanks, Brent ========================================================================= Date: Thu, 14 Sep 1995 15:01:07 -4 From: "P.W. Fenton" Subject: HOB's Magic Tax Write-Off On14 Sep 95, toulouse had this to say... > These guys have so > much money, as do a lot of their investors, that it does not surprise me > that they spend MILLIONS OF DOLLARS developing and promoting their club > scenes. All of this is a deduction. God Bless America. Where do you get this idea? Is it a guess? I seriously doubt the House of Blues has a promotions budget that can be measured by anything approaching "millions". They are actually rather conservative in their advertising. You act as though there was some "greed" in their donating profits to educating young folks. You need to realize how absurd that notion is. If HOB makes 10 bucks and winds up owing Uncle Sam 3 bucks, they keep 7 bucks. If they give one of those 3 bucks to a charity they reduce Uncle Sam's cut by a dollar, but they still make the same 7 seven bucks. You reduce your TAX BURDEN by giving away your profits, you don't MAKE MORE. That may be a simplistic explanation of how it works, but the essence is still true... you don't get rich because you give your money away. P.W --------------------------------------------------------------------- You know I love you, baby But I just can't take you out tonight You see, the rent is due tomorrow And the money's getting too damn tight P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 14 Sep 1995 12:05:46 -0700 From: Adrian Spidle Subject: Re: SRV/Texas Flood credits part deux My vinyl album did have song credits listed; my vinyl of SRV's live album, on the other hand, explicitly listed him as author of all cuts, including Stevie Wonder's "Superstition". Adrian On Thu, 14 Sep 1995, Rick Miller wrote: > Okay, the consensus (as I expected) is that a number of those tunes are covers > of older material. > > Next question: How come there are no song credits OF ANY KIND on my Texas Flood > liner notes? Seems odd. Anybody out there still got the vinyl version? Does > it have song credits on it? Is the lack of song credits on this album consti- > tute an oversight at Epic? Or maybe they're there on the album (vinyl) and > just didn't make the translation into jewel-box-ese? > > Just a matter of curiostiy... > > Riffin Rick > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > > ========================================================================= Date: Thu, 14 Sep 1995 14:09:58 -0500 From: T-Bone Subject: Piedmont Blues Does anyone have or know about, or is anyone currently working on, a web page about Piedmont blues? I "discovered" this style only a couple of years ago and really like it, but there is not as much literature or recordings like there is for Delta blues. If no one else has a Piedmont page, I'll start working on one. [For those who have expressed interest and might be wondering, I have not abandoned my Leroy Carr page. It's just that my Leroy Carr cds, with all their nice liner notes, are still in Europe with a "friend".] Can anyone recommend any Piedmont blues artists that I might have missed? I already have discs by the following: Blind Boy Fuller John Cephas and Phil Wiggins Rev. Gary Davis Blind Blake Blind Willie McTell Pink Anderson I've looked in vain for anything by Archie Edwards (who's from this town, no less), but I plan to hit all my record stores this weekend. Also, could someone recommend a good Brownie McGhee/Sonny Terry cd? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 14 Sep 1995 15:11:10 EST From: SToney@FRAMATECH.COM Subject: Re: SRV/Texas Flood credits question George Guy (AKA Buddy) wrote Mary Had a Little Lamb. Larry Davis co-wrote Texas Flood. Don't know about Buddy's song, but legend has it that after hitting the big time, Stevie Ray met up with Larry Davis and paid him $5,000 for writing Texas Flood. I'm pretty sure that this was done even though the rights to the song were no longer owned by Mr. Davis. I also recall that at the time SRV did this, he was unaware that Texas Flood had a co-writer. Upon learning that a co-writer existed, SRV (or his people) located this gentleman (don't remember this mans name) and paid him the same amount...cash. I've written this from memory of something I read at least two years ago, so please don't take this for 100% fact, but I think it's close. Can anyone correct anything I may not have gotten right? Steve Toney ========================================================================= Date: Thu, 14 Sep 1995 15:17:01 -0400 From: Nancy Subject: Tab Benoit on Baywatch Tab fans or anyone who has had an interest in hearing this Louisianna blues guitar meister--here is your chance. He will be playing for the opening show of Baywatch Nights this season. The first shows will air on the 23rd, others are later. I do know dates for a few markets though and they are: Houston 1st showing Sept. 23 8:00 pm 2nd showing Sept. 30 2:00 am New Orleans 1st showing Sept. 29 11:30 pm 2nd showing Sept. 30 1:00 am New York 1st showing Sept. 29 9:00 pm 2nd showing Sept. 31 6:00 pm Los Angeles 1st showing Sept. 29 8:00 pm Or, if you miss Tab on Baywatch Nights, want to hear samples from his new album Standing On The Bank and you have Web access, go to http://justicerecords.com/arp12.htm. Thanks, Nancy ************************************************************************* Nancy K. Worthington - Interactive Marketing Department Justice Records - Redefining Independence nancy@justicerecords.com Web site: http://www.justicerecords.com/justice (713) 520-6669 fax (713) 525-4444 ************************************************************************* ========================================================================= Date: Thu, 14 Sep 1995 14:41:28 -0500 From: Jeff Seale Subject: Re: SRV/Texas Flood credits part deux If you'll look on the actual CD, they are listed after the song titles... -Jeff (I wondered the same thing...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Thu, 14 Sep 1995 19:47:13 GMT From: toulouse Subject: Re: HOB's Magic Tax Write-Off on 9/14/95 pwfenton@gate.net responded: >Where do you get this idea? Is it a guess? I seriously >doubt the House of Blues has a promotions budget that can be measured >by anything approaching "millions". They are actually rather >conservative in their advertising. I get this idea from fact. The money spent renovating and decorating their clubs is 2 times what it really cost. This is where the spending of millions comes in. You don't think they spend a lump of cash for the TV show production. What they don't spend, some one else does. I don't particularly care about that, but there is somewhat of a facade about the whole "preservation of the Blues thing". Their places are nicely renovated decorated bars whose bottom line is to sell drinks, food, merchandise and turnover customers through the doors. Now the thing is to go nationwide. Kinda like McDonald's. This is good too, but what about the Blues? At least 60%, maybe even more, of their format is not even near Blues. House of Music would be more appropriate. > >You act as though there was some "greed" in their donating profits to >educating young folks. You need to realize how absurd that notion >is. If HOB makes 10 bucks and winds up owing Uncle Sam 3 bucks, they >keep 7 bucks. If they give one of those 3 bucks to a charity they >reduce Uncle Sam's cut by a dollar, but they still make the same 7 >seven bucks. You reduce your TAX BURDEN by giving away your profits, >you don't MAKE MORE. That may be a simplistic explanation of how >it works, but the essence is still true... you don't get rich because >you give your money away. I don't mean to imply greed on the picture. Most of the investors in HOB are millionaires. They are investing large sums of money in an operation that spares no expense, if it takes them a while to make some money back, no problem, if it loses money no problem. The gains and losses are for the stockholders, not the corp. If I seem to be negative, I am not. I am glad to see an outfit like HOB on the scene, I wish they would, (because they can) do more of what the preach is about education and preservation. When the already smelly record industry and it' s standards dictate you programming and performances, it is a little bit disappointing. It is somewhat unfortunate that this is the way things are. I accept that. Have you ever tried to get HOB involved in a project? If you have ever stood in that place, you know what I am talking about. I have no problem with the capitalistic system. I think profit is good. I think that donation to NPO in charity should be a deduction. I wish that some of the money would be spent in areas where it is better served, that is all. ========================================================================= Date: Thu, 14 Sep 1995 14:54:00 CDT From: Bonnie Kalmbach Subject: Re: HOB in Chicago - Plans >From: IN%"davidis@INTERACCESS.COM" "David Silberberg" >To: Multiple recipients of list BLUES-L >Subject: HOB in Chicago - Plans > >According to articles in both Chicago newspapers, the HOB is planning on >developing (with a Chicago real estate development company) the commercial >areas of a noted Chicago condominium property (Marina City, downtown on the >river)into (quotes are from the Sun Times article): I just wonder if they will take advantage of the fine local talent - better known: the Alligator artists - or lesser known - Byther Smith, Willie Kent, Lee "Shot" Williams, Bonnie Lee, etc. - I am not holding my breath - in fact I expect they'll import quasi-blues bands such as Blues Traveller. Jes' my disgruntled .02 worth. -Bonnie ========================================================================= Date: Thu, 14 Sep 1995 16:09:37 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Acoustic Blues >If you had to pick your top 5 acoustic blues recordings what would they be? > I've been listening to mostly electric blues for some time and I am in the >mood for a change of pace. Also, any boxed set or compilations >reccomendations would be appreciated. > Robert Johnson - Complete Recordings Lightnin Hopkins - Complete Aladdin Recordings Blind Blake - Ragtime Guitar's Foremost Fingerpicker Rev Gary Davis - Reverend Gary Davis Bukka White - Complete Bukka White There are alot more. (Aren't these kind of questions fun) ========================================================================= Date: Thu, 14 Sep 1995 13:21:44 +0000 From: Rich Del Grosso Subject: Re: Dobro string recommendations please. Riffin Rick I prefer playing in G and Open D, so I like to use a set of med strings, sometimes heavy. I have also found that if you use a heavier guage string on the first and second, you can get a sweeter sound on the high notes. I replace the second string with a third and the first with a second. You can usually buy extra strings at most guitar stores. You can't retune to standard or the strings will break. Rich DelGrosso Blues Revue ========================================================================= Date: Thu, 14 Sep 1995 15:55:20 -4 From: "P.W. Fenton" Subject: Re: HOB's Magic Tax Write-Off > on 9/14/95 pwfenton@gate.net said: > > >Where do you get this idea? Is it a guess? I seriously > >doubt the House of Blues has a promotions budget that can be measured > >by anything approaching "millions". They are actually rather > >conservative in their advertising. > On 14 Sep 95, Toulouse Enterprises, Inc. had this to say... > I get this idea from fact. The money spent renovating and decorating their > clubs is 2 times what it really cost. This is where the spending of > millions comes in. You don't think they spend a lump of cash for the TV > show production. What they don't spend, some one else does. Please forgive me. I must have had one to many pints at lunch. I have no earthly idea what you are talking about after "I get get this idea from fact". It must be me. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.vistech.net/users/bluesell/ ========================================================================= Date: Thu, 14 Sep 1995 15:18:24 -0500 From: David Silberberg Subject: Re: HOB's Magic Tax Write-Off At 03:01 PM 9/14/95 -4, P.W. Fenton wrote: >Where do you get this idea? Is it a guess? I seriously >doubt the House of Blues has a promotions budget that can be measured >by anything approaching "millions". They are actually rather >conservative in their advertising. > >You act as though there was some "greed" in their donating profits to >educating young folks. You need to realize how absurd that notion >is. If HOB makes 10 bucks and winds up owing Uncle Sam 3 bucks, they >keep 7 bucks. If they give one of those 3 bucks to a charity they >reduce Uncle Sam's cut by a dollar, but they still make the same 7 >seven bucks. You reduce your TAX BURDEN by giving away your profits, >you don't MAKE MORE. Paul - I agree with your sentiment, but not your math: you wind up with LESS money by giving some away, not the same. Your scenario: give 1 buck to charity, you reduce your taxable income by $1, which reduces your taxes by $.30 (lets assume a 30% tax rate as you did, altho that is low - the concept is the same). So you give $1 to charity to save $.30 in taxes, thereby being $.70 poorer at the end: $10 earned less $1 to charity = $9 X 30% taxes = $2.70 taxes leaves $6.30 for you ($9 - $2.70). So HOB is worse off economically (if not spiritually) by donating part of their profits to charity.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 14 Sep 1995 15:49:42 -0500 From: "Henry Busse Jr." Subject: Birthdays 9/15/95 ADDERLEY, CANNONBALL ( JULIAN EDWIN ) Born:1928 TAMPA, FL Died:08 08 1975 GARY, IN Age:47 Occupation:ALTO SAX Worked With: MILES DAVIS / GEORGE SHEARING Style:JAZZ BRITO, PHIL ( PHILIP COLOMBRITO ) Born:1915 BOOMER, WV Occupation:SINGER Worked With:AL DONAHUE / JAN SAVITT / EDDIE DUCHIN Style:BIG BAND BRYAN, ALFRED Born:1871 BRANTFORD, ONTARIO, CANADA Died:04 01 1958 GLADSTONE, NJ Age:85 OCCUPATION:LYRICIST WORKED WITH:FRED FISHER / GEORGE MEYER / LARRY STOCK / ALFRED GUMBLE / AL PIANTADOSI / JOHN KLENNER WROTE: PEG O' MY HEART / WINTER / COME JOSEPHINE IN MY FLYING MACHINE STYLE:POP / BIG BAND CASEY, AL (ALBERT ALOYSIUS ) Born:1915 LOUISVILLE, KY Occupation:GUITAR Workede With:FATS WALLER / FRANKIE NEWTOON / BILLIE HOLIDAY / TEDDY WILSON / BUSTER HARDING / CHU BERRY / EARL HINES Style:JAZZ / BIIG BAND DANCE, STANLEY ( FRANK ) Born:1910 BRAINTREE, ENLAND Occupation WRITER / RECORD PRODUCER Worked With:DOWN BEAT / METRONOME / JAZZ JOURNAL Wrote:THE WORLD OF DUKE ELLINGTON/THE WORLD OF SWING/THE WORLD OF COUNT BASIE MARRIED TO HELEN OAKLEY DANCE Style:JAZZ / BIG BAND HOGAN, SILAS Born:1911 WESTOVER, LA Occupation:GUITAR / SINGER Style:BLUES HONORE, GIDEON J. Born:1904 NEW ORLEANS, LA Occupation:PIANO Style:JAZZ NICHOLS, BOBBY ( ROBERT, JOSEPH ) Born:1924 BOSTON, MA Occupation:TRUMPET Worked WithVAUGHN MONROE / GLENN MILLER AAF BAND / TEX BENEKE / RAY MCKINLEY / TOMMY DORSEY / SAUTER FINEGAN Style:JAZZ / BIG BAND PRYOR, SNOOKY ( JAMES EDWARD PRYOR ) Born:1921 LAMBERT, LA Occupation:HARMONICA Worked With:MOODY JONES / HOMESICK JAMES / FLOYD JONES Style:BLUES RAMIREZ, RAM ( ROGER ) Born:1913 PUERTO RICO Died:01 11 1994 QUENNS, NY Age:80 Occupation:PIANO / ORGAN / COMPOSER Worked With:ELLA FITZGERALD / FRANKIE NEWTON / JOHN KIRBY / CHARLIE BARNET / SID CATLETT / REX STEWART / SPIRITS OF RHYTHM / WILLIE BRYANT Wrote:LOVER MAN / MAD ABOUT YOU / IJUST REFUSE TO SING THE BLUES Style:JAZZ / BIG BAND ROLAND, GENE Born:1921 DALLAS, TX Died:08 11 1982 NEW YORK, NY Age:61 Occupation:COMPOSER / ARRANGER / TROMBONE Worked With:STAN KENTON / LIONEL HAMPTON / CHARLIE BARNET / CLAUDE THORNHILL / ARTIE SHAW / HARRY JAMES / WOODY HERMAN Style:JAZZ / BIG BAND SHAW, ARVELL Born:1923 ST.LOUIS. MO Occupation:BASS Worked With:LOUIS ARMSTRONG / BENNY GOODMAN / SIDNEY BECHET / SAMMY PRICE / TEDDY WILSON Style:JAZZ / BIG BAND SHORT, BOBBY Born:1926 DANVILLE, IL Occupation:PIANO / SINGER Style:JAZZ ========================================================================= Date: Thu, 14 Sep 1995 16:50:53 -0400 From: Steve Levine Subject: Re: Piedmont Blues *Can anyone recommend any Piedmont blues artists that I might have missed? *I already have discs by the following: * *Blind Boy Fuller *John Cephas and Phil Wiggins *Rev. Gary Davis *Blind Blake *Blind Willie McTell *Pink Anderson John Jackson is a must-see. He'll be at the Bluebird Blues Festival this Sunday at PG Community College. Mississippi John Hurt is another esssential piedmont blues player - he was one of the greatest finger pickers ever. Some others include Dave Van Ronk (who plays in many styles, but mostly acoustic finger picking), Mance Libscomb (technically a Texas artist, but definitely a songster in the Piedmont tradition). I've heard of some guy called Blind Lemon Custard, or something like that, but I've never actually heard him. :-) *I've looked in vain for anything by Archie Edwards (who's from this town, *no less), but I plan to hit all my record stores this weekend. Also, could *someone recommend a good Brownie McGhee/Sonny Terry cd? I think that House of Musical Traditions, in Takoma Park, has some of Archie's recordings, either in the blues or local artists section. You may want to call the DC Blues Society and ask if they know where his recordings are available. As far as Sonny and Brownie recordings go, you can't go wrong with the Smithsonian/Folkways recordings. My favorite is a live one called Sonny Terry and Brownie McGhee Live at Sugar Hill. -Steve ========================================================================= Date: Thu, 14 Sep 1995 16:58:03 -0400 From: tliu@CPCUG.ORG Subject: 1995 NATIONAL HERITAGE AWARD TO ROBERT JR. LOCKWOOD 1995 NATIONAL HERITAGE AWARD TO ROBERT JR. LOCKWOOD=20 For Release: September 13, 1995 Contact: Cherie Simon 202-682-5570 Office of Communication=20 National Endowment for the Arts WHITE HOUSE CEREMONY TO HONOR ARTS ENDOWMENT=20 NATIONAL HERITAGE FELLOWSHIP RECIPIENTS=20 Washington, D.C. -- For the first time ever, twelve 1995 recipients of National Heritage Fellowship awards, the National Endowment for the Arts' most prestigious accolade in folk and traditional arts, will be honored in a special White House Ceremony. First Lady Hillary Rodham Clinton and Jane Alexander, Chairman of the National Endowment for the Arts, will present the awards at 1 p.m. on September 27, 1995. The event coincides with the Endowment's 30th Anniversary.=20 The Fellowship recipients, each a guardian of a generations-old folk arts form, also will be feted in a concert celebration at 7:30 p.m. on Friday, September 29th at George Washington University's Lisner Auditorium located at 730 21st St. N.W. in Washington, D.C. Roger Welsch, a CBS - TV essayist, will be master of ceremonies. This event is free and open to the public. Call the National Council for the Traditional Arts at 301-565-0654 for ticket information. =20 "The National Heritage Fellowship awards celebrate the lifetime achievements of America's masters of folk and traditional arts," said Chairman Alexander, "Each of these extraordinary artists has tapped a great personal store of creativity to lead their communities in preserving and revitalizing traditions built by countless others. The group chosen is a snapshot of this country at its best, offering a positive vision of who we are and what we can be."=20 The National Heritage Fellows hail from urban centers, rural communities, and Native American reservations located in eleven states and represent many threads of this nation's cultural fabric. The 1995 recipients are: Bao Mo-Li, a Chinese American vocalist and musician of New York; Mary Holiday Black, a Navajo basketweaver from Utah; Lyman Enloe, a fiddler from Missouri; Donny Golden, an Irish step dancer of New York; Danny Kalanduyan, a Filipino instrumentalist of California; Wayne Henderson, a luthier and guitarist from Virginia; Bea Ellis Hensley, a blacksmith from North Carolina; Nathan Jackson, an Alaskan Native woodcarver; Robert Jr. Lockwood, a Delta blues guitarist living in Ohio; Israel "Cachao" L=F3pez, an= Afro-Cuban bassist who invented the mambo and now lives in Miami; Nellie Star Boy Menard, a Lakota Sioux quiltmaker from South Dakota; and Buck Ramsey, a cowboy balladeer of Texas. Robert Jr. Lockwood One of the greatest laments of Delta blues devotees is that the legendary guitarist and singer Robert Johnson died so young. His remarkable talent at playing both lead and accompaniment and at capturing the essence of many styles of guitar playing, his high, searing vocal style, and his personal charisma made him a defining figure in the early history of the Delta Blues. He was truly a legend in his own time. Following his death under mysterious circumstances in 1938 (it is said that he was poisoned or shot by a jealous rival or by a spurned lover), many musicians have been quick to say they knew him or played with him, but only one can say that Robert Johnson actually taught him how to play--Robert Jr. Lockwood. Blues guitarist Robert Jr. Lockwood was born in 1915 in Turkey Scratch, Arkansas, and lived in Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri. His grandfather was a preacher, and as a child he learned to play the organ. He liked the blues, but he didn't play them when his grandfather was around. "I couldn't play when he was there 'cause he was a preacher. I liked the blues and was playing them on organ. We all [in the family] played them on organ. My grandfather didn't know it." This all changed when he met Robert Johnson. His mother, long separated from her husband, met Johnson when her son Robert was 13, and Johnson lived with her on and off for the next ten years. When young Robert heard him play the guitar, he said, "This is what I want to do....I learned how to play the guitar like Robert. And I didn't touch the organ no more." Within a couple of years, Robert Lockwood, Jr. (whose name was inverted to be Robert Jr. Lockwood because of his relationship to Robert Johnson) was playing at local house parties, street corners, and gambling establishments for pay to help support his mother. When he was 16, he teamed up for a while with another blues great, harmonica player Sonny Boy Williamson, with whom he later recorded and performed regularly on the influential radio show "King Biscuit Time." "We were the first ones to play amplified blues over the radio," he says. His musical fortunes over the next 60 years of his career took him to many places throughout the United States--especially cities along the Delta-to-Chicago axis--Japan, and Europe. When Lockwood lists the people he has played with over his career, it reads like a Who's Who of the blues and includes the likes of B.B. King, Muddy Waters, Otis Spann, and Johnny= Shines.=20 In addition to his grounding in Johnson's Delta blues style, he took a liking to the music of Count Basie and Ray Charles. Perhaps as a result, his own playing over the years has tended to include more progressive, extended chord progressions than those found in traditional blues, and his melodic improvisations lean toward the jazz idiom. "Rolling Stone says I'm not a blues musician," he says. "Some people might say that Ray Charles isn't either, but he can play blues better than most, because he knows more. I'm the same way, a craftsman of music. I can play all different styles, and I'm very grateful that I had the ability to learn." Also atypical of most Delta blues is his use of the 12-string guitar. "My wife Annie bought me that 12-string. I ignored it at first, but when I heard the great chord sound it got, I loved it. Now that's all I play." =20 Robert Jr. Lockwood has many recordings to his credit, including two more recent releases on Rounder Records. In 1940, he recorded his well-known "Little Boy Blue" and other compositions with RCA Victor in Chicago, where he eventually worked as a studio musician for Chess Records for 17 years. He made other recordings on the Trix and Delmark labels and with companies in France and Japan. In 1960, he and his wife settled in Cleveland, Ohio. He continues to play concerts both locally and at festivals around the country, with one of his favorites being the annual King Biscuit Blues Festival in his home town of Helena, Arkansas. *********** Since 1982, the Endowment's Folk & Traditional Arts Program has awarded 185 National Heritage Fellowships. Artists are nominated by fellow citizens and selected by a panel of folk arts advisors on the basis of artistic excellence and contributions to preserving America's cultural heritage. Fellowship recipients are also acknowledged for their work as teachers, role models or mentors, and innovators. Each artist receives a one-time Fellowship award of $10,000. =20 The White House event is an invitation only ceremony. Media personnel who wish to cover the event must contact the Endowment Office of Communications at 202-682-5570 on or before September 25, 1995 to arrange clearance. Tickets to the free public celebration at George Washington University's Lisner Auditorium, produced in collaboration with the National Council for the Traditional Arts, are available on a first-come, first-served basis at locations listed below. On September 29th, doors will open at 7:00 p.m. and the concert begins at 7:30 p.m. Each artist will be featured briefly -- musicians will give short performances, and the work of crafts people will be highlighted in slide presentations. Sign language interpretation will be provided. =20 Contact the following locations for tickets to G.W.'s Lisner Auditorium:=20 By telephone:=20 National Council for the Traditional Arts, 301-565-0654 The National Endowment for the Arts=20 Folk & Traditional Arts Program, 202-682-5449=20 In person at: The House of Musical Traditions, 7040 Carroll Ave., Takoma Park, MD; (Tuesday - Thursday, noon - 7 p.m.; Sunday - Monday, noon - 5 p.m.) =20 Marvin Center Newsstand, 800 21st St. N.W., lower level, Washington, DC; (Monday - Friday, 8 a.m. - 9 p.m.; Saturday - Sunday, 9 a.m. - 5 p.m.)=20 TICKETplace, in G.W.'s Lisner Auditorium lobby, 730 21st St. N.W.; (Tuesday - Friday, noon - 6 p.m; Saturday 11 a.m. - 5 p.m.) Phone: 202-TIC-KETS (202-842-5387). For more information on the National Heritage Fellowship awards, related September events, and the Folk & Traditional Arts Program, please contact the Endowment Office of Communications at 202-682-5570. The G.W. Lisner Auditorium number is 202-994-6800. ************* The twelve 1995 National Heritage Fellowship recipients are: Bao Mo-Li, Chinese American jing erhu player, Flushing, New York Mary Holiday Black, Navajo basketweaver, Mexican Hat, Utah Lyman Enloe, old-time fiddler, Lee's Summit, Missouri Donny Golden, Irish American step dancer, Brooklyn, New York Wayne Henderson, luthier, Mouth of Wilson, Virginia Bea Ellis Hensley, blacksmith, Spruce Pine, North Carolina Nathan Jackson, Tlingit Alaska Native woodcarver, metalsmith and dancer, Ketchikan, Alaska Danongan Kalanduyan, Filipino American kulintang musician, San Francisco, California Robert Jr. Lockwood, African American Delta blues guitarist, Cleveland, Ohio= =20 Israel "Cachao" L=F3pez, Afro-Cuban bassist, composer, bandleader, Miami,= Florida=20 Nellie Star Boy Menard, Lakota Sioux quiltmaker, Rosebud, South Dakota Buck Ramsey, cowboy poet and singer, Amarillo, Texas *********** Biographical information on the 1995 Heritage Fellowship award recipients and photos are available on request. *********** ========================================================================= Date: Thu, 14 Sep 1995 17:00:38 -0400 From: Dick Waterman Subject: Re: charles brown where?!!!?? Rest assured that Charles Brown had a better Summer than you did. He traveled around the country playing huge concert facilities in the company of two beautiful and talented women (Bonnie Raitt & Ruth Brown), played a little music, made some handsome money, saw some pretty scenery and made a lot of new friends. We should ALL get to spend our summers like Charles Brown. dick waterman ========================================================================= Date: Thu, 14 Sep 1995 17:01:48 -0400 From: Dick Waterman Subject: Re: Piedmont Blues This is no Piedmont guitar style compilation without MISSISSIPPI JOHN HURT ========================================================================= Date: Thu, 14 Sep 1995 16:18:32 -0500 From: T-Bone Subject: Re: James Harman on "...Blues Band" names Well, my old band has long-since broken up, but I always liked our name: Pontias Pilate and the Nail Drivers. Feel free to use it. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 14 Sep 1995 16:33:23 -0500 From: Mike James Subject: Re: New Orleans In article , "Peter E. Beal" wrote: > My wife and I will be visiting New Orleans in the middle of next month. > I would appreciate any advice on: > > Where to stay- reasonable, close to the action. A friend mentioned the > Downtown (or Downtowner). > > Where to go (food)- Anything goes. > > Where to go (music)- After Preservation Hall (OK, that's jazz), what's best? > > Thanks in advance. Where to stay: I would recommend any of the name inns downtown: there's Holiday Inn, Best Western (right on Bourbon Street) that a friend of mine Bob Ballard plays at, the Hiatt. You can stay cheaper out towards the airport in Kenner. There's a Holiday Inn, etc. out there that are OK. Food: don't even ask. The city reeks food. Some established places that my wife and I like to go to when we are in NO include Mike Anderson's, Ralph and Kacoos, Mulate's, etc., etc., etc. Music: If we're downtown, we go by Rhythm's which is on Bourbon, but I really prefer the clubs around Tulane, specifically the Maple Leaf where the Iguanas used to play regularly every Sunday night and Jimmy's which is a converted streetcar warehouse. Usually someone like Marcia Ball, the subdudes, etc. play there. I don't get to go there enough. Mike -- Mike James mjames@vm.cc.latech.edu LA Tech University Residential Life Ruston, LA ========================================================================= Date: Thu, 14 Sep 1995 17:26:28 PDT From: rjbauman@IQUEST.NET Subject: Re: Acoustic Blues ===============If you had to pick your top 5 acoustic blues recordings what would they be? > I've been listening to mostly electric blues for some time and I am in the >mood for a change of pace. Also, any boxed set or compilations >reccomendations would be appreciated.================ I' try and stay away from the obvious and still deliver a solid top 5 (+1) acoustic albums. The order isn't really that firm. It changes week to week. 1 ) "Hand Me Down My Moonshine" Luther Allison 2) "Folk Singer" Muddy Waters 3)"Mississippi Delta Blues" Mississippi Fred McDowell 4) "Too Wet To Plow" Johnny Shines 5) "When a Woman Gets the Blues" Rory Block 6) "Alone and Acoustic" orig. release Buddy Guy and Junior Wells RJ Bauman ========================================================================= Date: Thu, 14 Sep 1995 15:27:00 -0700 From: Ned Kraft Subject: Fav. shows/blues conversion Item Subject: Fav. shows/BB As a hard rocker converted to the blues I thought I'd list my favorite shows thru the years. I did listen to one of my old radio show tapes (circa 1982) and noticed that many of the tunes sounded quite bluesy. Maybe look for this in folks you consider preaching blues to (I still rock out and I like Public Enemy's "Fear of a Black Planet" CD). I really didn't get it until after a couple of surgeries and chemo, but I still love it now that I'm cool again. Favorite big shows: Uriah Heep, The Who, Steve Miller, Pink Floyd, Blue Oyster Cult, Supertramp, Tom Petty Worst big shows: Stones, Bob Dylan, ZZ Top Favorite club shows: BB King (played a set for about 10 of us after the place cleared out) in Indianapolis - ties with Champion Jack Dupree in Austria, got to hang out and have beers with him after the show. Muddy tribute (Big Daddy, Pine Top and Hubert Sumlin) John Lee Hooker, James Harman, Roy Rogers and Norton Buffalo, James Harman again, Johnny Winter Worst club shows: Johnny Winter, Duke Robillard (JJ's downtown San Jose sound system gets the credit), Johnny Winter again, Elvin Bishop If you're still with me thanks for listening. It makes my day whenever I think about the BB or Jack experiences. Still want to see: Yank Rachell, Paul DeLay Get to see this month: James Harman, Toots Dirty Ned ========================================================================= Date: Thu, 14 Sep 1995 17:31:00 CDT From: Bonnie Kalmbach Subject: HOB HOB is indeed in a position do a great deal for the Blues and it's practitioners struggling to make a decent living from their art and for its many selfless fans, producers, promoters, writers, etc. who get little if any recompense for their commitment, devotion, and labor. I wonder how may of the latter folk, if any, HOB has approached to see how they might most effectively promote real blues. At the present time, I see HOB more dedicated to making money - a lot of money - for themselves rather than promoting the cause. They could do both - or at least a better job of it with their superior resources. -Bonnie ========================================================================= Date: Thu, 14 Sep 1995 17:50:00 CDT From: Bonnie Kalmbach Subject: Delta Book Fans of Delta blues might enjoy the book I'm currently reading: "The Most Southern Place on Earth: the Mississippi Delta and the Roots of Regional Identity" - James C. Cobb. Oxford Paperbacks. Oxford University Press. c1992,1994. It was given very good reviews by the New York Times Book Review and Time Magazine. The author teaches history at the University of Tennessee. Yes, there is a chapter on blues: chpt 12: "The Blues is a low-down shakin'chill". The time covered is from early settlement times to the present, with much attention paid to the African-American population. In an early chapter, there is a quote from an 1862 diary of a 16 year-old Mississippi girl, whose home had been burned and brother killed by Federal troops: "our people are having a dreadful time now, we have been defeated in six successive battles. Everybody the blues and feels out of heart." I think this book will really enrich my next trip to the Delta and yours as well. -Bonnie ========================================================================= Date: Thu, 14 Sep 1995 18:01:00 CDT From: Bonnie Kalmbach Subject: Re: Piedmont Blues >From: IN%"Steve.Levine@CORP.WRGRACE.COM" >To: Multiple recipients of list BLUES-L >Subject: Re: Piedmont Blues > >*Can anyone recommend any Piedmont blues artists that I might have missed? I really like Buddy Moss - he also had a fine singing voice. There is a CD of a lot of his work on Travelin' Man; also a "rediscovery" LP on Biograph that show little if any diminution in musical skill. There's also Curley Weaver - a fine guitar picker. Now - I think I saw Archie Edwards CD , with his friend "Mr. Bones" on it, in the Chicago Tower Records. So just call 1-800-ASK-TOWER. I attended Archie's workshop at the 1993 Mississippi Valley Blues Fest. What a sweetheart! As he gave me his autograph, he sang a few bars of "My Bonnie lies over the Ocean." I asked him how Mr. Bones was and he said he was fine. -Bonnie ========================================================================= Date: Thu, 14 Sep 1995 09:05:28 PDT From: rjbauman@IQUEST.NET Subject: Re: HOB/ Good to Artists I saw John Goodman and some other HO? exec. on the Chicago morning news this morning. They are building a 400 room HO? hotel and a restaurant into theatre complex they claim is a 1500 seat juke joint/theatre. References to the entertainment from the anchors yielded no responses with word "blues". They said they are linking all the HO?'s together electronically (ala of track betting parlors) so patrons can see artists playing elsewhere. It is scheduled to be completed by this time next year. With all the blues being played in Chicago now, I can't imagine this new HO? won't succeed. The talent should be pretty blues heavy. If it's not, the TV show problem will become *very* obvious!! I'm sure I'll go check it out. It's the only one that is close enough to Indy. RJ Bauman ========================================================================= Date: Thu, 14 Sep 1995 23:57:38 GMT From: kyle quevillon Subject: Re: Your Choice -Reply Watterworth Jay wrote: > > On Wed, 13 Sep 1995, Roger Struve wrote: > > > Whatever you do, SEE JOHN HAMMOND...there's nothing like him young or > > old...a show you WILL NOT forget, ever! > > > > regards, > > delta doc roger > > > I second this one. I saw John last spring at the Bluebird Theater in > Denver. Incredible. The other time I saw him was about 29 years ago at > a club in NYC. Incredible. > The first time John was young and dangerous (weren't we all), with a > small back up band. It was the Big City Blues era and I was blown away. > When I saw him a few months ago, I was impressed at how he had grown yet > still had that youthful flare as he spun his (and other's) tales using > the medium of the blues that was, for me, at once poetic and musically > transfixing. His respect of his forbearers was evident also. He was an > interpreter who breathed life into the songs he was performing. > It was just John and his voice, guitars & harps. That was all that was > needed. > And he broke 4 strings. (for those of you familiar with this idiosyncrasy > of Mr. Hammond's.) > IMHO, > Jay Watterworth > CU Boulder Ya, I saw him and he blew me away. He was playin the town pump in vancouver, and I was standing 10 ft away watchin, shakin my head and pickin my jaw up off the floor every few sewconds. What an amazin harp player. It's a shame I just missed him again in vancouver...I'm still kickin myself. kq address: kquevill@direct.ca ========================================================================= Date: Thu, 14 Sep 1995 20:06:14 -0400 From: Barry Silverberg Subject: Re: Acoustic Blues Steve Fay (SFDBLUES@AOL.COM) wrote: : If you had to pick your top 5 acoustic blues recordings what would they be? : I've been listening to mostly electric blues for some time and I am in the : mood for a change of pace. Also, any boxed set or compilations : reccomendations would be appreciated. 1. Buddy Guy & Junior Wells - Alone and Acoustic (always) 2, 3, 4 and 5. Varies week to week (sometimes daily). -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 14 Sep 1995 16:30:18 -0700 From: TGB Subject: Re: Piedmont Blues On Thu, 14 Sep 1995, T-Bone wrote: > Does anyone have or know about, or is anyone currently working on, a web > page about Piedmont blues? I "discovered" this style only a couple of > years ago and really like it, but there is not as much literature or > recordings like there is for Delta blues. If no one else has a Piedmont > page, I'll start working on one. [For those who have expressed interest > and might be wondering, I have not abandoned my Leroy Carr page. It's just > that my Leroy Carr cds, with all their nice liner notes, are still in > Europe with a "friend".] > > Can anyone recommend any Piedmont blues artists that I might have missed? > I already have discs by the following: > > Blind Boy Fuller > John Cephas and Phil Wiggins > Rev. Gary Davis > Blind Blake > Blind Willie McTell > Pink Anderson > > I've looked in vain for anything by Archie Edwards (who's from this town, > no less), but I plan to hit all my record stores this weekend. Also, could > someone recommend a good Brownie McGhee/Sonny Terry cd? > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Kiddies, don't try this at home. Because it hurts like buggery!" > - Sir Adrian Dangerous > I would also include: John Jackson Mrs. Etta Baker Miss. John Hurt (not exactly Piedmont, but pretty close) Brownie McGhee Carl Martin tgb "It's now safe to turn off your computer" ========================================================================= Date: Thu, 14 Sep 1995 17:23:52 -0700 From: Joe Lempkowski Subject: Pick Of The Week Willie Kent & The Gents - Live at B.L.U.E.S. I picked this up a few months ago and I find myself listening to this a lot. The version of A Man and the Blues on this CD is awesome. When Willie sings "sometimes I feel just like drinking some gasoline, striking me a match and blowing myself up in steam", it seems like he really means it. Johnny B Moore's guitar playing on this album is noteworthy. Willie Kent has got my vote (like this matters a whole helluva lot) as one of the deepest blues singers active today. His albums on Delmark are very good. Joe ========================================================================= Date: Thu, 14 Sep 1995 20:25:37 -0400 From: Your Name Subject: Re: musician question..Am I weird In article L W writes: >Date: Wed, 13 Sep 1995 08:59:18 CDT >From: L W >Subject: musician question..Am I weird >I hope ya'll don't think I'm a mental case (shut up :-)) for saying this, >cause I very well my be..... >Do you not feel like you exposing a deep part of yourself when you play LIKE >YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner >feelings when I play. I play from deep down inside and I feel like I'm kind of >exposing a very private part of me......Am I making sense. It's like the real >me coming out when I play my best....Which is usually when I'm alone (I bet >that sounds familar)...It's frightening to me to share my inner most feeling >with strangers and even some friends. My wife and close friends has experiecned >it and I usually have to rest a minute or two after I "let go".... "Sometimes on stage, when I'm singing them (songs), it gets so sad and deep and beautiful, I have to wear dark glasses to keep people from seeing me crying." -John Lee Hooker- Pretty good company to be in. A.D. ========================================================================= Date: Thu, 14 Sep 1995 21:38:44 +0600 From: Rage 'n Records Subject: Just met Clapton today After being on this list for a few months and watching the pros and cons over Eric Clapton I just had to share this with the list. Today I met Clapton while he was in Sigma Recording Studios in Philadelphia. Eric came in to lay down some guitar on Gatemouth Brown's next record on Polygram/Verve. Eric was a complete gentlemen. He was very sincere and not at all egotistical or star headed. He talked to me about my 56 4x10 Bassman and signed guitars and cd's for everyone until his manager stopped him. He was very genuine about his love for the blues and very sincere about helping out with Gatemouth's exposure. They both got along great. Now why if someone with lesser known musical persona such as Gatemouth can welcome Clapton's return to the blues can't we? I mean I do things differently now in life then what I did a few years ago...life is not all that cut and dry sometimes. People change, especially creative entities. I guess I just wanted to share this with those that seem to despise anything non traditional. There are many shades of blue in the sky right. Eric is doing alot for all blues artists by letting commercial rock fans know what the blues is about. And please note I am not a hard core Clapton fan searching for vindication. In fact I went to the record store to pick up Clapton's Cradle record so that I knew what his tone was just before the session. THAT JUST HAPPENED TO BE MY FIRST CLAPTON RECORD. Thanks for your time and I hope that I don't start the flaming...just some thinking. Best Regards ========================================================================= Date: Fri, 15 Sep 1995 08:45:26 +0700 From: "Peter E. Beal" Subject: Re: HOB's Magic Tax Write-Off On Thu, 14 Sep 1995, P.W. Fenton wrote: > On14 Sep 95, toulouse had this to say... > > > These guys have so > > much money, as do a lot of their investors, that it does not surprise me > > that they spend MILLIONS OF DOLLARS developing and promoting their club > > scenes. All of this is a deduction. God Bless America. > > You act as though there was some "greed" in their donating profits to > educating young folks. You need to realize how absurd that notion > is. If HOB makes 10 bucks and winds up owing Uncle Sam 3 bucks, they > keep 7 bucks. If they give one of those 3 bucks to a charity they > reduce Uncle Sam's cut by a dollar, but they still make the same 7 > seven bucks. You reduce your TAX BURDEN by giving away your profits, > you don't MAKE MORE. That may be a simplistic explanation of how > it works, but the essence is still true... you don't get rich because > you give your money away. > Charitable donations are a deduction from profits, not taxes. Thus if they earn US$ 10 (and thus would pay taxes of US$ 3), but donate US$ 1, they would pay US$ 2.70 on the resultant net profit of US$ 9. Thus the US government is financing 30% of their donation. ========================================================================= Date: Thu, 14 Sep 1995 21:54:40 +0600 From: Rage 'n Records Subject: Need National Blues Acts For Philly Shows Southern Comfort is looking to promote a blues night with national blues acts at The Middle East Restuarant located at 121 Chestnut Street in Philadelphia on Wednesday's starting on September 27th and running for at least 8 weeks. The Middle East can hold 200-500 people depending upon the drawing strength of the bands. Please be realistic about your band being a natioanl band. That means recognition and some sort of radio campaign with distribution in place. Please e-mail with questions and we can talk from there. ------------------------------------------------------------------ Vince Kershner President A&R vince@pobox.com IKON Records ikon@pobox.com 215 977 9777 CHECK OUT HOME PAGE http://pobox.com/rage/ ========================================================================= Date: Thu, 14 Sep 1995 22:09:53 -0400 From: DeniseTapp Subject: Re: HOB's Magic Tax Write-Off Considering that Disney Studios is a shareholder in HOB, I don't think we need to worry about anything from the financial standpoint. However, if you are a collector of blues memorabilia, e.g., guitars, clothes, etc., be prepared to pay exhorbitant prices. Each HOB which goes up requires tons of this stuff, and, starting with the Hard Rock Cafes, Isaac Tigrett the founder, has driven the price of collectables through the roof. Incidentally, Isaac sold his HRC shares for $30 Million plus, and then turned around and spent $20 Million plus to build a state-of-the-art hospital in one of the poorest areas of India. Out of his own pocket. He's a most unusual man. Denise ========================================================================= Date: Thu, 14 Sep 1995 19:19:52 -0700 From: Mary Katherine Aldin Subject: Please send me your blues web sites Hi all, It's time for my next news column for Living Blues Magazine. In the most recent one, Issue #122 (Lynn White on the cover) are listed some of the blues-related web sites that blues-l members recommended when I asked this question a couple months ago. There's been a very good response to that feature and it may become a regular part of the news column, so once again it's time to ask everyone to send in their favorite blues-related http addresses. If you sent me a suggestion last time and it was not used, that's just because of space constraints; send it again now and it will most likely get in. Mary Katherine ========================================================================= Date: Thu, 14 Sep 1995 23:10:21 -29900 From: Michael Kaloyanides Subject: Re: Leadbelly/Guthrie Woody Guthrie's first performance on the east coast was on March 3, 1940 for a benefit in New York called "Grapes of Wrath Evening" which also featured performances by Huddie Ledbetter (Leadbelly), Pete Seeger, Alan and Bess Lomax, Aunt Molly Jackson, Burl Ives, Josh White, The Golden Gate Quartet, and the Pennsylvania Miners. This was also Pete Seeger's first public performance. Soon after the benefit Guthrie stayed with Huddie and wife Martha in their NYC apartment. In June of 1940 Leadbelly and Woody Guthrie put together a pilot radio show for WNYC in New York. Leadbelly performed seven songs and Woody was the host. Starting in September of 1940 leadbelly and Guthrie were featured on the CBS radio program series BACK WHERE I COME FROM. Woody and Leadbelly concertized together on a number of occasions including a joint concert at Orchestra Hall in Chicago in the spring of 1949, shortly before Leadbelly's death. RECORDED PERFORMANCES BY LEADBELLY AND WOODY GUTHRIE Leadbelly, guitar and voice; Woody Guthrie voice WNYC radio broadcast June 19, 1940 Commercially released on Biograph, Mauros, and Blue Moon (UK) labels Leadbelly, voice & guitar; Sonny Terry, harp; Woody Guthrie, guitar May? 1944 Individual songs commercially released on Stinson, Folkways, Smithsonian/Folkways, Asch, and Aravel (UK) labels Leadbelly, guitar and voice; Woody Guthrie, guitar and voice; Cisco Houston, guitar and voice October? 1946 Individual songs commercially released on Stinson, Folkways, Smithsonian/Folkways, and Aravel labels Discography derived from Wolfe and Lornell, THE LIFE & LEGEND OF LEADBELLY ========================================================================= Date: Fri, 15 Sep 1995 03:26:20 GMT From: Colin Miller Subject: Re: SRV/Texas Flood credits question Take a look at the face of the CD instead of the liner notes: Love Struck Baby S. R. Vaughan Pride and Joy S. R. Vaughan Texas Flood L. C. Davis, J. W. Scott Tell Me C. Burnett Testify G. Clinton, D. Taylor Rude Mood S. R. Vaughan Mary Had a Little Lamb B. Guy Dirty Pool D. Bramhall, S. R. Vaughan I'm Cryin' S. R. Vaughan Lenny S. R. Vaughan Six out of ten are by SRV. Colin Rick Miller (MILLER@SCI.WFEB.EDU) wrote: : Question: Did Stevie Ray pen all the songs on Texas Flood himself? My cd : basically lists no credits on the liner notes, but a musician friend of mine : thinks that Mary Had a Little Lamb is an old song, not an SRV original. On the : cd it is dedicated to "Rockin' Robin", -born 10/31/82. : Any insight, you SRV buffs? : Thanks : Riffin Rick (((( : oo-) : /- : You been playin' dirty pool.... : F.J.(Rick)Miller : Senior Research Assistant, : & Marine Facilities Manager : Worcester Foundation for Biomedical Research : "Miller@Sci.WFBR.Edu" : *************************************************************************** ========================================================================= Date: Fri, 15 Sep 1995 04:50:13 GMT From: Jacob Resneck Subject: New Butterfield Blues Band album! Elektra has just released a 50 minute CD of previously unreleased early take of the Paul Butterfield Blues Band. This material was recorded *before* their debut, then scrapped by the band and their producer, Rothchild for several reason (see the liner notes, written by Rothchild). The master was recently discovered and remastered. The songs on the album are: Good Morning Little School Girl Just To Be With You Help Me Hate to See You Go Poor Boy Nut Popper #1 Everything's Gonna Be All Right Lovin' Cup Rock Me It Hurts Me Too Our Love is Driftin' Take Me Back Baby Mellow Down Easy Ain't No Need to Go No Further Love Her With a Feeling Piney Brown Blues Spoonful That's All Right Goin' Down Slow Nineteen tracks in all... definately a score. It's the original lineup, too. P. Butterfield (Harp, vocals) M. Bloomfield (l. guitar) E. Bishop (r. guitar) J. Arnold (bass) S. Lay (drums) M. Naftalin (organ on only 1 track). I recommend this album to all Butterfield Blues Band fans. ========================================================================= Date: Thu, 14 Sep 1995 23:50:22 -0500 From: Rob Varak Subject: Jimmy Page (NO BLUES?) Jimmy has his bluesy moments, but he's best summed up by Nuno Bettencourt. Nuno once said that he'd like to kill Pagey b/c he wrote _all_ the riffs. Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 15 Sep 1995 00:18:40 -0500 From: Mike Heidenberg Subject: Ronnie Earl on the West Coast! Hi there. I know several of you have repeatedly asked me privately, "when is Ronnie coming to MY town?" Well, if you happen to live in or near Monterey or Santa Cruz, you now, FINALLY, have your answer :-) Just found out from a friend in California that Ronnie Earl and the Broadcasters will be playing at the Monterey Jazz Festival _this Saturday_, September 16th, and in Santa Cruz at Moe's Alley on Sunday, September 17th. Tickets for the Santa Cruz show are $8 in advance, $10 at the door, and the show starts around 9 PM. This really is pretty big news- I think it's been four or five years since Ronnie has done much in the way of touring. He told me back in July that he was planning to go out on the road a bit more, so perhaps this is the first among (hopefully) many dates outside the "Northeast corridor." Cross your fingers.... -Mike PS- If any of you do go to either show, definitely feel free to talk to Ronnie and/or the Broadcasters- they are all extremely nice people. You can even tell 'em you know me- this is one of the FEW cases in which admitting that _won't_ work to your disadvantage! ;-) ========================================================================= Date: Fri, 15 Sep 1995 00:59:40 -0400 From: Dick Waterman Subject: B.B. King Birthday Reminder Atlanta promoter Alex Cooley told me that he was getting a steady flow of messages for B.B. King's birthday wishes. A reminder that the Chastain Park computer will shut down at 4:00PM Atlanta time today, Friday. Alex & staff are making up a folder to be presented to B.B. King at some point on Saturday evening and I'm sure it will make for wonderful reading on those long bus rides. A reminder again: B.B. King Birthday Wishes CONSOPRO@MINDSPRING.COM (And a big 'Thank You' to Alex Cooley and his staff for being willing to do this for us.) dick waterman ========================================================================= Date: Fri, 15 Sep 1995 00:02:44 -0500 From: Rob Varak Subject: Re: HOB's Magic Tax Write-Off Denise wrote: Incidentally, Isaac sold his HRC shares for $30 Million plus, and then turned around and spent $20 Million plus to build a state-of-the-art hospital in one of the poorest areas of India. Out of his own pocket. He's a most unusual man. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - How can this be true? Haven't you heard about this organization? They go around opening bars, running a TV show and start hotels... ... and they do it for (GASP) __MONEY__!! Sorry, couldn't resist. I don't much like HOB, but it's starting to sound like capitalism is a sin around here:) Rob (Who can't wait to check out the Chicago HOB Hotel. I always wanted an Elwood Blues Sanitary toilet strip) Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Fri, 15 Sep 1995 01:54:14 -0400 From: Chris Metzler Subject: Ann Arbor Blues & Jazz Festival this weekend Someone asked, so here's the schedule: Friday Night, Sept. 15, 8:00 PM - Michigan Theater "Crescent City Blues Meltdown" Dr. John -- John Mooney Saturday Afternoon, Sept. 16, Noon - Gallup Park Booker T & the MG's -- Poncho Sanchez Lonnie Mack With Special Guest Tinsley Ellis Little Sonny -- Shawn "Thunder" Wallace Mimi Harris & the Snakes Saturday Night, Sept. 16, 8:00 PM - Michigan Theater "Ladies Sing the Jazz" Cassandra Wilson -- Kathy Kosins Saturday Afternoon, Sept. 17, Noon - Gallup Park Fontella Bass Caribbean Jazz Project -- Featuring Paquito D'Rivera, Dave Samuels & Andy Narrell Scott Hamilton Quartet Fat Possum Mississippi Juke Joint Caravan -- Featuring R.L. Burnside, Junior Kimbrough & Dave Thompson Chisel Brothers Featuring Thornetta Davis Howard & The White Boys The Ticket Info: Outdoor Shows: One day: $14 in advance, $16 at the gate Both days: $22.50 in advance, $25 at the gate Indoor Shows: $20 Reserved seats $35 Gold Circle seating All four shows: $50 $75 Gold Circle Seating Student tickets for outdoor shows: $10 in advance and at the gate. Children Under 12 FREE! I got all this from the Schoolkids Records web page; URL is http://www.schoolkids.com/ -c ========================================================================= Date: Thu, 14 Sep 1995 21:18:46 PDT From: Michael Suffern Subject: No Blues News of the Weird Today, while returning from an interview in Des Plaines, IL, I passed a shiny new black pickup truck. On the side of the truck where the words: K-9 Poop Patrol I didn't stop to see if it had municipal license plates or if it was a private 'security' firm... Screeeeeeech... Excuse me ma'am... you are gonna' pick up that poop aren't you? They must take their city ordinances seriously. Glad I didn't spit... Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/14/95 Time: 21:18:46 ------------------------------------------------------- ========================================================================= Date: Thu, 14 Sep 1995 23:32:56 PDT From: Michael Suffern Subject: Song Writes Itself - Catharsis On Wed, 6 Sep 1995 16:24:01 -0400 Abe W. Mathews wrote: >Well, on a blues-related note, a 100+ year old institution in Houghton >burned to the ground yesterday, the Library Bar & Grill. > >Abe >awmathew@mtu.edu Well Abe, I owe you a beer. Your note brought back some *strong* feelings for my old friend that I lost about ten years ago (the one that I went to the Library Bar and Grill with, with his girlfriend, one Autumn - the last Autumn we had together). He had a disturbed life. He was a nice guy, but he new he was an asshole - he couldn't pass up a piece of pussy (pardon from the non-Blues hardened female members but I tell it like it is). His girlfriend accepted it - she always said he was a real "man's man". It hurt but she loved him. He was very sweet to her. He had a rugged, blonde, cocky, attractiveness that many girls were fascinated by, so the oppourtunity always presented itself. He was a real rooster. That and drugs ruined his relationship with one of the greatest gals in the world (also my best friend). He eventually hanged himself in an alleyway (he came home from high school one day and found both of his parents hanging from the doorway to the living room, so we were always worried that he might do something similar). There was no suicide note or other clue to his feelings. I've *never* had a closer friend. We knew each other through and through and he accepted me and I him - and we were pretty different, not two people you would expect would associate with each other. He defended me and I enlightened him. We used to jam and play poker and drink and get high and play pool and drive around and have adventures and look for girls, bet on the horses, have deep philosophical discussions (even though he wasn't very well educated). He taught me to stand up for who I am. He taught me that you don't necessarily have confidence - but if you *act* like you do long enough, you develop it for real. He liked me even though I was weird - a punk rocker-new wave-Zen-guitar-party philosopher (Geminis tend to appreciate the offbeat side of life - the undercurrent of society - less boring. There were three of us, all Geminis, the Three Musketeers you might say). He moved away to get away from the easy drugs - he got into heroin (which I didn't like). Unfortunately, he moved to Oregon, the methamphetamine capital of the country. I suspect that was the final descent. I've morned for my loss, for his girlfriend's loss and guilt at cutting him loose after the umpteenth reconciliation, and for him. He was on a mad ride and he knew it. He knew he was what he was - he was more Zen than many practitioners. He had his share of the Blues and could play some too (acoustic). He was like a meteorite consuming itself in it's fall from grace. He should have had a hollywood agent I guess - could have been nova instead of a meteor. Anyway, you inspired me to write my second Blues song. It was a catharsis. The words just flowed, verse after verse. I got to say what I've thought and felt about it many times in the past. Just like the first Blues I wrote last year (at this rate I could do an album of originals in 10 more years!) - I felt a deep pain and grabbed the guitar and just start crying with my strings. The rest followed as naturally as the words, "I Love You", come from your mouth to your spouse. I hope it may console his ex-girlfriend some day - relieve some of the guilt - because, like I say it was almost inevitable. And he was what he was, but she knew that too. BTW, We hugged each other more than a few times - with no embarrassment. As I said months ago, it's hard to right a Blues from the heart when you are comfortably middle income and happily married. Not much gives you the Blues. I always look at what live presents me with a faith that that is what is needed at the time. If you have no pain, your pleasure becomes monochromatic and there is no contrast to enjoy it fully. This song will be easy to play and sing the hell out of. So, I'm including the lyrics here. I hope some of you will be moved by them. Maybe you've lost a close friend. If you have, I'd like to hear about it. Any constructive criticism will be gladly accepted. ***Also, if I produced a CD with this song on it, would you be more moved if the above history were included in the liner notes?*** Also, note the unusual structure in the that the 11th bar is always empty. There is as implied verse of "A good friend", but since it is missing, it adds tension and the audience will eventually vocalize is internally and that gets them involved. I've read my Home and Studio Recording songwriting articles - a little variety to spice things up, and the empty middle verses for an emotional solo in the third section. I just didn't have any words come to me when I got there so, rather than fight it, I went with the slow and it seemed the best way to speak was with my axe. I also thought it might give the audience more time for my appeal to touch their friend to sink in - to reverberate and maybe my lead would get to them and help them to act on it. I also changed the place to a churchyard. It had better rythym than alley away and conjured up some 'down at the crossroads' mythos. The date wasn't September, either, I think, but that fit in with the Autumn inspiration and seems a dreary, end of the cycle of life time. I'm sure he would be happy with the imagery. The way I transcribed it, it seems to be a 14 bar Blues. Anyone agree or am I notating it wrong? This is great example of what LW was saying about baring your soul when you play. I feel very vulnerable exposing my feelings like this - y'all have never seen this part of me - but you're my friends. ......................................................................... "Good Friend" Copyright (C) 1995 Mike Suffern Very Slow Blues in the key of B [using 9ths w/ flattened and sharpened 9th turnarounds] ------------------------------------------------------------ I Have you ever had a good friend? IV I mean a real good friend. I Someone you could tell your whole world to, I Someone who'd treat you... just like kin. IV A body weren't no better than you was, IV Got his own... troubles and sins. I Take you for... what you got showin', I Give you his very last... drink of gin. V A brother like no other, IV Won't come around...ever again... no ooh oo, ooh... I [empty] IV A good friend, IV A real...real good, V Friend. ------------------------------------------------------------ I Well I done lost that good friend, IV Can't say just where... he... got... lost. I He had his own private demons, I Couldn't shake 'em... at no cost IV Hung himself in a churchyard, IV On a... cold and rainy September day. I Said goodbye without speaking, I He didn't know what to say. V Ya' know If I woulda' been there, IV Coulda' postponed it... maybe a day ([spoken:] maybe two, maybe three). I [empty] IV A good friend, I A real.. real good, V Friend. ------------------------------------------------------------ Lead break ------------------------------------------------------------ I Now if you got yourself a good friend, IV A real...real good friend now... no...ooh. I I want you to reach out and touch him, I Let him know just where you two stand ([spoken:] together! ([spoken:] this one's for you Rog...) IV [empty. Albert King'isms, lead and wild IV emotional abandon] I I V You know I still really miss you, IV And we'll see each other again... some sunny day. I [empty] IV A good friend, I A real... real good V Friend. [Hard stop with a little light 5 note flourish and slight pause] [Looking up at the sky...] [Spoken: "I hope you been practicin' that gi'tar up there," " 'Cause we're gonna have us one hell of a jam!"] [Slight pause] I [vigorous strum on the I chord until signaling the end] Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/14/95 Time: 23:32:56 ------------------------------------------------------- ========================================================================= Date: Fri, 15 Sep 1995 02:52:00 -0400 From: DeniseTapp Subject: Re: Need National Blues Acts For Philly Shows My best advice, at the moment, is that you contact Jay Sheffield in Memphis. Jay is a super nice guy who represents a long list of talent, including Little Milton and the Radio Kings among others. His number is 901/755-2876 or FAX 901/751-1685. Jay and his family are touring Canada until Monday or Tuesday, but he's a hard working guy who will get back to you a.s.a.p. I don't work for Jay, nor do I earn a cent by suggesting this connection. (Disclaimer) I do think he's quite nice and easy to get along with, reliable, and represents one hell of a line-up. Okee-dokee? Denise ========================================================================= Date: Fri, 15 Sep 1995 03:09:52 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 15th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABBEY, LEON (fiddle) d. 1975-0915, MINNEAPOLIS, MN 75 ACUFF, ROY CLAXTON (FATHER OF COUNTRY MUS)b. 1903-0915, MAYNARDVILLE, TN ADDERLEY, JULIAN EDWIN "CANNONBALL"(asax) b. 1928-0915, TAMPA, FL BARUCH, ANDRE (dj/THE SHADOW) d. 1991-0915, BEVERLY HILLS, CA 83 BOBO, WILLIE [WILLIAM CORREA] (perc) d. 1983-0915, LOS ANGELES, CA 49 CASEY, AL (ALBERT ALOYSIUS CASEY) (g) b. 1915-0915, LOUISVILLE, KY DRIFTIN' SLIM (ELMON MICKLE) (hca) d. 1977-0915, LOS ANGELES, CA 58 HAMILTON, SAM (p/MABEL MERCER) d. 1967-0915, DANVILLE, IN -- HARTMAN, JOHNNY (v) d. 1983-0915, NEW YORK CITY, NY 60 HAYWOOD, HENRY (tsax/bsax) d. 1994-0915, BRONX, NY 81 HOGAN, SILAS (g/EXCELLO REC) b. 1911-0915, WESTOVER, LA MATLOCK, RONN (v) b. 1947-0915, DETROIT, MI MIDDLETON, CHARLES J. (of THE JAGUARS) b. 1937-0915, LAFAYETTE, LA PAYNE, RICHARD (b) b. 1931-0915, NEW ORLEANS, LA POWELL, SELDON (tsax/not-1115) b. 1928-0915, LAWRENCEVILLE, VA PRYOR, JAMES E. "SNOOKY" (hca) b. 1921-0915, LAMBERT, MS RAMIREZ, ROGER "RAM" (p/songw) b. 1913-0915, SAN JUAN,PUERTORICO SHAW, ARVELL (b) b. 1923-0915, ST. LOUIS, SHAW, CHARLES "BOBO" (d) b. 1947-0915, POPE, MS SHORT, ROBERT W. "BOBBY" (p) b. 1924-0915, DANVILLE, IL WHARTON, GILBERT "GIB" (g/HOLMES BROS) b. 1955-0915, MINERAL WELLS, TX WILLIAMS, CHARLES M. "COOTIE" (tpt) d. 1985-0915, LONG ISLAND, NY 74 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 15 Sep 1995 03:40:47 -0400 From: Fred Sokolow Subject: Re: Leadbelly/Guthrie Leadbelly & Woody Guthrie performed together lots of times, along with Pete Seeger, Brownie McGhee & Sonny Terry, Cisco Houston & lots of other NY-based folkies in the '50s...I used to have several Lps on the "Stinson" label featuring them, and others in that scene, in various combinations, jamming very loosely. The recordings all had the same pale green cover with a line drawing of a guitarist on the cover, and they were in various shades of see-through vinyl, red, blue, green...wish I had some of 'em now!...Fred Sokolow ========================================================================= Date: Fri, 15 Sep 1995 03:44:35 -0400 From: Fred Sokolow Subject: Re: Blue Cheer In the '60s, my rock band, called Notes From the Underground, used to use the Straight Theatre (an old movie theatre in the Haight-Ashbury) as a rehearsal space in the daytime for a while...we shared that honor with Blue Cheer. Must've been around '67. Played several gigs there & elsewhere, sharing the bill with them. Yes they were loud, & played the same 12 tunes every time, as I recall, but so did most of the hippie bands...Fred S. ========================================================================= Date: Fri, 15 Sep 1995 09:49:32 EZT From: Jean-Pierre Urbain Subject: Re: Piedmont Blues Bruce Bastin (Interstate, Flyright, ...) wrote two of the most interesting books on Piedmont blues which I would recommend. "Crying for Carolinas" (If I remember the title well, would have to check at home) in the BluesPaperback series. Altough it was published -again from the top of my head- in the early/mid 70's, RED LICK in the UK do still have some copies left (they have one of the best mail order around). Very cheap and extremely interesting. His second book, "Red River Blues" was published in the mid-80's (MacMillan I think) and is a truely interesting and great study of Piedmont Blues. These two books should be part of any serious blues fans collection. There you will find almost all important (and more obscure) figures (from pre- war to the 80's) you should discover if you want to discover Piedmont blues. Jean-Pierre ========================================================================= Date: Fri, 15 Sep 1995 04:21:41 -0400 From: Fred Sokolow Subject: Re: Born Under a Bad Sign Dixon was one of the greats all right, but my sources say Booker T. Jones & someone else wrote Born Under A bad Sign...Fred S. ========================================================================= Date: Fri, 15 Sep 1995 04:27:04 -0400 From: Fred Sokolow Subject: Re: Born Under a Bad Sign -Reply William T. Bell & Booker T., both famous artists who worked for Stax and wrote countless hits, are credited withwriting the tune. ========================================================================= Date: Fri, 15 Sep 1995 04:30:46 -0400 From: Fred Sokolow Subject: Re: Just met Clapton today Amen...Fred S. ========================================================================= Date: Fri, 15 Sep 1995 11:44:14 METDST From: ObeliX Subject: Re: Acoustic I think a REALLY good acoustic blues album is "Alone and Acoustic" by Buddy Guy and Junior Wells. They play lots of standards and originals I also enjoyed with the solo piano albums and concerts by Sunnyland Slim, Memphis Slim, Champion Jack Dupree, Pinetop Perkins.... the 'Legacy of the Blues' CD series includes some interesting acoustic stuff, including Juke Boy Bonner, Bukka White, Lightnin' Hopkins.... VNA SALUS VICTIS NVLLAM SALVTEM SPERARE ******************************************************************* ___ __ ___ / \ | \| | |\ / ObeliX is Nicola Giani / \|__/|_ | | \/ \ /| \| | | /\ E-Mail: pez0023@cdc700.cdc.polimi.it \___/ |__/|___|___|/ \ obelix.ng@iol.it Visit the Gaul Village at http://cdc715_0.cdc.polimi.it/~pez0023/ ******************************************************************* ========================================================================= Date: Fri, 15 Sep 1995 05:16:35 -0500 From: Roger Struve Subject: Acoustic Blues -Reply 1. Drop Down Mama---John Hammond 2. Look on Yonder Wall-John Hammond 3. Can't be Satisfied-John Hammond 4. Sail On-John Hammond 5. Come Back Baby-John Hammond ========================================================================= Date: Fri, 15 Sep 1995 07:12:14 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Piedmont Blues > >Can anyone recommend any Piedmont blues artists that I might have missed? >I already have discs by the following: > >Blind Boy Fuller >John Cephas and Phil Wiggins >Rev. Gary Davis >Blind Blake >Blind Willie McTell >Pink Anderson > How about Elizabeth Cotten or Etta Baker. I think Etta Baker is still alive. Her "One Dime Blues" CD is great. Jim Smith ========================================================================= Date: Fri, 15 Sep 1995 07:17:32 -0400 From: Hugh Hardy Subject: Re: Colin James Regarding Bruce's enquiry... Colin James is touring Canada right now, but I have no idea about USA. "Bad Habits" is way better than "Sudden Stop" in my opinion...more intense, bluesier, and definitely more mature. He may break in USA with this new CD. Is he a nice guy? Well when I met him, he was very busy and very focussed. So not much chit chat. He did a great version of "lookin Out the Window" (SRV Soul to Soul) during the soundcheck. Actually, CJ was at SRVs funeral. Colin Linden...a friend of both CJ and Bruce Cockburn. Bluesy, but country blues. Great slide player ,...has been on the Toronto scene since he was about twelve. But I feel that he doesn't have the magnetism that CJ has. But still a great musician nonetheless! My only complaint about CJ is that his live shows are too loud and alot of the subtlety is lost - you know, so loud that you feel like you are having a heart attack. Hugh H. ========================================================================= Date: Fri, 15 Sep 1995 07:42:07 GMT From: "DUTTWEILER.J" Subject: Just met Clapton today Date: Friday, 15 September 1995 7:41am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Just met Clapton today In-Reply-To: The letter of Thursday, 14 September 1995 9:52pm ET Nice to hear some kind words about one of the humblest *huge* stars in the music industry. I *have* been a big Clapton fan ever since receiving "Best of Cream" for Christmas in 1969 (Cream's version of "Born Under a Bad Sign" had a lot to do with getting me interested in the Blues). Anyone who has read much of anything about EC should at least realize that, whether you like/agree, he is sincere and is anything *but* stuck on himself. I applaud him for lending his talent and marketing power to any and all blues projects he aligns himself with ========================================================================= Date: Fri, 15 Sep 1995 07:49:07 GMT From: "DUTTWEILER.J" Subject: Re: HOB's Magic Tax Write-Off Date: Friday, 15 September 1995 7:48am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: HOB's Magic Tax Write-Off In-Reply-To: The letter of Thursday, 14 September 1995 10:10pm ET The US Government is not "financing" anything with a tax deduction. That concept is based on a statist philosophy that holds that all we have/earn/make belongs to the Feds and they simply *allow* us to keep some of it. Thats BS Read the preamble to the Constitution and the Declaration of Independence one more timeand remember that our Government exists at the pleasure of the people, not the other way around. BTW, one more fallacy is that corporations pay taxes, they don't - they simply pass along those taxes to their customers who pass it along, etc., etc., until it gets down to you and me. ========================================================================= Date: Fri, 15 Sep 1995 08:09:10 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Acoustic Blues -Reply >1. Drop Down Mama---John Hammond >2. Look on Yonder Wall-John Hammond >3. Can't be Satisfied-John Hammond >4. Sail On-John Hammond >5. Come Back Baby-John Hammond > But you forgot: John Hammond - John Hammond Solo - John Hammond Live - John Hammond Three of my John Hammond favs. ========================================================================= Date: Fri, 15 Sep 1995 12:08:17 GMT From: Brad Gekler Subject: Re: House of Blues or Austin City Limits - Which is better? >From what I've seen of HOB, blues and/or roots music takes a backseat(trunk) to commercial performers. the trouble with ACLimits for me is when they tend to move to far to the country/western(pop) side of the spectrum. Overall Austin is excellent. I would like to know what happened to the Jimmy Vaughn/Nevile show that was supposed to come off this year. Did I miss that week. Will they repeat it as usual if it was aired? Taste in music is what matters-not whether it looks like a bar or not(IMHO of course!) BRG ========================================================================= Date: Fri, 15 Sep 1995 05:19:13 -0700 From: Garry Segal Subject: Blues Profiteers With all this speculation ( I read not one factual post ) on how and where HOB spends their money( D. Tapp had the only $ figure when she wrote that head honcho Mr. Tigret gave 20 million to a hospital).* What other blues clubs are Lers familiar with and lets go over their books too and make sure they are doing the "right" thing with their money.* We better check out Levis abuses also, where does all that 501 Blues money go anyway? Lets open the books on all your favorite blues record labels also...hey how many inground pools can I pay for ! Of course the artists themselves are accountable for what they do with money they earn from blues. While we are at it lets all send in our personal financial status to check the percentage of our income we give to the "right" blues organizations. The Rhythm & Blues Foundaton is my favorite charity, there is also Willie Dixons Blue Heaven Found. and many others for those inclined to put up or.... Bottom Line ? Get facts on HOBs contributions to blues and charities before commenting, slanderous theories do not help the blues cause. Garry ( not involved with HOB besides performiong there once a year) ========================================================================= Date: Fri, 15 Sep 1995 07:43:00 -0400 From: Willy Evans Subject: Re: HOB/ Good to Artists > > They are building a 400 room HO? hotel and a restaurant into theatre > complex they claim is a 1500 seat juke joint/theatre. > > RJ Bauman > I have a hard time thinking of a 1500 seat venue as a juke joint!??! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 15 Sep 1995 07:55:02 CST From: William Shute Subject: Bob Margolin "Chicago Blues" album From: Bill Shute It's nice to see the attention given to Bob Margolin in the last year: lots of positive mentions on blues-l; a fine column in Blues Revue; recording for the high-profile Alligator label; appearing on records by greats such as John Brim, Nappy Brown, and Billy Boy Arnold (and I'm REALLY looking forward to the new, 2nd Alligator lp from Mr. ARnold which features the gtr of BM...any word on when that album is due out?). Here's an older album I've played countless times in the last five years. BOB MARGOLIN "Chicago Blues" Powerhouse Records POW 4105 guest players include Kim Wilson, Jimmy Rogers, Pinetop Perkins, a.o. Whether it's the hot electric early-50s-Chicago Blues sound that Margolin serves up so well,or solo performances that remind me of the live shows I saw in the late 80s/early 90s when I lived in Virginia (Bob worked out of NOrth CArolina then, so I considered him a "regional artist" ), this album is raw, unpretentious, and REAL. If you know Margolin and his "classic Chicago sound," you know what you're getting on this solid album. It lacks the gloss/sheen of Alligator productions, so some of you may actually PREFER the sound of this album.There's actually a solo track recorded in Bob's room on a Walkman that closes the album (the CD and cassette versions that is, it's not on the vinyl copy). Bob did another, earlier album for Powerhouse which I recommend also-- The Old SChool (Powerhouse P-105). I have that on vinyl--not sure if it came out on CD. I'm glad that someone like Bob Margolin is around. When/if the blues gets too slick, pretentious, phony or whatever, Steady Rollin' Bob will be around to keep our feet on the ground and to remind us of the goals that REAL electric blues (early 50s Chicago division) should be aspiring toward. Bob is also a far more eclectic and diverse player than he lets on. He could easily play jazz or psychedelia (check out the l968 album "Peak Impressions" by The Freeborne--I believe there's a european pirate-repro of it available on vinyl). That richness, to me, comes through in his playing, although he chooses to play in a somewhat precise subgenre of music. Margolin's music always sounds good to me. Check out this "Chicago Blues" album on Powerhouse. Bill Shute San Antonio, TX (happy Diez y Seis wherever you are) ========================================================================= Date: Fri, 15 Sep 1995 08:03:45 -0500 From: Jeff Seale Subject: HO$$$$ There was a little story on Entertainment Tonight about HO? opening in Chicago. They had a little interview with Tigrett adn they showed Ackyroid(?), John Goodman, and Jim Belushi singing - Money (That's What I Want). That tells it all... -Jeff (what will this do to the REAL blues clubs in Chicago?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Fri, 15 Sep 1995 08:13:49 -0500 From: Jeff Seale Subject: John Hammond... what's the big deal? Everyone has been raving about John Hammond, but I just don't get it. I saw him live at the St Louis Blues Festival a couple of years ago and wasn't impressed at all. All you JH fans, help me. What ONE John Hammond cd should I go out and buy that would "knock me out?" -Jeff (if I don't like it, will you buy it back?) ;-) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Fri, 15 Sep 1995 09:17:01 -0400 From: "David L. Prychitko" Subject: Pick o' the week Received PERCY MAYFIELD LIVE (Winner) from Mark Naftalin for my radio show the other day. Brought it home and can't get it out of my CD player (don't worry, Mark, I'm playing it on the air on Saturday!). Naftalin shines on the piano, and Mayfield's vocals (and songwriting) are simply amazing. Highly, highly recommended! Dave Prychitko "Ha, ha, ha, ha, ha, ha, ha, ha" -- Percy Mayfield ========================================================================= Date: Fri, 15 Sep 1995 08:21:36 GMT-6 From: Eliot Williams Subject: Re: New Butterfield Blues Band album! > From: Jacob Resneck > Elektra has just released a 50 minute CD of previously unreleased early take > of the Paul Butterfield Blues Band. This material was recorded *before* > their debut, then scrapped by the band and their producer, Rothchild for > several reason (see the liner notes, written by Rothchild). The master was > recently discovered and remastered. A few of these tracks were actually released in the 60s, on an Elektra album called "What's Shakin". It also included some early (and pretty bad) Lovin' Spoonful and some Eric Clapton material (EC was with an outfit called Powerhouse). I think "Good Morning Little Schoolgirl" and "Spoonful" were among the Butterfield cuts on the record. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Fri, 15 Sep 1995 09:22:35 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: ACL (was Re: House of Blues or Austin City Limits ) My local PBS station (WQED Pgh PA) is airing a repeat ACL featuring Joan Baez and Rory Block. I watched it the 1st time around and Rory was great, although she was a little folksy in her selections of tunes. ========================================================================= Date: Fri, 15 Sep 1995 08:56:00 -0400 From: "J.E. Downey" Subject: Re: Just met Unholy One today. Well, well, well! Maybe some pointless flame/counter-flame spree will emerge from this little tidbit. One can only hope! Happy Friday, everyone! Joe in Moscow J.E._Downey@bakermck.com ========================================================================= Date: Fri, 15 Sep 1995 08:24:04 -0500 From: Bruce Roberts Subject: Antone's Label According to the Austin Chronicle some CD's Antone's are planning to put out next year: Teddy Morgan (March) Sue Foley (May) Lavelle White (Summer) Steve James (Summer) And a possible box set of live shows from the last 20 years. It didn't say if this is a release of previously released Anniversary shows or unreleased stuff. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 15 Sep 1995 09:25:55 EDT From: Roland Mandler Subject: Re: James Harman on "...Blues Band" names How about "Shoe-Swayed Blues"? (ouch) - Roland ========================================================================= Date: Fri, 15 Sep 1995 08:26:37 -0500 From: Roger Struve Subject: Re: Acoustic Blues -Reply -Reply Didn't forget...i read the original post to ask for recordings....and i interpreted recordings to mean individual recordings of songs. If they had asked for albums/CDs/LPs, then your choices would have been mine! :-) regards, d.d.r. (who is having a perplexing day) ========================================================================= Date: Fri, 15 Sep 1995 09:28:46 -0400 From: Tom Morgan Subject: Re: Delta Book In another time and place, Bonnie Kalmbach said: > > Fans of Delta blues might enjoy the book I'm currently reading: > > "The Most Southern Place on Earth: the Mississippi Delta and > the Roots of Regional Identity" - James C. Cobb. > Oxford Paperbacks. Oxford University Press. c1992,1994. > > In an early chapter, there is a quote from an 1862 diary of a > 16 year-old Mississippi girl, whose home had been burned and > brother killed by Federal troops: "our people are having a dreadful > time now, we have been defeated in six successive battles. Everybody > the blues and feels out of heart." I have some old family letters from around the same period and one of them mentions that the person has the "blues". It shocked me when i first saw it, but I think that the term was in use by many people much earlier and much more widepread( my relatives were in Pennsylvania) than we would imagine. Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Fri, 15 Sep 1995 08:38:39 -0500 From: Bruce Roberts Subject: Cyber CD Shopping According to this month's Wired, a new online service called BargainFinder has started. It's at http://bf.cstar.ac.com/bf/ and according to the article "Using an agent process developed by researchers at Anderson Consulting, BargainFinder searches through the catalogs of eight online music stores and finds the best price for the CD of your choice." I haven't tried this yet, so I don't know how much you can save on CD's. Bruce Roberts Austin, TX ========================================================================= Date: Fri, 15 Sep 1995 08:22:42 CDT From: L W Subject: I follow Keb' Mo Well it's offical now (Jeff can see the future).....I will bw playing my newest guitar (Louise, btw) at the B'HAM JAM. I will be following Keb' Mo...Keb' ain't opening for me, I am just following him... The catch: They asked to play FREE for the exposure and as a favor to the stage sponsor...Who happens to be my favorite record store...They are very appreciative and know that playing for free in not a good thing. However, I AM an amateur not a professional....So I don't expect to be paid. I don't do it for the money. I know of one instance where a local artist played free and then the next year they booked him and made restitution about the money. ALL my friends (and some who just know me) said DO IT !!....I have no choice and I was given a choice follow Topper Price or Keb' Mo...I said I will not follow Topper Price. I may play two shows, though..One after Topper and the next day after Keb'........Wish me luck....second thought mail any extra charisma you have....I'll tell the time/date after it happens :-) LW 'an amateur' btw: I've also been asked to attend a luncheon in Decemeber and jam with Jimmy Thackery...acoustics of course...I don't think JT knows they plan on him playing some at this function. I've also been asked if I'd like to play LIVE ON AIR at a local radio station during their blues show...The station didn't ask, though, it was someone who has played there and would like to play with me On The Air.....All that's great, but I miss that black cat..:-) ========================================================================= Date: Fri, 15 Sep 1995 08:02:37 CDT From: L W Subject: Muddy on Guitar?? ----------------------------Original message---------------------------- >A friend just asked me about a CD compilation of Muddy Waters singles >recorded from 1955-1959. He noted that Muddy is listed as doing vocals only. >I said this was probably the period when Muddy left off playing guitar and >played the role of a "stand-up singer" ala Bobby Bland. And I further I think (I'm wrong alot) that Muddy didn't do that standup and sing ala Bobby Blank until later in his career. I always thought during the above years he played the guitat ALOT...Could be wrong LW ========================================================================= Date: Fri, 15 Sep 1995 08:15:00 CDT From: L W Subject: Re: charles brown where?!!!?? ----------------------------Original message---------------------------- >Rest assured that Charles Brown had a better Summer than you did. >He traveled around the country playing huge concert facilities in the company >of two beautiful and talented women (Bonnie Raitt & Ruth Brown), played a >little music, made some handsome money, saw some pretty scenery and made a >lot of new friends. >We should ALL get to spend our summers like Charles Brown. This is not sexist: Make that THREE talented women RUTH DAVIES. The second sexist woman I have ever seen in my life. We had fun the other night, she wantd my Alabama Blues Society shirt and I said take it I can go home without a shirt I got her adress instead and will mail her one, I had fun with this young lady. Oh lawd, she's fine.....She does however come in second to my wife My wife knew how I felt about Ruth and so did Ruth....I guess the hagning on to the bumper of the van beggin her not to leave was a dead-giveaway...more later LW ========================================================================= Date: Fri, 15 Sep 1995 08:43:09 -0500 From: T-Bone Subject: Re: HO$$$$ On Fri, 15 Sep 1995, Jeff Seale wrote: > There was a little story on Entertainment Tonight about HO? opening > in Chicago. They had a little interview with Tigrett adn they showed > Ackyroid(?), John Goodman, and Jim Belushi singing - Money (That's > What I Want). > > That tells it all... And of course, Charlie Patton and Blind Lemon Jefferson never picked up a guitar to make money. > -Jeff (what will this do to the REAL blues clubs in Chicago?) They'll still be there. HO* caters to a different audience than your average blues bar does. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Fri, 15 Sep 1995 09:07:51 -0500 From: Bruce Roberts Subject: Re: HO$$$$ > There was a little story on Entertainment Tonight about HO? opening > in Chicago. They had a little interview with Tigrett adn they showed > Ackyroid(?), John Goodman, and Jim Belushi singing - Money (That's > What I Want). > > That tells it all... > > -Jeff (what will this do to the REAL blues clubs in Chicago?) Just look at what its already done to Tipitina (sp?) in New Orleans. Bruce ========================================================================= Date: Fri, 15 Sep 1995 10:22:17 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: John Hammond... >All you JH fans, help me. What ONE John Hammond cd should I go out and >buy that would "knock me out?" > >-Jeff (if I don't like it, will you buy it back?) ;-) > My favorite is his "Solo" release on Vanguard recorded in the mid-70's. and since I already have the CD, NO I won't buy it back if you don't like it. Jim Smith ========================================================================= Date: Fri, 15 Sep 1995 09:17:36 CDT From: L W Subject: Charles Brown Review Short I got to work, I was off yesterday: SENSATIONAL. I have never seen a BETTER show ever in my life...EVER. I have seen SRV, Nighthawks, T-Birds, KOKO....and many other bands that are cosidered (rightfully so) "Smokin" bands. Lemme tell you Charles and band can SMOKE with anybody I ever seen. I had seen them twice before and it was festivals and it's hard to stretch out during the short time you have a fetivals. CHARLES and BAND KICKED BUTT...From low dirty/raw in your face to Duke Ellingtons "Is You Is or Is You AIn't My Baby"....They cooked. I have never enjoyed a show better My wife presented Charles with his cake at the start of the second set and got a kiss square on the lips....She was on cloud nine....I'll tell more later we had plenty of time to hang out with Charles and Dan asked me to take him to the hotel, cause there was still a long line of fans wating to talk with CB but Charles said he had to leave and get some rest.....great time. Do not hesitate to see Charles Brown & Co. they will slap you upside your head. Bonnie Raitt sent balloons to the club he said she NEVER forgets his b'day LW 'back to work....for a short time only' ========================================================================= Date: Fri, 15 Sep 1995 09:23:46 -0500 From: David Silberberg Subject: Re: Born Under a Bad Sign At 04:21 AM 9/15/95 -0400, Fred Sokolow wrote: >Dixon was one of the greats all right, but my sources say Booker T. Jones & >someone else wrote Born Under A bad Sign...Fred S. > > My sources say this, too - which makes sense, as (I think) the MGs would have been AK's backup band on this for Stax. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 15 Sep 1995 09:23:49 -0500 From: David Silberberg Subject: Re: HO$$$$ At 08:03 AM 9/15/95 -0500, Jeff Seale wrote: >There was a little story on Entertainment Tonight about HO? opening >in Chicago. They had a little interview with Tigrett adn they showed >Ackyroid(?), John Goodman, and Jim Belushi singing - Money (That's >What I Want). > >That tells it all... > The "bites" on the local (Chicago) stations had them singing "Sweet Home Chicago". Is there no originality here? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 15 Sep 1995 14:30:40 GMT From: william higdon Subject: Re: Acoustic Blues These are wonderful (in fact, so good... ) 1 Son House - Father of the Delta Blues (2 vol's) (Columbia) 2 Fred McDowell - Mississippi Delta Blues (Arhoolie) 3.Mance Lipscomb - Texas Songster (Arhoolie) 4. Lightning Hopkins - The Gold Star Sesssions vol. 1 (Arhoolie) 5 Big Joe Williams - Shake Your Boogie (Arhoolie) good listening, Bill Higdon. ========================================================================= Date: Fri, 15 Sep 1995 09:23:51 -0500 From: David Silberberg Subject: Re: HOB's Magic Tax Write-Off At 07:49 AM 9/15/95 GMT, DUTTWEILER.J wrote: >The US Government is not "financing" anything with a tax deduction. That >concept is based on a statist philosophy that holds that all we have/earn/make >belongs to the Feds and they simply *allow* us to keep some of it. Thats BS >Read the preamble to the Constitution and the Declaration of Independence one >more timeand remember that our Government exists at the pleasure of the >people, not the other way around. > >BTW, one more fallacy is that corporations pay taxes, they don't - they simply >pass along those taxes to their customers who pass it along, etc., etc., until >it gets down to you and me. > > Oh, oh - sounds like a Republican here.... :-) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 15 Sep 1995 14:41:26 GMT From: william higdon Subject: Re: Acoustic Blues In my list of my acoustic favorites above, number 4 was Lightning Hopkins. Please DON'T point out to me that he is not acoustic, and please DON'T make me take him off my list :) Bill Higdon. " ... and if you bet on this horse one time , you'll be on him again..." L.H. ========================================================================= Date: Fri, 15 Sep 1995 07:48:41 +0000 From: Rich Del Grosso Subject: Re: Ronnie Earl on the West Coast! Mike Do you know if Ronnie and the band will be in the Southern California area this trip? I haven't seen him in a long time. Ronnie used to do workshops for us (the Detroit Blues Society). I haven't seen him since I moved west. Rich ========================================================================= Date: Fri, 15 Sep 1995 08:09:51 -0700 From: Chris Adams Subject: Re: Piedmont Blues There is a great Archie Edwards CD called "Blues and Bones" on the Mapleshade label. It features, obviously, a bones player, as well as Mark Wenner from the DC Nighthawks on harp. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 14 Sep 1995, T-Bone wrote: > Does anyone have or know about, or is anyone currently working on, a web > page about Piedmont blues? I "discovered" this style only a couple of > years ago and really like it, but there is not as much literature or > recordings like there is for Delta blues. If no one else has a Piedmont > page, I'll start working on one. [For those who have expressed interest > and might be wondering, I have not abandoned my Leroy Carr page. It's just > that my Leroy Carr cds, with all their nice liner notes, are still in > Europe with a "friend".] > > Can anyone recommend any Piedmont blues artists that I might have missed? > I already have discs by the following: > > Blind Boy Fuller > John Cephas and Phil Wiggins > Rev. Gary Davis > Blind Blake > Blind Willie McTell > Pink Anderson > > I've looked in vain for anything by Archie Edwards (who's from this town, > no less), but I plan to hit all my record stores this weekend. Also, could > someone recommend a good Brownie McGhee/Sonny Terry cd? > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Kiddies, don't try this at home. Because it hurts like buggery!" > - Sir Adrian Dangerous > ========================================================================= Date: Fri, 15 Sep 1995 11:28:45 -0400 From: Oded Maron Subject: Deep Blues in Boston According to the Globe, the movie Deep Blues will be playing at the ICA in Boston from Sunday through Friday at 7:30pm. The movie was made by Robert Palmer (the music critic, not the musician) and has Dave Stewart (the musician, not the music critic) wandering around the Delta, listening to the blues. The soundtrack is one of the best collections of what's going on in the cradle of the blues today. Oded ========================================================================= Date: Fri, 15 Sep 1995 08:59:32 -0700 From: Adrian Spidle Subject: John Mooney Hi; I have one John Mooney album that I like a lot (Can't remember the name, now that I have my keyboard in hand; anyway, it's on Domino and dated 91 or 92; band includes George Porter and Dr. John) but am leery of randomly picking up another; any suggestions as to another of his albums that is really good? THanks, Adrian ========================================================================= Date: Fri, 15 Sep 1995 12:07:02 -0400 From: Steve Levine Subject: Re: Acoustic Blues I would recommend just about anything by Cephas and Wiggins. Also, Sonny Boy Williamson's "Keep it to Ourselves," with Matt Murphy and Memphis Slim. ========================================================================= Date: Fri, 15 Sep 1995 11:25:44 CST From: William Shute Subject: a few questions From: Bill Shute I'd like to get some responses from blues-l people on a few questions in regard to some research I'm doing. I have my own opinions on all of these questions, but I'd like to see some of the other positions taken by knowledgeable people. PRIVATE RESPONSES ONLY, PLEASE!!! 1) Who besides Billy Wright and Esquerita (and the latter is debateable) would you describe as a precursor to Little Richard. Please explain if the connection would not be obvious. 2) What black blues guitarists other than Eddie Clearwater could be described as Chuck Berry-influenced? 3) While some gtrists aren't actually "Berry-influenced," aspects of Berry's playing have more subtly influenced many blues players. Any comments as to what you think those would be and who has been influenced? 4) What ELECTRIC players do you feel influenced John Lee Hooker on his earliest recordings? I'd say Arthur Crudup and Lightnin' Hopkins. Anyone else? Do you accept those two? 5) Regarding the Isley Brothers, how would you rate the respective "importance" of the following bodies of work: the RCA recordings; the Wand recordings; the UA recordings; the Tamla-Motown recordings. I have my own opinions on the subject, but would like hearing what other Isleys fans think before I commit to a specific analysis in print.Any other Isleys feedback in general would be welcome. Many thanks fellow blues-l-ers. Private e-mail only please. Bill Shute ========================================================================= Date: Fri, 15 Sep 1995 10:46:56 -0600 From: Watterworth Jay Subject: Re: John Hammond... You might not get too many here who remember the first lps, Big City Blues, So Many Roads, John Hammond. These are raw and indicitive of where he was going. And some of the players made a mark in the music business; guys like Michael Bloomfield, Charlie Musselwhite, Robbie Robinson, etc. And if you don't like them, I wouldn't mind adding the cds to my collection; the records are, shall we say, used. Jay Watterworth CU Boulder On Fri, 15 Sep 1995, Jeff Seale wrote: > what's the big deal? Everyone has been raving about John Hammond, but > I just don't get it. I saw him live at the St Louis Blues Festival a > couple of years ago and wasn't impressed at all. > > All you JH fans, help me. What ONE John Hammond cd should I go out and > buy that would "knock me out?" > > -Jeff (if I don't like it, will you buy it back?) ;-) > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / Saint Valentine drove a red Continental > \ / with a headlight out and a dent in the side. > \( He swore it wasn't his, it was only rental > but he drove it every single night. -Joe Ely > ========================================================================= Date: Fri, 15 Sep 1995 08:54:08 -0800 From: James Carmin Subject: LUTHER ALLISON *BLUE STREAK* Luther Allison's just released Alligator recording, BLUE STREAK (ALCD 4834), is 58 minutes of one sizzlin' cd! Anyone like me who was lucky to see Luther this year (I saw him at the Waterfront Blues Fest here in Portland OR, and lots of folks saw him tear it up at the Chicago Fest this summer) knows what a powerful, dynamic, and exuberant performer he is right now. Back from his many years in Europe and following his '94 SOUL FIXIN' MAN recording, and using much of the same band, Luther plays like he has something to prove and prove it he does. On this new cd Luther penned 3 tracks, co-wrote with guitarist James Solberg 8 tracks, and covered one Magic Sam classic. ALL THE KING'S MEN Luther opens up with a strong blues about trouble with his lover but he knows his limits -- "going back home, way back home to Arkansas; you know we got our troubles baby, but I ain't going to get in trouble with the law." His slashing guitar tells his woman friend exactly how he feels. WHAT HAVE I DONE WRONG Paying homage to his fellow west side legend, Magic Sam, with whom Luther use to play as a sideman, Luther plays this cover like it's his own. Mellowed down a bit from the usual Allison Attack, Luther still belts it out but the quiet moments allow listeners to groove on his great and expressive voice. BIG CITY One of my favorite tracks but definitely having a dark side, opens up with a display of Luther's great slide ability which is nicely countered by Ernest Williamson's fabulous popping keyboards. Luther's talking about social ills here: "I live in a big city and they tell me we are free; I hear babies crying, there'll be killing in these streets." A thought provoking pensive blues, as Luther wails and moans with his slide. MOVE FROM THE 'HOOD More social message here: get out of the bad situation you're in and move from the 'hood: "you ain't doing what you oughtta, and I know you ain't doing what you should." Luther telling folks to quit wasting their lives and doing it with much feeling. WHAT'S GOING ON IN MY HOME Opens up with a BB King sound, this is a classic story of two-timing love, punched here by the Memphis Horns who also appear on 3 other tracks. Luther's soulful voice comes through here with so much emotion, you almost feel he's talking to you; really sweet sound. I BELIEVE IN YOU Upbeat and lively, Luther professes his commitment to his lover: "no matter what you do, I believe in you." His guitar work is as optimistic and bright as his lyrics and shows lots of fast paced slide work. CHERRY RED WINE "Watching you baby, watching you all the time." Luther turns sad again, "watching you destroy yourself woman, all you do is sit around drinkin' wine." Feeling helpless, Luther sings and plays with feverish intensity and the band joins in with exceptional drumming by Robb Stupka, who also plays on the next track. No happy ending here: "You gonna keep on drinking that bad wine baby, even the grass that grows on your grave will be cherry red." WALKING PAPERS A lighter sound but a classic kind of you're-going-to-miss-me-when-I'm-gone blues. Great changes here with Mike Vlahakis's keyboad making a solid contribution, along with Hoopsnakes's guitarist, Charlie Bingham. THINK WITH YOUR HEART Luther slows it down quite a bit with this ballad. This is Soul -- with a capital "S" -- music that owes a lot to OV Wright and Otis Clay. And of course Wayne Jackson and Andrew Love return to color the track with their soul-filled horns. YOU DON'T KNOW Probably the most upbeat track takes right off but when Luther starts singing he shows again his blue side: "You're mean, you're mean, you're mean, you don't treat me like you should." Definitely a troubled relationship he's singing about here: "I love you anyway, anyway, anyway." SHOULD I WAIT Luther's not flashy but straight ahead acoustic slide is featured here as he sings about standing at a train station for 3 hours or more and asks: "should I wait on you?" Very tasty guitar work here as Luther tells us that he's torn between waiting for his baby or losing his job. MIGNIGHT CREEPER Luther is backed by a duo of female vocalists and the Horns return one more time on this soul drenched disc finisher. With his two recent Alligator releases, Luther Allison really seems to have found his niche, and I can't wait 'til he comes back to town. To learn more of Luther and his influences, check out Bruce Madden's interview in BLUES REVUE (#16, Mar/Apr '95). -------------------- Selected discography: LOVE ME MAMA (Delmark DS 625) LOVE ME PAPA (Evidence ECD 26015-2) SERIOUS (Blind Pig BP 2287) SWEET HOME CHICAGO (Charly CDBM37) LIVE IN PARIS (RR 1001) SOUL FIXIN' MAN (Alligator ALCD 4820) James Carmin jcarmin@teleport.com ========================================================================= Date: Fri, 15 Sep 1995 10:10:17 PDT From: Gordon Fehlman Subject: Re: amps I'm looking for a older Fender amp. Does anybody out there know of a web site or something where people list musical instruments for sale? e-mail me at gjf5@pge.com Gordon ========================================================================= Date: Fri, 15 Sep 1995 13:16:36 -0400 From: Joseph Jordan Subject: Re: Charles Brown:Where Hi... Charles and his backing trio play quite a bit in the Bay Area. If you wish to e-mail me via BluesBeats@AOL.COM...I'll try to let you know where and when. He plays often and sounds and looks great. He is undoubtedly one of the sweetest, most humble human beings I've ever encountered. ========================================================================= Date: Fri, 15 Sep 1995 12:23:33 -0600 From: Ranko Vujosevic Subject: Re: Acoustic Blues Also: 1. Johnny Shines and Snooky Pryor "Back to the country" 2. Dave Moore "Jukejoints and Cantinas" (an increadible version o Mance Lipscomb's "Mother had a sick child") 3. Honeyboy Edwards - "Live at 1995 Miss Valley Blues Fest" (recorded on my $20 type recorder and NOT distributable) 4. Henry Thousend - "St. Louis Blues" 5. Catfish Keith - "Fresh Catfish" 6. Rory Block - "Whan a Woman Gets the Blues" Ranko ========================================================================= Date: Fri, 15 Sep 1995 13:23:54 -0400 From: James Leftwich Subject: Re: John Mooney Adrian, I'm a huge John Mooney fan. The CD you mention is called _Testimony_. It is his most recent studio release. I'll give you a rundown on his CDs. _Comin' Your Way_ Blind Pig Good mix of acoustic and electric songs. Catchy lyrics. Mostly originals. Doesn't bear much resemblance to _Testimony_ however. _Telephone King_ Blind Pig (?) I taped a friend's CD so my knowledge is limited. As I remember this CD is a lot of fun. More piano involved. Starts to showcase Mooney's New Orleans sound. _Late Last Night_ Rounder Bullseye Blues Tries to capture his live sound. All electric. A little funky. Mostly originals. Some complain it lacks intensity. Great slide playing. _Testimony_ Domino Much more polished. Lotsa music. Funky New Orleans infectious groove. Couple of acoustic numbers inclunding a riveting version of Percy Sledge's _Take Time to Know Her_. Standouts include _In the Night_ (Prof. Longhair), _Lil Queen of Spades_ (JM modifies the lyrics to include a line about his kid in the back seat crying because he's "cutting teeth"), All in all a rockin' good time. _Travelin' On_ Crosscut (?) This Cd is live and rocking! He's got the funky New Orleans/Delta slide thing going here to perfection. Sound quality is excellent. Any complaints of lack of intensity fall by the wayside. Mooney hails from Rochester NY (ask Cat for more details). Played with Son House as a teenager. Dropped out of high school and hoboed the country busking for $. Discoverd by Blind Pig by chance. Now lives in New Orleans and is soaking in that rich musical tradition. JM is one of my favorite artists and can't wait for the new CD which I hear will be on the fledgling HOB label. All CD reviews are of course IMHO Jim On Fri, 15 Sep 1995, Adrian Spidle wrote: > Hi; > > I have one John Mooney album that I like a lot (Can't remember the name, > now that I have my keyboard in hand; anyway, it's on Domino and dated 91 > or 92; band includes George Porter and Dr. John) but am leery of randomly > picking up another; any suggestions as to another of his albums that is > really good? > > THanks, > > Adrian > ========================================================================= Date: Fri, 15 Sep 1995 12:25:17 CDT From: L W Subject: Re: Charles Brown:Where ----------------------------Original message---------------------------- >Charles and his backing trio play quite a bit in the Bay Area. If you wish >to e-mail me via BluesBeats@AOL.COM...I'll try to let you know where and >when. He plays often and sounds and looks great. He is undoubtedly one of >the sweetest, most humble human beings I've ever encountered. His health is GOOD these days. He had some health problems but they have been taken care of. They will be in Chatanooga Tenn. tonight. They played Blind Willie's last night....They will be headed toward Indiania before long, ya'll look for them. I couldn't agree more with your comments about THE MAN... LW 'DO NOT MISS CHARLES BROWN !!!!' ========================================================================= Date: Fri, 15 Sep 1995 13:39:09 -0400 From: Neil Cassidy Subject: Holmes Bros. I would appreciate any info anyone might have regarding the Holmes Bros., particularly touring info and possibly a home base mailing address. thanks. Neil Cassidy ========================================================================= Date: Fri, 15 Sep 1995 13:53:39 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: John Mooney > >I have one John Mooney album that I like a lot (Can't remember the name, >now that I have my keyboard in hand; anyway, it's on Domino and dated 91 >or 92; band includes George Porter and Dr. John) but am leery of randomly >picking up another; any suggestions as to another of his albums that is >really good? > I have 2 favorites. "Late Last Night" is good in that it gives you a feel as to how he and his band sound live. The other is an acoustic release with Jimmy Thackery titled" Sideways in Paradise". This has John and Jimmy poolside playing a variety of acoustic instruments and having what sounds like a good time. Jim Smith ========================================================================= Date: Fri, 15 Sep 1995 12:56:06 -0500 From: Roger Struve Subject: Weird? -Reply -Reply Live on Rounder label is pretty good, i personally prefer Solo on Vanguard, which takes some time to really realize how wonderful he was really playing. Live was recorded live at McCabes in Riverside (?) in about 1981, and Solo was recorded live in the Vanguard Cafe in NYC in 1976. LP's which are good, but hard to find, are Footwork (or footloose, i get confused, alzheimer's doncha know), and Can't Beat the Kid. I personally prefer his acoustic stuff which is represented pretty well above. However, I can tell, and Southern Fried are great for electric blues with a band (robbie robertson, et al)....checkout Spoonful, which is one of the tightest, most fantastic electric John Hammond song's there is (...i know, he didn't write the song....). best regards, delta doc roger. ========================================================================= Date: Fri, 15 Sep 1995 18:08:44 +0000 From: john.kuzemka@NT.COM Subject: Re: John Hammond... Jeff Seale wrote: >what's the big deal? Everyone has been raving about John Hammond, but >I just don't get it. I saw him live at the St Louis Blues Festival a >couple of years ago and wasn't impressed at all. > >All you JH fans, help me. What ONE John Hammond cd should I go out and >buy that would "knock me out?" > >-Jeff (if I don't like it, will you buy it back?) ;-) > Been listening to JH since the 60's. He's a great vocalist with excellent knowledge of and a strong passion for the blues who always attracts good talent. A good CD to listen to is the relatively recent "Trouble No More". johnnyk! ========================================================================= Date: Fri, 15 Sep 1995 13:11:18 CDT From: L W Subject: Musician question (not weird) I have some problems tuning with all the noise that happens on stage. If my pickup will fit the Duolian I'll be ok..(I don't think it will) Anyone offer tips on tuners/tuning in a less than quiet atmosphere...I'm mainly talking about METAL body guitars... Do those over priced stick on tuners work well in that kind of situtation. One of my biggest fears is being out of tune and with my ears, I probally wouldn't noitce it unless it was really bad..... Pointers/Tips would be welcomed Thanks Bad Ear Lenny ========================================================================= Date: Fri, 15 Sep 1995 13:57:00 EDT From: "(Brent M. Smith)" Subject: Re: John Mooney You need to pick up Sideways in Paradise!!!! It was done with Jimmy Thackery poolside in Jamaica. It is definetly one of my favorite cd's. I am really missing it right now because a friend borrowed it. Go get it!!! --Brent PS If anyone has his newest (Mooney's) how is it?? I heard it has alot of traditional stuff on it. thanks ========================================================================= Date: Fri, 15 Sep 1995 13:20:06 CDT From: L W Subject: John Hammond John Hammond will also ne playing the B'ham Jam, thank goodness, he's not before me...I hope he's not at the same time period.... I remeber hearing that SRV was playing somwhere and he said ??????? is playing down the street I'm going to see him and if you have any sense you'll go to John Hammond is great...PERIOD..Looking forward to see him LW ========================================================================= Date: Fri, 15 Sep 1995 15:39:26 -0400 From: "Abe W. Mathews" Subject: Re: Musician question (not weird) LW writes: > I have some problems tuning with all the noise that happens on stage. If > my pickup will fit the Duolian I'll be ok..(I don't think it will) > > Anyone offer tips on tuners/tuning in a less than quiet atmosphere...I'm > mainly talking about METAL body guitars... I have evolved a kinda different tuning method over the past few years of playing with other people (i.e. everybody tuning at the same time - can't hear anything). I start by tuning the standard way (frets 5-5-5-4-5) just to get close, then I tune to chords, listening for the beats. When there is no beat, the chord is in tune. I normally tune like so: Open 6th and 2nd fret on the 5th Open 5th and 2nd fret on the 4th Open 4th and open 3rd 2nd fret on the 3rd and 3rd fret on the 2nd Open 2nd and open 1st 6th string is the Low "E" This method now works better for me, because I can hear if the chord is out faster than if two unison notes are out. But then again, I'm kinda strange. Abe awmathew@mtu.edu ========================================================================= Date: Fri, 15 Sep 1995 15:41:31 +0000 From: "P.W. Fenton" Subject: Re: Musician question (not weird) On 15 Sep 95, L W had this to say: > I have some problems tuning with all the noise that happens on stage. If > my pickup will fit the Duolian I'll be ok..(I don't think it will) > > Anyone offer tips on tuners/tuning in a less than quiet atmosphere...I'm > mainly talking about METAL body guitars... > > Do those over priced stick on tuners work well in that kind of situtation. > One of my biggest fears is being out of tune and with my ears, I probally > wouldn't noitce it unless it was really bad..... > > Pointers/Tips would be welcomed > Thanks > > Bad Ear Lenny The over-priced Sabine stick-on works quite well. But if you have a conventional tuner already, you can buy a suction cup acoustical pick-up made for sticking on an acoustic and plugging into a tuner. It also does the job. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 16 Sep 1995 02:58:34 +0700 From: "Peter E. Beal" Subject: Re: HOB's Magic Tax Write-Off On Fri, 15 Sep 1995, David Silberberg wrote: > At 07:49 AM 9/15/95 GMT, DUTTWEILER.J wrote: > > >The US Government is not "financing" anything with a tax deduction. That > >concept is based on a statist philosophy that holds that all we have/earn/make > >belongs to the Feds and they simply *allow* us to keep some of it. Thats BS > >Read the preamble to the Constitution and the Declaration of Independence one > >more timeand remember that our Government exists at the pleasure of the > >people, not the other way around. > > > >BTW, one more fallacy is that corporations pay taxes, they don't - they simply > >pass along those taxes to their customers who pass it along, etc., etc., until > >it gets down to you and me. > > This is not quite true. It depends upon the relative bargaining power of the buyers and the sellers who bears the burden. ========================================================================= Date: Fri, 15 Sep 1995 15:25:31 EWT From: "CATHI N." Subject: Primich Itinerary (long) Here we are again folks: Gary Primich's Itinerary: Sept 16 Rhythm Room ................Phoenix, AZ 17 The Belly-Up................ Solano Beach, CA 18 Athletic Club............... Hollywood, CA 20 Blue Saloon................. Long Beach, CA 22 Cantina Lavida.............. Brea, CA 23 Cafe Bugaloo................ Hermosa Beach, CA 23 Festival (afternoon)........ Oxnard, CA 24 Linda's Doll Hut............ Anaheim, CA 26 Mother's Tavern............. San Luis Obispo, CA 28-30 Blues on B.................. San Mateo, CA OCT 4 Bojangles .................. Portland, OR 5 Victor's.................... Richland, WA 6 Blue Mountain Tavern........ Walla Walla, Wa 7 The Central................. Seattle, WA 8 The Crowbar................. Blaine, WA 10-11 The Yale.................... Vancouver, BC 12 Prince George BC 13 Black Knight Inn............ Red Deer Alberta 14-15 City Media Club............. Edmonton, Alberta 20 Pearls...................... Austin, TX 26 Continental Club............ Austin, TX (w/ Juke Logan) 27 Blue Cat.................... Dallas, TX (w/ Juke Logan) 28 Velvet Elvis................ Houston, TX (w/ Juke Logan) NOV 1 Proud Larry's............... Oxford, MS 3-4 Blues City Cafe............. Memphis, TN 5 Huey's...................... Memphis, TN 7 The Junction................ Bloomington, IN 8 Stevie Ray's................ Louisville, KY 9 Off Broadway................ St. Louis, MO 10 Deep Blues.................. Columbia, MO 11 Maintenance Shop............ Ames, IA 13 Park Inn.................... Duluth, MN 14 Slippery Noodle............. Indianapolis, IN 15 Madison Oyster Bar.......... South Bend, IN 16 Rhythm Kitchen.............. Grand Rapids, MI 17 Wilbert's .................. Cleveland, OH 18 Seventh House............... Pontiac, MI 24 J& J Blues Bar.............. Fort Worth, TX Whew.. Cathi N. ========================================================================= Date: Fri, 15 Sep 1995 16:40:38 LOCAL From: "Dr. Terence Liu" Subject: Robert Jr. Lockwood at White House Ceremony ROBERT JR. LOCKWOOD AMONG TWELVE NATIONAL ENDOWMENT FOR THE ARTS 1995 NATIONAL HERITAGE FELLOWSHIP RECIPIENTS For Release: September 13, 1995 Contact: Cherie Simon 202-682-5570 Office of Communication National Endowment for the Arts Washington, D.C. -- For the first time ever, twelve 1995 recipients of National Heritage Fellowship awards, the National Endowment for the Arts' most prestigious accolade in folk and traditional arts, will be honored in a special White House Ceremony. First Lady Hillary Rodham Clinton and Jane Alexander, Chairman of the National Endowment for the Arts, will present the awards at 1 p.m. on September 27, 1995. The event coincides with the Endowment's 30th Anniversary. The Fellowship recipients, each a guardian of a generations-old folk arts form, also will be feted in a concert celebration at 7:30 p.m. on Friday, September 29th at George Washington University's Lisner Auditorium located at 730 21st St. N.W. in Washington, D.C. Roger Welsch, a CBS - TV essayist, will be master of ceremonies. This event is free and open to the public. Call the National Council for the Traditional Arts at 301-565-0654 for ticket information. "The National Heritage Fellowship awards celebrate the lifetime achievements of America's masters of folk and traditional arts," said Chairman Alexander, "Each of these extraordinary artists has tapped a great personal store of creativity to lead their communities in preserving and revitalizing traditions built by countless others. The group chosen is a snapshot of this country at its best, offering a positive vision of who we are and what we can be." The National Heritage Fellows hail from urban centers, rural communities, and Native American reservations located in eleven states and represent many threads of this nation's cultural fabric. The 1995 recipients are: Bao Mo-Li, a Chinese American vocalist and musician of New York; Mary Holiday Black, a Navajo basketweaver from Utah; Lyman Enloe, a fiddler from Missouri; Donny Golden, an Irish step dancer of New York; Danny Kalanduyan, a Filipino instrumentalist of California; Wayne Henderson, a luthier and guitarist from Virginia; Bea Ellis Hensley, a blacksmith from North Carolina; Nathan Jackson, an Alaskan Native woodcarver; Robert Jr. Lockwood, a Delta blues guitarist living in Ohio; Israel "Cachao" Lspez, an Afro-Cuban bassist who invented the mambo and now lives in Miami; Nellie Star Boy Menard, a Lakota Sioux quiltmaker from South Dakota; and Buck Ramsey, a cowboy balladeer of Texas. Robert Jr. Lockwood One of the greatest laments of Delta blues devotees is that the legendary guitarist and singer Robert Johnson died so young. His remarkable talent at playing both lead and accompaniment and at capturing the essence of many styles of guitar playing, his high, searing vocal style, and his personal charisma made him a defining figure in the early history of the Delta Blues. He was truly a legend in his own time. Following his death under mysterious circumstances in 1938 (it is said that he was poisoned or shot by a jealous rival or by a spurned lover), many musicians have been quick to say they knew him or played with him, but only one can say that Robert Johnson actually taught him how to play--Robert Jr. Lockwood. Blues guitarist Robert Jr. Lockwood was born in 1915 in Turkey Scratch, Arkansas, and lived in Helena, Arkansas; Memphis, Tennessee; and St. Louis, Missouri. His grandfather was a preacher, and as a child he learned to play the organ. He liked the blues, but he didn't play them when his grandfather was around. "I couldn't play when he was there 'cause he was a preacher. I liked the blues and was playing them on organ. We all [in the family] played them on organ. My grandfather didn't know it." This all changed when he met Robert Johnson. His mother, long separated from her husband, met Johnson when her son Robert was 13, and Johnson lived with her on and off for the next ten years. When young Robert heard him play the guitar, he said, "This is what I want to do....I learned how to play the guitar like Robert. And I didn't touch the organ no more." Within a couple of years, Robert Lockwood, Jr. (whose name was inverted to be Robert Jr. Lockwood because of his relationship to Robert Johnson) was playing at local house parties, street corners, and gambling establishments for pay help support his mother. When he was 16, he teamed up for a while with anoth blues great, harmonica player Sonny Boy Williamson, with whom he later recordeand performed regularly on the influential radio show "King Biscuit Time." "We re the first ones to play amplified blues over the radio," he says. His music fortunes over the next 60 years of his career took him to many places througho the United States--especially cities along the Delta-to-Chicago axis--Japan, a Europe. When Lockwood lists the people he has played with over his career, it ads like a Who's Who of the blues and includes likes of ter Otis Spann, and Johnny Shines. In addition to his grounding in Johnson's Delta blues style, he took a liking to the music of Count Basie and Ray Charles. Perhaps as a result, his own playing over the years has tended to include more progressive, extended chord progressions than those found in traditional blues, and his melodic improvisations lean toward the jazz idiom. "Rolling Stone says I'm not a blues musician," he says. "Some people might say that Ray Charles isn't either, but he can play blues better than most, because he knows more. I'm the same way, a craftsman of music. I can play all different styles, and I'm very grateful that I had the ability to learn." Also atypical of most Delta blues is his use of the 12-string guitar. "My wife Annie bought me that 12-string. I ignored it at first, but when I heard the great chord sound it got, I loved it. Now that's all I play." Robert Jr. Lockwood has many recordings to his credit, including two more recent releases on Rounder Records. In 1940, he recorded his well-known "Little Boy Blue" and other compositions with RCA Victor in Chicago, where he eventually worked as a studio musician for Chess Records for 17 years. He made other recordings on the Trix and Delmark labels and with companies in France and Japan. In 1960, he and his wife settled in Cleveland, Ohio. He continues to play concerts both locally and at festivals around the country, with one of his favorites being the annual King Biscuit Blues Festival in his home town of Helena, Arkansas. *********** Since 1982, the Endowment's Folk & Traditional Arts Program has awarded 185 National Heritage Fellowships. Artists are nominated by fellow citizens and selected by a panel of folk arts advisors on the basis of artistic excellence and contributions to preserving America's cultural heritage. Fellowship recipients are also acknowledged for their work as teachers, role models or mentors, and innovators. Each artist receives a one-time Fellowship award of $10,000. The White House event is an invitation only ceremony. Media personnel who wish to cover the event must contact the Endowment Office of Communications at 202-682-5570 on or before September 25, 1995 to arrange clearance. Tickets to the free public celebration at George Washington University's Lisner Auditorium, produced in collaboration with the National Council for the Traditional Arts, are available on a first-come, first-served basis at locations listed below. On September 29th, doors will open at 7:00 p.m. and the concert begins at 7:30 p.m. Each artist will be featured briefly -- musicians will give short performances, and the work of crafts people will be highlighted in slide presentations. Sign language interpretation will be provided. Contact the following locations for tickets to G.W.'s Lisner Auditorium: By telephone: National Council for the Traditional Arts, 301-565-0654 The National Endowment for the Arts Folk & Traditional Arts Program, 202-682-5449 In person at: The House of Musical Traditions, 7040 Carroll Ave., Takoma Park, MD; (Tuesday - Thursday, noon - 7 p.m.; Sunday - Monday, noon - 5 p.m.) Marvin Center Newsstand, 800 21st St. N.W., lower level, Washington, DC; (Monday - Friday, 8 a.m. - 9 p.m.; Saturday - Sunday, 9 a.m. - 5 p.m.) TICKETplace, in G.W.'s Lisner Auditorium lobby, 730 21st St. N.W.; (Tuesday - Friday, noon - 6 p.m; Saturday 11 a.m. - 5 p.m.) Phone: 202-TIC-KETS (202-842-5387). For more information on the National Heritage Fellowship awards, related September events, and the Folk & Traditional Arts Program, please contact the Endowment Office of Communications at202-682-5570. The G.W. Lisner Auditorium number is 202-994-6800. ************* The twelve 1995 National Heritage Fellowship recipients are: Bao Mo-Li, Chinese American jing erhu player, Flushing, New York Mary Holiday Black, Navajo basketweaver, Mexican Hat, Utah Lyman Enloe, old-time fiddler, Lee's Summit, Missouri Donny Golden, Irish American step dancer, Brooklyn, New York Wayne Henderson, luthier, Mouth of Wilson, Virginia Bea Ellis Hensley, blacksmith, Spruce Pine, North Carolina Nathan Jackson, Tlingit Alaska Native woodcarver, metalsmith and dancer, Ketchikan, Alaska Danongan Kalanduyan, Filipino American kulintang musician, San Francisco, California Robert Jr. Lockwood, African American Delta blues guitarist, Cleveland, Ohio Israel "Cachao" Lspez, Afro-Cuban bassist, composer, bandleader, Miami, Florida Nellie Star Boy Menard, Lakota Sioux quiltmaker, Rosebud, South Dakota Buck Ramsey, cowboy poet and singer, Amarillo, Texas *********** Biographical information on the 1995 Heritage Fellowship award recipients and photos are available on request. *********** ========================================================================= Date: Fri, 15 Sep 1995 15:51:00 -0400 From: "J.E. Downey" Subject: Re[2]: New Orleans IMHO, bed & breakfast is the way to go in New Orleans. There's a B & B booking service called Bed & Breakfast Inc., which has found us some great places (there's a second B & B service--can't recall the name--but it's not nearly as good). Be certain to get accommodations in the French Quarter. Last fall, we stayed at a terrific little B & B at the edge of the Quarter run by John Hyman, who's a big music enthusiast. (address & phone: 1031 St. Ann, New Olreans 70116, 504-525-4433) Just down the block from John's is a great little neighborhood bar, Donna's, where you can hear authentic New Orleans brass bands. At Donna's, we found out about second-line parades, where you can hear terrific young brass bands like ReBirth and the Dirty Dozen. Second-line parades are held every Sunday afternoon from late August through early December. Joe Downey, Moscow J.E._Downey@bakermck.com "I was born in Louisiana, Raised on the Texas Side!" -- C. Gatemouth Brown ========================================================================= Date: Fri, 15 Sep 1995 16:30:00 CDT From: Bonnie Kalmbach Subject: HO$$$$ Does anyone have any theories as to why so many blues musicians are living in near poverty TODAY!! Has HOB made affordable medical care available to the musicians it purports to admire and support. How does it's pay scale compare to that of the smaller blues clubs - one would imagine and hope it is considerably better. I have nothing to say against establishing a hospital in India, but there are plenty of blues folk here who have little access to good medical care or health insurance. Why are so many of them still dying off in their 40's or 50's. -Bonnie ========================================================================= Date: Fri, 15 Sep 1995 14:41:17 -0700 From: Adrian Spidle Subject: John Mooney: How I spent my lunch break Well, I walked up to the local Tower Records and they didn't have any of John Mooney's stuff; they said Travelin' On was still in print (no surprise) but had never heard of Sideways in Paradise; anyone know what label that's on? Anyway, I stopped off at a used record place on the way back and they also didn't have anything of Mooney's, but I picked up a (*short*) 2cd set of Son House from 1965. A good budget solution I figure... Adrian ========================================================================= Date: Fri, 15 Sep 1995 22:03:19 GMT From: Matthew E Karch Subject: Re: Colin James Ron Wack (Wack_Ron/rfh@SASK.AECL.CA) wrote: : I'm also a big fan of Colin James. He's an exceptional guitarist! The : Bad Habits disc see's a lot of time in my CD player. I also enjoyed his : last disc "Now and Again" which is a best of and new material : compilation. He does get a fair bit of radio time in Canada. I've seen : some stores put him in the pop/rock section(?) but he sure doesn't : belong there. Not when he does songs like Milk Cow Calf Blues. : RW I am a Yankee and also a big CJ fan. He has a little of SRV in him. I know that they were friends and you can really hear it in his playing, especially in his solo for "Keep On Loving Me Baby." I have been anxiously awaiting his US release of his new album. If you like him, I would also recommend the New Craig Erickson Album. It is a blistering Blues/Rock showcase. The album is called Two Shades of the Blues and is put out on the Varney boys new Rockish-Blues Label "Blues Bureau International." It is definitely Erickson's best work. Matt ========================================================================= Date: Fri, 15 Sep 1995 15:16:00 -0700 From: Ned Kraft Subject: HOB Thanks Bonnie, now I'm in. Making a living in music is not generally a lucrative career path, but many people still choose it because it's something they love (OK, maybe a bit naive). If we can't get health care from congress we probably can't expect group coverage offered by HOB. However, since it is becoming a big money operation, maybe someone can convince the HOB ownership to assist in finding musicians access to health care - my read is they want to make money, but do have an interest in the music. Anybody ready to make this phone call? Libertarian, not Republican or Democratic. I just want less government for my money. The difference between Rep. and Dems. representatives? The Republicans are openly proud of being millionaires. Why are so many dying? Alcohol, drugs, long hours, stress, and lack of quality health care (that's my guess at the order as well) I'm sure aids will be rearing its ugly head as well. Bottom line: HOB provides a venue with great exposure for blues (and other artists) and if they pay and treat you well, say thanks! Anyone out there know of a HOB person who might be intersted in posting a rebuttal? Keep Cool, Dirty Ned ========================================================================= Date: Fri, 15 Sep 1995 15:54:05 -0700 From: Chris Adams Subject: Re: John Mooney: How I spent my lunch break It is Blind Pig 5006. It maybe listed under Thackery/Mooney as it is a collaboration. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Fri, 15 Sep 1995, Adrian Spidle wrote: > Well, I walked up to the local Tower Records and they didn't have any of > John Mooney's stuff; they said Travelin' On was still in print (no > surprise) but had never heard of Sideways in Paradise; anyone know what > label that's on? > > Anyway, I stopped off at a used record place on the way back and they > also didn't have anything of Mooney's, but I picked up a (*short*) 2cd > set of Son House from 1965. A good budget solution I figure... > > Adrian > ========================================================================= Date: Fri, 15 Sep 1995 19:02:26 -0400 From: Tom Freeland Subject: Re: Acoustic Blues Sometimes, what passes arounded here as 'recommended' is mind-bogglingly bizarre. Yesterday, some innocent soul posted that they had listened to a lot of electric blues and were willing to try some acoustic now, and asked for recommendations. Specifically, he asked: >If you had to pick your top 5 acoustic blues recordings what would they be? The assumption from the post would have to be that the guy has no acoustic blues. As it turns out (from private posts) I learn that this is close; he has the Robert Johnson box (which he loves) but, 'though he loves the MCA/Chess Muddy Box, he is unfamiliar with (and does not own) the Library of Congress recordings released on the MCA / Chess Plantation recordings. So what we would want here is either all-time recommendations or good introductory recommendations, right? Some of the recommendations were great (Bukka White, Blind Blake, Mance Libscomb, Joe Williams, and, of course Robert Johnson), and would be interesting fodder for a discussion about the 'all time great' acoustic blues. And there was a little debate, too (does Lightnin' fit?). One oft-recommended recording is one I like but that hardly seems one of the five all-timers *or* a great introduction (the Buddy Guy/ Junior Wells acoustic album). But then someone out there really seems to suggest that John Hammond recorded the 'five greatest' acoustic blues of all time? And that these songs consists of covers of songs associated with Muddy Waters, John Estes and others (but most definitely *not* with John Hammond)?? And someone else suggested that Catfish Keith also recorded one of the top five. CATFISH KEITH??? And omiting, say Robert Johnson, Muddy Waters, Willie McTell, etc. to reserve a spot for Rory Block? or a home-made recording of Honeyboy Edwards in 1995 (a great guy but top 5????)? I guess I have to wonder if you people (you know who you are) are serious? Or, in more polite terms, can you defend these selections in some logical way? I have a really open mind about music (really, I do) but this seems to make no sense to me. And to be not particularly helpful to someone with a sincere question. And, having said that, I'd note that some of those lists are quite good.... Just for the record, only on re-reading the original request did I realize he asked for top five and not so much for a recommendation. My top 5 (at this moment) are (the numbers are for counting, and not ranking): 1. Robert Johnson Complete. 2. Robert Wilkins Original Rollin' Stone. 3. Skip James 1932 Sessions. 4. Willie McTell Early Recordings (the first Yazoo set) 5. Charley Patton Founder of the Delta Blues. I hate the way the top 5 format causes me to omit Frank Stokes and Dan Sane, Memphis Minnie and Kansas Joe, John Hurt, Son House, Tommy Johnson (perhaps I should omit Patton or Skip James for him? Nope.), Muddy Waters, and the great ensemble recordings of the Memphis Jug Band and Gus Cannon's Jug Stompers. And if you want me to defend these I can; it'd be a heck of a lot easier than defending Catfish Keith. Tom Freeland ========================================================================= Date: Fri, 15 Sep 1995 18:45:31 -0500 From: "Henry Busse Jr." Subject: birthdas 9/16/17/18/95 ARNOLD, BILLY BOY ( WILLIAM ARNOLD ) born:1935 CHICAGO, IL Occupation:SINGER / HARMONICA Style:BLUES BELOW, FRED BORN:1926 CHICAGO, IL DIED:08 13 1988 CHICAGO, IL AGE:61 OCCUPATION: DRUMMER WORKED WITH:LITTLE WALTER / MUDDY WATERS / WILLIE DIXSON / SONNY BOY WILLIAMSON ( RICE MILLER ) OTIS RUSH / ELMORE JAMES / JIMMY REED / CHUCK BERRY / BO DIDLEY STYLE:BLUES BULLOCK, CHICK ( CHARLES ) Born:1908 BUTTE, MT Died:09 15 1981 CALIFORNIA Age:73 Occupation:SINGER BETWEEN 1930 & 1941 MADE OVER 4000 RECORDINGS Style:POP / BIG BAND BYRD, CHARLIE ( CHARLES L. ) Born:1925 SUFFOLK,VA. Occupation:GUITAR Worked With:WOODY HERMAN / SOL YAGED / JOHN MARSALA / FREDDY SLACK / STAN GETZ BROTHER OF JOE Style:JAZZ / BIG BAND HENDRICKS, JON ( JOHN CARL ) Born:1921 NEWARK, OH Occupation:SINGER Worked With:LABERT HENDRICKS & ROSS Style:JAZZ / BIG BAND JOHANSSON, JAN Born:1931 SODERHAMM, SWEDEN Occupation: PIANO / GUITAR / COMPOSER Worked With:STAN GETZ Style:JAZZ KING, B.B. ( RILEY B. KING ) Born:1925 INDIANOLA, MS Occupation: GUITAR / SINGER BLUES FOUNDATION HALL OF FAME 1980 Style:BLUES KLUGH, EARL Born:1954 DETROIT, MI Occupation:GUITAR / LEADER Worked With:GEORGE BENSON / RETURN TO FOREVER Style:JAZZ LEVITT, ROD (RODNEY CHARLES) Born:1929 PORTLAND, OR Occupation:TROMBONE Worked with:DIZZY GILLESPIE / ERNIE WILKINS / KAI WINDING / SY OLIVER / GIL EVANS Style:JAZZ / BIG BAND REISMAN, LEO Born:1897 BOSTON, MA Died:12 18 1961 Age:64 Occupation:LEADER Style:BIG BAND BUTERA, SAM Born:1927 NEW ORLEANS, LA Occupation:TENOR SAX WORKED WITH:LOUIE PRIMA / OWN GROUP STYLE:JAZZ CAMPBELL, FLOYD BORN:1901 HELENA, AR OCCUPATION:DRUMMER WORKED WITH: FATE MARABLE ON RIVERBOATS STYLE:JAZZ MAY, EARL ( CHARLES BARRINGTON ) BORN:1927 NEW YORK, NY OCCUPATION:BASS WORKED WITH:GENE AMMONS / MILES DAVIS / SONNY STITT / MERCER ELLINGTON / BILLY TAYLOR STYLE:JAZZ / BIG BAND McDUFF, BROTHER JACK ( McDUFFY EUGENE ) Born:1926 CHAMPAIN, IL Occupation:ORGAN WOrked With:JOE HENDERSON / GEORGE BENSON / JIMMY WITHERSPOON / ROLAND KIRK / SONNY STITT / GENE AMMONS Style:JAZZ McKINNEY, BILL Born:1895 Died:10 14 1969 Age:74 Occupation:LEADER of MCKINNEY'S COTTON PICKERS Style: BIG BAND / JAZZ PROHASKA, MILJENKO Born:1925 ZAGREB, YUGOSLAVIA Occupation:BASS / COMPOSER Style:JAZZ SHARON, RALPH orn:1923 LONDON, ENGLAND Occupation: PIANO / ARRANGER WOrked with:TONY BENNETT DIRECTOR FOR TONY BENNETT Style:POP / JAZZ CARTER, NELSON ( NELSON CARTER ) Born:1917 NEW BOSTON, TX Occupation: SINGER / GUITAR Style:BLUES KING, TEDDI Born:1929 BOSTON, MA Died:11 18 1977 NEW YORK, NY Age:48 Occupation:SINGER Style:JAZZ / BIG BAND MARCUS, STEVE ( STEPHEN MARCUS ) Born:1939 NEW YORK, NY Occupation:TENOR SAX / SOPRANO SAX Worke With:STAN KENTON / HERBIE MANN Style:JAZZ / BIG BAND MYERS, LOUIS Born:1929 BYHALIA, MS Occupation:GUITAR / HARMONICA Style:BLUES REMLER, EMILY Born:1957 NEW YORK, NY Died:05 04 1990 ON TOUR Age:32 Occupation:GUITAR Worked With:LARRY CORYELL Style:JAZZ SOCOLOW, FRANK Born:1923 NEW YORK, NY Died:04 30 1981 NEW YORK, NY Age:58 Occupation:TENOR SAX Worked With:GEORGIE AULD / BOYD RAEBURN / CLIFF JACKSON / ARTIE SHAW / JOHNNY BOTHWELL / CHARLIE VENTURA / GENE KRUPA / JOHNNY RICHARDS Style:JAZZ / BIG BAND THOMAS, JOHN (L) Born:1902 LOUISVILLE, KY Died:11 07 1971 CHICAGO, IL Age:69 Occupation:TROMBONE Worked With:FREDDIE KEPPARD / SPEED WEBB / FRANZ JACKSON Style:JAZZ WALKER, WILLIE aka BLIND WILLIE WALKER Born:1896 GREENVILLE, SC Died:03 04 1933 GREENVILLE, SC Age:37 Occupation:GUITAR Worked With:SAM BROOKS Style:BLUES ========================================================================= Date: Sat, 16 Sep 1995 00:19:17 GMT From: Lookin' for Gypsy Eyes Subject: Charlie Patton... I am trying to find music by the bluesman (of the past) Charlie Patton. circa 1938 I have had someone tell me there is maybe two releases out there, and that is all. Does anyone have some info' on the record label, or even, does someone have a copy? Contact me ! Thanks ========================================================================= Date: Fri, 15 Sep 1995 20:36:27 -0400 From: Tom Freeland Subject: Re: Charlie Patton... In a message dated 95-09-15 20:23:53 EDT, someone wrote:: >I am trying to find music by the bluesman (of the past) Charlie Patton. circa >1938 >I have had someone tell me there is maybe two releases out there, and that is >all. >Does anyone have some info' on the record label, or even, does someone have a >copy? All the Charlie Patton is pretty readily available on two Yazoo label releases, and is also available (slightly less readily and with poorer sound and at a higher price) from Document. Some of the tracks from late in his life (after his prime) are available on some of the collections in Columbia's Root 'n Rythmn series. If you want catalog numbers and titles for each of these, send me private email and I'll get them-- that information is all at home. You say 1938? Wasn't he dead by then? Tom Freeland ========================================================================= Date: Fri, 15 Sep 1995 12:41:59 -0400 From: CATBAUER Subject: Re: John Hammond... In article , Jeff Seale writes: >All you JH fans, help me. What ONE John Hammond cd should I go out and >buy that would "knock me out?" "Trouble No More" on Pointblank or "Can't Beat the Kid"...it's an older one on Capricorn but has Spooner Oldham on piano and Eddie Hinton on guitar/piano. ========================================================================= Date: Fri, 15 Sep 1995 11:52:51 -0400 From: JK13 Subject: Re: Piedmont Blues >Can anyone recommend any Piedmont blues artists that I might have missed? Ben Andrews: The Blue Rider Trio, Preachin' The Blues, Mapleshade # 1789 6962 2 Ben represents the next generation of Peidmont Blues artists. He brings a sense of energy, excitement, and rediscovery to the genre while remaining true to its roots. The cd is sometimes hard to find, but it's roots Peidmont acoustic blues with excellent stand-up bass and harp accompaniment. Jorma Kaukonen is an ardent disciple of Rev. Gary Davis. Any of his solo albums will offer some fine Peidmont picking, as will many of his Hot Tuna works. Jorma does not focus exclusively on Peidmont style picking, so he may not fit your criteria as a "Piedmont blues artists", but he's a damn fine fingerpicker when he plays in that style. Everyone else has already mentioned the masters of the Peidmont. Just thought I'd mention a couple of relatively new guys. ----------------------------------------------------------- jk13@aol.com (John Kearney) "If we do not change direction, we may end up where we are headed." Lao Tsu ----------------------------------------------------------- ========================================================================= Date: Sat, 16 Sep 1995 02:20:12 GMT From: Susie Brooks Subject: Re: LW's playing Jeff - Get out your pocketbook & come to the Bham Jam in Oct. Rumor has it that Keb Mo is opening for LW. Trout & Susie Brooks ========================================================================= Date: Fri, 15 Sep 1995 23:09:20 +0000 From: "P.W. Fenton" Subject: Re: HOB On 15 Sep 95, Ned Kraft had this to say: > Bottom line: HOB provides a venue with great > exposure for blues (and other artists) and if > they pay and treat you well, say thanks! > Anyone out there know of a HOB person who > might be intersted in posting a rebuttal? We have HOB reps that are members of Blues-l (Marc Schiller ,for one) who have probably grown tired of defending themselves to people who's mind probably isn't gonna change anyway. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 15 Sep 1995 23:35:05 -0400 From: Stew Crossen Subject: Re: Piedmont Blues I heartily recommend the album Terry Robb - Acoustice Blues Trio to anyone interested in Piedmont style picking. Although Terry "updates" the 13 blues tunes he covers, the album pays homage to the likes of Blind Blake, Elizabeth Cotton, Rev. Gary Davis and more. I'll be interviewing Terry Saturday night Sept. 16th on the radio on WHUS in Connecticut. Beef Stew Can anyone recommend any Piedmont blues artists that I might have missed? I already have discs by the following: Blind Boy Fuller John Cephas and Phil Wiggins Rev. Gary Davis Blind Blake Blind Willie McTell Pink Anderson How about Elizabeth Cotten or Etta Baker. I think Etta Baker is still alive. Her "One Dime Blues" CD is great. Jim Smith ========================================================================= Date: Fri, 15 Sep 1995 23:46:30 -0400 From: Stew Crossen Subject: Re: Acoustic Blues Anybody like Ben Andrews "Preaching the Blues" Beef Stew - WHUS Radio ========================================================================= Date: Sat, 16 Sep 1995 00:43:50 -0400 From: Tom Freeland Subject: acoustic blues redux Earlier today I launched a tirade at the list about acoustic blues. I don't spend a lot of time listening to general collections except to learn about musicians I don't know at all, and particularly am leary of ones all-over-the-map, but later today, someone else asked about sources for late Charley Patton. I mentioned that one of the Root n Blues anthologies has a late Patton song, but a weak one. However, looking at that particular (Legends of the Blues, Vol One) one I see: "Stop Breakin' Down Blues" Robert Johnson "Fixin' To Die Blues" Bukka White "Death Letter" Son House "Match Box Blues" Blind Lemon Jefferson "St. Louis Blues" Bessie Smith, graced by Louis Armstrong (and a parlor organ) "Ain't No Tellin'" John Hurt "Nothing in Rambling'" Memphis Minnie and Blind Willie Johnson, Bo Carter, Willie McTell, Lonnie Johnson, Leroy Carr with Scrapper Blackwell, Josh White, Leadbelly, Pettie Wheatstraw, Blind Boy Fuller, Big Bill Broonzy, Muddy Waters (not acoustic). Wow. My problem with collections like this is that its hard to tell from just one piece, and my general suspicions about letting other folks pick for me *really* kick in when its down to one song. BUT its hard to argue with this grouping within the confines of one disk and one label's available archive, AND some of these recordings are damn near definitive or signature pieces for these artists. Plus this thing has notes by Paul Oliver. So I'll listen to "Fixin' to Die Blues"...... Tom Freeland ========================================================================= Date: Sat, 16 Sep 1995 00:35:12 -0600 From: Gary Constantine Subject: goin' no mail for awhile..... OK. I'm outta here. Six weeks of well earned vacation. talk to y'all the end of October. Gary ............. Gary Constantine >> gconstan@ccinet.ab.ca << If hard work were such a wonderful thing, surely the rich would have kept it for themselves. ========================================================================= Date: Sat, 16 Sep 1995 03:03:00 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: Acoustic Blues Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: Acoustic Blues Message-ID: <1995Sep16.030258.59188@msuvx2.memphis.edu> From: Denise Tapp Date: 16 Sep 95 03:02:58 -0500 References: <199509151723.MAA02916@picasso.ccad.uiowa.edu> Nntp-Posting-Host: wok-50.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 13 Just this morning, I was listening to the 1969 double LP known as "Memphis Swamp Jam." (I believe Arhoolie has released it on CD under another title recently.) Anyway, most of the stars are long gone, but the Side D finale act is still around. In fact, one of them lurks on this list. R.L. Watson and Josiah Jones perform three songs together, and I've seldom heard finer acoustic blues picking. Now if either or both of those guys could be rounded up for a festival, you'd have a great show. Denise ========================================================================= Date: Sat, 16 Sep 1995 06:31:11 -0400 From: Barry Silverberg Subject: One Man's Opinion-New Format! The reviews that I've been posting here under the subject - One Man's Opinion will from now on be posted under Sitting & Thinking AND there will be three of us writing the reviews. Keep an eye out for some wonderful new points of view. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sat, 16 Sep 1995 08:14:55 -0400 From: DeniseTapp Subject: Re: HOB--in perspective, I hope Dear Folks: Many of us are working up to a fine lather over a nightclub chain. Why? Because "Blues" is part of its name, and perhaps we feel a bit proprietary about that word. Take "blues" out of the equation, add up the amount of fried chicken that blues musicians have consumed, and perhaps we ought to be asking the late Colonel's heirs and shareholders to cough up some profits, or better yet, the whiskey and tobacco cartels, who have really profited from our beloved entertainers' efforts. The HOB pays its entertainers for their work, as far as I know. However, if the past is any indicator, we may expect some very grand, generous and far-sighted gestures from HOB founder, Isaac Tigrett, at some point in the future. Far more than any other club owner would venture to make. He's one of the most unique people I've ever had the pleasure of knowing. For example: Isaac used to treat his Black and Jewish friends to Sunday Brunch in the last outpost of Anglo-Saxon High Society in these parts--the Memphis Country Club. I was included on one of these excursions about 15 years ago (the low-born white representative, I guess, although not regarded as such by Isaac.) We were given prominent seating, made happy pigs of ourselves at the lunch buffet and then discussed the notion of dropping by to check on an old friend who had a most unfortunate heroine problem. It suddenly occurred to Isaac that this friend had probably not eaten all week, and Isaac vanished from the table. I'll never forget the vision of that tall figure, dressed in black, carrying FOUR of those large, white, styrofoam, take-out containers, weaving his way among the elderly Delta planters and their wives and acknowledging and speaking to each in gentlemanly fashion, as he worked his way back to our table. Jimmy wouldn't go hungry if Isaac could help it. Isaac is the kind of guy who makes and spends and gives away fortunes just for the sheer joy of it all. Eons ago, Isaac used to chaffeur the old blues guys to and from their gigs here in Memphis. He probably gave Furry Lewis, Bukka White and some of the others their first, if not only, ride in a limo, and he did it just because he could. I don't work for HOB, although, if they were really sharp, they'd hire me : ) I think the t.v. show, the club's graphics and so forth suck rotten eggs, in fact. And these days, Isaac wouldn't return my phone call (or that of any of his old Memphis friends) on a bet. But I know what the guy is made of and some things don't change. So I'm holding my breath and waiting to see what he does with this, his latest creation. It won't be invisible, I may assure you. And it will be meaningful and full of heart. Denise ========================================================================= Date: Sat, 16 Sep 1995 13:11:22 GMT From: David Goldstein Subject: Re: Looking for a Name for my blues band. Blues Slingers Whomp, There's The Blues Blues Gunners Blues Pedalers Blues Lions Mojo Blues Machine Devil's Blues Zombies ========================================================================= Date: Sat, 16 Sep 1995 13:30:00 GMT From: catfish@RADIX.NET Subject: Re: acoustic albums Robert Johnson Boxed Set Taj Mahal "De Ole Folks at Home" what else do you need (Buddy Guy and Junior Wells ahve a nice one out called Alone and Acoustic. catfish ========================================================================= Date: Sat, 16 Sep 1995 09:31:12 PDT From: rjbauman@IQUEST.NET Subject: Re: Acoustic Blues ========================One oft-recommended recording is one I like but that hardly seems one of the five all-timers *or* a great introduction (the Buddy Guy/ Junior Wells acoustic album). But then someone out there really seems to suggest that John Hammond recorded the 'five greatest' acoustic blues of all time? And that these songs consists of covers of songs associated with Muddy Waters, John Estes and others (but most definitely *not* with John Hammond)?? And someone else suggested that Catfish Keith also recorded one of the top five. CATFISH KEITH??? And omiting, say Robert Johnson, Muddy Waters, Willie McTell, etc. to reserve a spot for Rory Block? or a home-made recording of Honeyboy Edwards in 1995 (a great guy but top 5????)? I guess I have to wonder if you people (you know who you are) are serious? Or, in more polite terms, can you defend these selections in some logical way? ====================== Gosh, Tom, sorry we didn't check with you before we posted our top 5. I for one stated that I didn't want to include "obvious" ones because I anticipated everyone would come across them relatively soon in their exploration of acoustic blues. Besides, my top five is not going to look like anybody elses top five. We're all entitled to our opinions. Nominating Luther Allison, Rory Block, and Buddy Guy (twice if you count "Folk Singer") albums certainly doesn't qualify them as being among THE TOP FIVE acoustic players of ALL TIME. That wasn't the point. If the poster meant something like this, he should have said so himself. He specifically asked "what are YOUR top five....." I argue that such selections DO make a suitable introduction to acoustic blues for someone who has been listening to *electric* blues pretty much exclusively. Hearing "Blues Streak" and then "Hand Me Down My Moonshine" would appear to be a hell of a lot more enlightening for such a person than going directly to the great Blind Willie McTell. You've got to *build* to that, I think. Before you form an opinion, try it and see what I mean. best wishes, RJ Bauman ========================================================================= Date: Sat, 16 Sep 1995 10:56:31 EDT From: "William R. Tschanz" Subject: Phily Blues Machine There is a club called the Phily Blues Machine. Membership is 15.$ It is located at the Commodor Barry Club in Mount Airy. They Put on some great blues Talent. On Oct. 21st. They Present Johnny Johnson & Bobby Parker. Phone No. is (215) 849-5465 If your in Phily I might see you there. Wild willy from Northwest Phily Doin the Bluesfusion. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ |UBC NSPE| | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU | | CIVIL ENGINEERING WRTSCHANZ@AOL.COM | | TEMPLE UNIVERSITY MIDI| +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Sat, 16 Sep 1995 15:23:04 GMT From: toulouse Subject: Re: HO$$$$ >Does anyone have any theories as to why so many blues musicians are >living in near poverty TODAY!! Has HOB made affordable medical care >available to the musicians it purports to admire and support. How >does it's pay scale compare to that of the smaller blues clubs - >one would imagine and hope it is considerably better. >I have nothing to say against establishing a hospital in India, >but there are plenty of blues folk here who have little access >to good medical care or health insurance. Why are so many of them >still dying off in their 40's or 50's. good points, very good. ========================================================================= Date: Sat, 16 Sep 1995 10:27:50 -0500 From: Jeff Seale Subject: Texas Johnny Brown Texas Johnny Brown played to another enthusiastic crowd last night at Billy Blues in SA. The crowd wasn't as large as before thanks in part to the absence of fellow Blues-l'ers Bill Shute and James Foster. However, the band played another inspired show of blues. I won't say any more about the shows because I think we've covered that enough from the last 3 gigs. I did ask the bass player, David "Sweet D" Owens how the cd was coming along. He said that they had been working on it all week. They've gotten 4 tracks laid down and hope to do 6 more for the cd. If Texas Johnny Brown comes to your area - don't miss him. You folks in the Houston area should feel lucky to have this guy playing there weekly! -Jeff (Texas Jeffrey, that is...) The next South Texas Blues-L get together will be at Billy Blues in San Antonio for another Houston bluesman, Joe Guitar Hughes. Make your plans now to join us! ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / Saint Valentine drove a red Continental \ / with a headlight out and a dent in the side. \( He swore it wasn't his, it was only rental but he drove it every single night. -Joe Ely ========================================================================= Date: Sat, 16 Sep 1995 11:56:38 -0400 From: Tom Freeland Subject: Re: Acoustic Blues In a message dated 95-09-16 10:44:49 EDT, you write: > >I for one stated that I didn't want to include "obvious" ones because I >anticipated everyone would come across them relatively soon in their >exploration >of acoustic blues. Besides, my top five is not going to look like anybody >elses top five. We're all entitled to our opinions. > > Actually, your picks were more defendable than some, and not so much one of the ones I was complaining about. I thought of the Muddy Waters Folk Singer album as being one someone would likely pick when I first saw the post, and was not at all surprised by the Buddy Guy / Junior Wells pick common to a lot of lists, although I don't agree with it. And, yes, you're all entitled to your opinions. And you're entitled to deflect his question (he specifically asked "If you had to pick your top 5 acoustic blues recordings what would they be?"). But my point was that the guy asked for top five, and I cannot believe anyone out there really can defend Catfish Keith, John Hammond, Rory Block, or Honeyboy Edwards has having a place in that top five, much less (in the case of one post proposing John Hammond) sole possession of the top five. After making something like a rhetorical surrender (you suggest that these are your own personal top five, and that they can be if you want them to be, and that, anyway, you didnt mean 'all time' ), you suggest that someone might need 'blues lite' for introductory purposes. You say: >I argue that such selections DO make a suitable introduction to acoustic >blues for someone who has been listening to *electric* blues pretty much >exclusively. Hearing "Blues Streak" and then "Hand Me Down My Moonshine" >would appear to be a hell of a lot more enlightening for such a person than >going directly to the great Blind Willie McTell. You've got to *build* to >that, I think. Before you form an opinion, try it and see what I mean. I disagree completely. The Yazoo Willie McTell was one of the first blues albums I ever bought, in the early 70s. I know I didn't have to build to it; "Statesboro Blues" is one of the most breathtaking performances I have ever encountered. I have introduced people to early blues through that very recording, so I have 'tried' it. Later imitations never reached the energy, complexity, and richnness of these originals; to suggest someone should start with 'blues lite' is to insult their intelligence *and* to risk putting them off by not showing them what is truly great about this music. I am almost sure that if my introduction to blues had been Catfish Keith (I got dragged to one of his shows once), my reaction would have been to "fold my arms and slowly walk away." That wasn't what happened when I heard Willie McTell. Tom Freeland ========================================================================= Date: Sat, 16 Sep 1995 10:20:43 -0600 From: Gary Constantine Subject: help!!-can't set NOMail!!!! I am having a problem setting to nomail. have tried sending the message: set nomail to listserv@brownvm.brown.edu, but I keep getting a mesage back saying: no action taken Am I doing something wrong. If anyone can help, I would appreciate it. I'm leaving in the morning for 6 weeks and I don't want to come back to 5000 messages. Thanx, Gary ........... ========================================================================= Date: Sat, 16 Sep 1995 17:12:36 GMT From: George Myers Subject: Re: John Mooney I hope everyone gets a chance to see John solo. It is one of the most incredible experiences! He actually goes into a kind of trance at times. His performance on last year's Ultimate Rhythm & Blues Cruise was said by many to be the single best one of the entire voyage. If he's coming your way with or without a band, you need to make a special effort. I'm also a John Hammond fan but this is a different thing. You just need to be there! ========================================================================= Date: Sat, 16 Sep 1995 17:17:38 GMT From: George Myers Subject: Re: LUTHER ALLISON *BLUE STREAK* Boy, ditto to that. He was just at the K.C. fest and absolutely devastated the audience. Anyone who is a Buddy Guy fan must see Luther. I've been a fan since the Ann Arbor Blues Festival when a preceeded Sun Ra (I don't have the guts to reme,ber which year). My club, the Grand Emporium in K.C. was one of the 1st to start booking him when he was able to again enter the states and every show is a killer. He'll be here October 3 but if he's in your area before then, don't wait. This is one of the world's top blues artists at the peak of his game. ========================================================================= Date: Sat, 16 Sep 1995 17:18:53 GMT From: George Myers Subject: Re: New Butterfield Blues Band album! It's great! Get it. ========================================================================= Date: Sat, 16 Sep 1995 14:57:11 -0400 From: James Leftwich Subject: Re: Piedmont Blues On Fri, 15 Sep 1995, JK13 wrote: > >Can anyone recommend any Piedmont blues artists that I might have missed? > > Ben Andrews: The Blue Rider Trio, Preachin' The Blues, Mapleshade # 1789 > 6962 2 Ben plays a weekly gig (every Tuesday I believe) at the Grog & Tankard in Washington, DC. Good music, good guy. Jim ========================================================================= Date: Sat, 16 Sep 1995 18:34:30 EDT From: Joseph Leichter Subject: topcat FK unbelievable! Definitley "Antibes" quality..and those acoustic numbers!! ========================================================================= Date: Sat, 16 Sep 1995 19:44:08 -0400 From: Msbeale Subject: New SF Bay area club There is a new club in Fremont, CA called the Irvington Monument Saloon. Chris Cain held a CD release party there Friday, 9/15. Initally, I was a bit reserved about this gig. The club owners are new to blues music/music bookings in general and I didn't quite know what to expect. However, when we arrived the house was PACKED and the crowd was overwhelmingly enthusiastic. I was pleasantly surprised. These are some real blues music fans..hootin' and hollerin' and dancing anywhere they could find a spot. Chris really got off on the energy of the audience and literally tore it up on guitar. I've not seen him play that hard and have that much fun in a long time. It was a blast. So if you're looking for a good place party in the Bay area, check this place out. It's not much to look at, they've only been open 3 weeks, but I think they'll get it together. I'm hoping that they'll finish out the upstairs area-it has a neat little stage and is a pretty good size room. Then they could do 2 bands at once..... We are looking forward to going back. Irvington Monument Saloon 4000 Bay Street Fremont, CA ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sun, 17 Sep 1995 01:15:53 GMT From: Tim Wrobel Subject: Cherry This is my first time posting anything. I apologize for uneccesary mail for everyone, heck - I don't even know if this will make it there. ========================================================================= Date: Sun, 17 Sep 1995 01:17:57 -0400 From: "Bluzman Ed@Aol.Com." Subject: WFBE Playlist for 9/16/95 I have been receiving 8+ requests each week for the WFBE 95.1 FM, Flint MI., playlist. I believe that shows enough interest to post it to the list. This Weeks theme was B B King's birthday, and the anniversary of the death of Furry Lewis (9-14-81). ================================================================ WFBE Blue Highway Playlist, Sept 16, 1995. With Guest Host Ed Tremewan Song Album Artist Label 9PM to 10PM Worry, Worry, Worry Live In Cook County Jail B B King Mca31080 One Room Country Shack Shining The Pearls Mr. B Blind Pig 5025 There'll Be A Day Long Way From Home Eddie Taylor Blind Pig 5025 Frosty Live 92/93 Albert Collins Point Blank 40658 How Blue Can You Get How Blue Can You Get B B King Retro SLD13212 To Know You Is To Love You To Know you Is ToLove You B B King MCA 10414 Five Long Years Best Of B B King Vol 1 B B King Flair/Virgin 86230-1 Asked you For A Favor Fresh Catfish Catfish Kieth Fish Tail 004 Talk To Me Baby Its A Blues Thing Tony Sarno Icehouse 50524 I'm Good Blues From The Heart Jeff Grand & the Grandmasters WAY/SAC 10PM to 11PM Blues Medley Now Appearing at Ole Miss B B King MCA(LP)2-8016 Jesus Gave Me Water Doing My Thing Lord B B King & the So. Cal. Community Choir Kent(LP) 536 Mary Tell Blues Memphis Blues Caravan Vol1 Furry Lewis Memphis Archives 7008 Furry's Blues In His Prime Furry Lewis Yazoo 1050 Dry Land Blues Masters Of The Delta Blues Furry Lewis Bluebird 61047=2 You Give Me Nothing... Rising Sun Collection Big Moose Walker Just A Memory 0008 Ain't It Nice To Be Loved Ain't It Nice To Be Loved Lefty Dizz JSP-259 Root Man Blues Maxwell Street Alley Blues Big John Wrencher Blue Sting028 The Thrill Is Gone Together Again-Live B B King/Bobby Bland MCA 27102 11PM to Midnight Built For Comfort Marvalous Marva Wright Mardi Gras1026 Moanin' The Blues Takin A Stand Deborah Coleman New Moon9406 Dreams To Remember Sweet Miss Coffey Sweet Miss Coffey Mardi Gras1021 Down Home Child Johnny Shines/Robert Lockwood Robert Jr. Lockwood Paula-14 Hard Walking Hannah Cry Before I Go Jimmy Reed Drive Archive41072 Love Song Flyin' High Johnny Copeland Gitanes 314517512-2 Down For The Count all On The Blues Mark May/ Agitators Icehouse 53552 Yonder Wall My Feeling For The Blues Freddie King Atlantic90352-2 Unknown Blues Ain't Gonna Worry Mississippi Fred McDowell Drive Archive 21040 Detroit Detroit Eddie Burns Blues Band Evidence 26024-2 Sweet Little Angel Live At The Regal B B KIng MCA 31106 Sweet Sixteen Live At The Cook County Jail B B King MCA31080 Cow Cow Blues(Exit Theme Song) Blue Ivory Mr B Blind Pig74591 =========================================================== Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 17 Sep 1995 00:57:54 -0500 From: Joe Boyd <954JBOYD@ALPHA.NLU.EDU> Subject: Re: BLUES-L Digest - 15 Sep 1995 to 16 Sep 1995 I am interested in knowing more about the Billy Blues getb together in SA , TX. Tell me more if you can. Also, does anyone know about the New Orleans scene? ========================================================================= Date: Sun, 17 Sep 1995 02:50:27 -0400 From: Stew Crossen Subject: Re: HO$$$$ You've asked: Does anyone have any theories as to why so many blues musicians are living in near poverty TODAY!! I answer: C'mon. It isn't just blues musicians that are living near, at or under the poverty level. It's folk, rock, jazz, etc. It's painters, sculptors, photographers, etc. It's even radio annonucers! (and I KNOW!) I'd like to live long enough see the day when an "artist" gets compensated fairly for their work. I said fairly, not multi-year, multi-million dollar deals like sports figures. What the hell is wrong with our society? Beef Stew ========================================================================= Date: Sun, 17 Sep 1995 01:58:18 PST From: "D. ALLEN SIMPSON" Subject: Rufus Thomas on Conan yeah, it is not the biggest announcement, but I thought I would still pass it along. For those who need/want it, Rufus Thomas will be the featured musical guest on Conan O'Brien Weds. 9/27. Doug ========================================================================= Date: Sun, 17 Sep 1995 08:25:11 -0400 From: Jonathan Duttweiler Subject: Re: HO$$$$ Why is it that people go into professions, careers, jobs, etc., knowing the economic realities of those positions, and then *complain* about the "system?" A market based economy pays relative to perceived value (notice I did not say "real" value!). If you want to make money, you've got to offer what people want. If you want to be an "artist," then you have to be willing to pay the costs. Down through history it is the rare artist who is well compensated during his/her lifetime, or even appreciated for the "genius" displayed. It's not the "system," it's human nature! Hey, you can always get a job playing Top 40! >You've asked: > >Does anyone have any theories as to why so many blues musicians are living >in near poverty TODAY!! > >I answer: > >C'mon. It isn't just blues musicians that are living near, at or under the >poverty >level. It's folk, rock, jazz, etc. It's painters, sculptors, >photographers, etc. > >It's even radio annonucers! (and I KNOW!) > >I'd like to live long enough see the day when an "artist" gets compensated >fairly for >their work. I said fairly, not multi-year, multi-million dollar deals like >sports figures. What the hell is wrong with our society? > >Beef Stew > > > ========================================================================= Date: Sun, 17 Sep 1995 09:20:57 +0000 From: "P.W. Fenton" Subject: Blues-L There are 1217 subscribers to BLUES-L ========================================================================= Date: Sun, 17 Sep 1995 11:59:28 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Blues-L Michigan Members I would like to make contact with Michigan members of Blues-L. I have noticed other regions and/or states have meetings, get-togethers, and group functions associated with blues-L members, and thought this might be something for us to try here in Michigan. If you are interested, e-mail privately. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 17 Sep 1995 12:03:39 -0400 From: "Bluzman Ed@Aol.Com." Subject: >There are 1217 subscribers to BLUES-L Impressive, No wonder my mailbox is always full! Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 17 Sep 1995 12:12:08 -0400 From: Jranz Subject: Biker Scum Radio will give your band airtime Any band that would like a little airtime send tapes, cds to Biker Scum Radio(tm) Bx 16 Endicott, NY 13761 Blues, R& R, or Alternative ========================================================================= Date: Sun, 17 Sep 1995 17:58:25 GMT From: Art Schuna Subject: Elder Roma Wilson-This Train Picked up a copy of the Elder Roma Wilson's disc - This Train (Arhoolie CD 429) and just had to let people know about it. The cover to the CD booklet credits "Elder Roma Wilson and his harmonica". It's appropriate that the harmonica gets credit as, with just a few exceptions, most of this disc is just Wilson and his harmonica - no other accompaniment. Those of you that feel that music you call the "blues" needs to have guitars or those who feel blues needs to be secular are probably already hitting your delete key, but that would be your loss. This is truly great music! Five tracks on this 20 track CD were recorded at Joe Von Battle's record store in Detroit in 1948. According to an interview of Wilson done for Blues & Rhythm (issue #81), Wilson and his sons played their music on the streets of Detroit in the 40s. Von Battle happened to hear them one day while walking by, and invited them to his store to play for him. He recorded them on two separate occassions. Von Battle told Wilson that an all harmonica group (the sons also played only harmonica) was not commercial enough and that was the last Wilson heard from this until decades later when he was rediscovered. Von BAttle leased the masters to the Gotham label who released a 78 with Lily of the Valley/Better Get Ready which remained a mystery until Wilson was rediscovered. The other 15 tracks were recorded in 1994. Thirteen are just Wilson, singing acappella with harmonica instrumental fills between vocal phrases. Two other tracks include accompaniment by the congregation of a Mississippi church. This music works because Wilson has a great voice and is a master of the harmonica. His harmonica style reminds me of a number of pre-war blues artists. According to the B&R interview, Wilson says "We don't have time for no blues" and "All the people know we don't play blues". Yet, I think most readers of this list could relate to this music and probably would file it in their blues music section. This disc has 73 minutes of great sanctified "blues" music by an 84 year old master of the harmonica who's still going strong. Highly recommended. Art Schuna ========================================================================= Date: Sun, 17 Sep 1995 13:59:04 -0500 From: T-Bone Subject: Re: HO$$$$ On Fri, 15 Sep 1995, Bonnie Kalmbach wrote: > Does anyone have any theories as to why so many blues musicians are > living in near poverty TODAY!! Has HOB made affordable medical care > available to the musicians it purports to admire and support. Hey, I work for a government (NASA) contractor and *I* don't have affordable medical care. > Why are so many of them still dying off in their 40's or 50's. Occupational hazard: working late nights and excessive travelling make a healthy lifestyle more difficult; the music business has always had its share of heavy drinkers and drug-users; and spending night after night in smoky bars can't help. Not that I'm being an apologist, but blaming something like that on HO$$$ is like trying to get Congress to make rainy weekends and bad luck illegal. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Sun, 17 Sep 1995 14:28:26 -0500 From: T-Bone Subject: Re: HO$$$$ On Sun, 17 Sep 1995, Stew Crossen wrote: > What the hell is wrong with our society? That would take a long, long, long time to go through, and this isn't the correct forum anyway. But as many problems as America has, this is STILL the one country that everyone else in the world wants to live in. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Sun, 17 Sep 1995 16:15:42 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: Elder Roma Wilson-This Train In a message dated 95-09-17 14:32:17 EDT, aschuna@VMS2.MACC.WISC.EDU (Art Schuna) writes: >Picked up a copy of the Elder Roma Wilson's disc - This Train (Arhoolie CD >429) and just had to let people know about it. One cut of Elder R. Wilson and Family also appears on "Rock & Roll Sermon", Memphis Archives MA7012, titled "Better Get Ready". This piece absolutely blew me away when I first heard it. I am pleased to know more stuff by Elder Wilson is available, and will be seeking out a copy of the Arhoolie disc. I would like to recommend the Memphis Archive CD I mentioned which offers 15 tracks of the religious side of the blues. Musically, the two sides can not be separated, even though the message is given from different perspectives. I would also recommend the documentary "Saturday Night, Sunday Morning", in which the Rev. Gatemouth Moore gives an in depth study of the strong connection between the blues and gospel music, based on his life as a bluesman, and his conversion. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 17 Sep 1995 16:52:03 EDT From: Jeremy_Kahn@WALNUT.PRS.K12.NJ.US Subject: Please send me your information and/or your newsletter. -----Princeton Regional Schools takes no responsibility for the accuracy or content of the above message. ========================================================================= Date: Sun, 17 Sep 1995 16:18:28 -0500 From: Lee Spector <00lcspector@BSUVC.BSU.EDU> Subject: Albert Collins Hats off to Dick Shurman for his terrific work on the Albert Collins live compilation. In many other hands, this album might have turned out to be essentially an extended guitar break with Albert showing the millions of things he could do with a telecaster. Instead, we get to see Collins as an all around artist. Some nice songs, great singer, and a true appreciation for his bandmates, besides the great guitar. Ample time is given to Collins' singing, but what I especially like is that the sax, trumpet and organ in has groups also come to the forefront. For the person who was looking for an album with great guitar, horns and organ, this is the one for you. There is also some powerful notes in tribute to Albert by Dick and others. Wow - Dick you done good. Lee Lee C. Spector Department of Economics Ball State University ========================================================================= Date: Sun, 17 Sep 1995 17:28:44 -0400 From: Bob Soron Subject: Re: John Mooney In article , Smith_James_B/atc_mail1-id@ATC.ALCOA.COM wrote: > > > >I have one John Mooney album that I like a lot (Can't remember the name, > >now that I have my keyboard in hand; anyway, it's on Domino and dated 91 > >or 92; band includes George Porter and Dr. John) but am leery of randomly > >picking up another; any suggestions as to another of his albums that is > >really good? > > > > I have 2 favorites. "Late Last Night" is good in that it gives you a feel > as to how he and his band sound live. The other is an acoustic release with > Jimmy Thackery titled" Sideways in Paradise". This has John and Jimmy > poolside playing a variety of acoustic instruments and having what sounds > like a good time. I'll put in a good word for the brilliant "Testimony," which has many good things but in particular a version of "Take Time To Know Her" that I could listen to over and over, and "Travelin' On," a live CD from Germany that popped up at a number of record stores around here a few years ago. (I don't think it's a boot, since Tower and HMV had it.) Bob bobsoron@world.std.com "It's getting harder and harder to act weird" -- Bill Griffith via Zippy ========================================================================= Date: Sun, 17 Sep 1995 16:46:28 -0500 From: William A Morgan Subject: Re: everyone wants to live here On Sun, 17 Sep 1995, T-Bone wrote: > That would take a long, long, long time to go through, and this isn't the > correct forum anyway. But as many problems as America has, this is STILL > the one country that everyone else in the world wants to live in. > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Kiddies, don't try this at home. Because it hurts like buggery!" > - Sir Adrian Dangerous > I haven't taken a poll, but my guess is that there are more than a handful of people throughout the world who are more than satisfied with where they are living. There are members from around forty countries on this list; you might want to brace yourself for a flamathon. **************** Bill Morgan ========================================================================= Date: Sun, 17 Sep 1995 21:25:52 -0400 From: CATBAUER Subject: Re: LUTHER ALLISON *BLUE STREAK* Luther Allison will be in Muddy's Cabin for an online conference on Oct. 6 around 8pm. It will be shortly after his set at the King Biscuit Blues Festival. Cat ========================================================================= Date: Sun, 17 Sep 1995 22:52:51 +0000 From: Ian Angus Subject: Re: HO$$$$ T-Bone writes: >. But as many problems as America has, this is STILL > the one country that everyone else in the world wants to live in. I have the greatest respect for America and its achievements, not the least of which is the blues. But I live in the country that the UN ranks as the best place in the world to live, and I agree with the UN. So make that "everyone minus at least one." Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sun, 17 Sep 1995 22:52:51 +0000 From: Ian Angus Subject: Saffire in Toronto Saffire will be performining in Toronto, at the Black Swan, on September 29. Two shows, 9 and 11. I recommend that Saffire fans get tickets early -- they're very popular here. I will be hosting Blue Soul on Wednesday Sept 27, and I'm arranging to interview Saffire's Ann Rabson for that show -- Tune in if you're nearby (88.1 FM, CKLN, 8pm-10pm). And I will be at the Black Swan for the show -- looking forward to seeing any bluezellers who also come by. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 18 Sep 1995 00:50:26 -0400 From: Dick Waterman Subject: Just when we thought . . . Just when we thought that one of the greatest traditional bluesmen still performing was finally getting the recognition that he has deserved after such a long and distinguished career, there always seems to be something that reminds us how far we have yet to travel. The following is a quote from the Sunday, September 17, 1995, edition of the "Jackson (Miss.) Clarion-Ledger." Jackson is the state capitol and by far the largest city between New Orleans and Memphis. (Begin quote) Although not on the program, Robert Townsend, Jr., of Cleveland, Ohio, graced the stage for only the second time in the Delta Blues Festival's history. Townsend, who is now 'about 80,' is a well-known guitarist and blues singer - so well known that on Sept. 27, he will be honored in Washington with the 1995 National Heritage Award from the National Endowment of the Arts. (Close quote) Well, if this Townsend fellow is 'so well known,' we can only be dismayed that he was not correctly identified as Robert LOCKWOOD Jr. I hope they get his name right by the time he gets to Washington. dick waterman ========================================================================= Date: Mon, 18 Sep 1995 00:52:25 -0500 From: Dave Daubard Subject: Blues Cruise Playlist 9/15 Artist- Title- Album or Cd Label- Rod Piazza & MFlyers-Rockin'Robin Harp Burn Black Top Marva Wright- Down Home Blues- Marvalous Mardi Gras Rec. Mr. B- Thunder & Lightning Boogie-Shining the Pearls- Blind Pig James Solberg-Ain't Nobody's Business-See that my grave is kept-Atomic Theory Kenny Wayne Shephard-Deja Voodoo- Ledbetter Heights- Giant Eddie Taylor- Bad Boy- Long Way From Home- Blind Pig Billy Branch- Sex Machine- Where's My Money- Evidence Pat Donohue- Statesboro Blues- Big, Blind Bluesy- Bluesky Bob Margolin-The Same Thing- My Blues & My Guitar Alligator Dirty Dozen Brass Band-Night Train-Live:Mardi Gras in Montreux-Rounder Chris Cain-Before the Rooster Crow-Somewhere along the Way- Blind Pig Keri Leigh- Hobo Train- Arrival Waldoxy Little Milton- Casino Blues- I'm a Gambler- Malaco Duke Robillard-Temptation- Temptation- Point Blank Radio Kings- Drowning- It Ain't Easy- Icehouse Lee Rocker- Call Me the Rocker- same- Black Top Kenny Wayne Shephard-Everybody Gets the Blues-Ledbetter Heights-Giant Elvin Bishop-Ace in the Hole- same- alligator Roosevelt Barnes-Baby, Scratch My Back-Heartbroken Man- Rooster Blues Mark Hummel- I Got Eyes- Married to the Blues- Flyin' Fish Albert King- Oowee Baby- Live on Memory Lane- Monad James Solberg-Bad Love-See that my grave is kept clean-Atomic Theory Records Blues Boy Willie-Juke Joint Blues- same- Ichiban Lee McBee & the Passions-I've Been Abused- "44"- Red Hot Records Dave Spector & the Bluebirds-Bad Boy- Live in Europe- Delmark Rod Piazza & the Mighty Flyers-Feelin' Good- Harp Burn- Black Top Sunnyland Slim-Sunnyland Train- same- Evidence Mr. B- Rocket Action- Shining the Pearls- Blind Pig John Hammond-Barrelhouse Woman Blues-Big City Blues- Vanguard Trudy Lynn- Come to Mama- First Lady of Soul- Ichiban Bob Margolin-Rip it Up- My Blues, My Guitar- Alligator Koko Taylor- Flamin' Mamie- Queen of the Blues- " B.B.King/John Lee Hooker-Shook Me-Blues Summit- MCA Smokey Wilson-Feel Like Going Home- Real Deal- Bullseye Eddie Taylor-There'll Be a Day-Long Way from Home- Blind Pig Bonnie Lee- Baby, What you want me to do-Sweetheart of the Blues-Delmark Keri Leigh- New Thang- Arrival- Waldoxy Rory Block-I Let my Daddy Do That-When a Woman Gets the Blues-Rounder ========================================================================= Date: Mon, 18 Sep 1995 04:17:11 EDT From: Joseph Leichter Subject: Re: Just when we thought . . . So they mistook Lockwood for Townsend...perhaps they'll be expecting him to smash a guitar or two ;-) ========================================================================= Date: Mon, 18 Sep 1995 04:22:53 -4 From: "P.W. Fenton" Subject: Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BELL, RICKY (of THE NEW EDITION) b. 1967-0918, NJ CARTER, NELSON (g/S.I.W. REC) b. 1917-0918, NEW BOSTON, TX COVINGTON, GLEN E. (p) d. 1988-0918, INDIANAPOLIS, MN 61 DAVIS, MAXWELL (tsax/arr/prod) d. 1970-0918, LOS ANGELES, CA 54 FARDOGNO, FRANKIE (of THE ELEGANTS) b. 1941-0918, STATEN ISLAND, NY GRAHAM, BILL (bsax/tsax) b. 1918-0918, KANSAS CITY, KS GUNTER, SIDNEY "HARDROCK" (v) b. 1918-0918, BIRMINGHAM, AL HAMMER, JACK (songw/OTIS BLACKWELL) b. 1940-0918, NEW ORLEANS, LA HANDCOX, JOHN (v/songw) d. 1992-0918, WASHINGTON, DC 88 HENDRIX, JIMI (g/songw) d. 1970-0918, LONDON, UK 27 LASTIE, WALTER "POPEE" (d/FATS DOMINO) b. 1938-0918, NEW ORLEANS, LA LEANER, GEORGE W. (owner:ONE-DERFUL REC) d. 1983-0918, CHICAGO, IL 66 MILTON, ROY B. (d/SOLID SENDERS) d. 1983-0918, CANOGA PARK, CA 75 MYERS, LOUIS (g/hca) b. 1929-0918, BYHALIA, MS FIELD, DUKE "POPPA STOPPA" (dj) d. 1966-0918, NEW ORLEANS, LA 45 SHADE, WILL (hca/MEMPHIS JUG BAND) d. 1966-0918, MEMPHIS, TN 72 VAN DYKE, EARL (o/p/MOTOWN REC) d. 1992-0918, DETROIT, MI 62 ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 18 Sep 1995 05:01:00 -0400 From: "J.E. Downey" Subject: Re[2]: everyone wants to live here *I'm* certainly confused. I thought everybody wanted to live right here in beautiful Russia, like me. Joe Downey (Moscow) J.E._Downey@bakermck.com (There have been some blues offerings advertised at the "B.B. King" club here recently, but I missed 'em dangnabbit. However, sometimes things here are booked as blues, but you go and the band knows one blues number or maybe none. This reminds of HO?, etc., use the word "blues" as a fashion statment, not a description. But I'll keep you advised, my good Bluezellers, don't you worry.) ========================================================================= Date: Mon, 18 Sep 1995 07:00:39 CST From: William Shute Subject: Titus Turner/Ted Roddy From: Bill Shute Thanks to those who responded to my questions the other day. Now, here's another one. The liner notes to the TITUS TURNER album "Sound Off--The Jamie Masters" state that in l977, TT put together a two-hour program tracing the history of African-American music "from the Delta to disco" and which was intended for use in colleges. Does anyone know anything about that? Was it an audio-only program? A text accompanied by music? Something that was presented by Mr. Turner himself? If anyone ever heard/saw it or heard ABOUT it, I'd be very interested in knowing. Also, how would one go about getting a copy? I saw at the record store this weekend a new album on the "hightone" label by Austin's best-kept musical secret, TED RODDY. Mr. Roddy has been making great records for almost 15 years, and must play 4 or 5 nights a week in one club or another, although the Continental Club has been his home base for many years at least one or two nights a week. Blessed with a great, rich, expressive voice, TR has worked in many styles, although Rockabilly seems to be the genre with which he is usually identified. However, he has performed and recorded some fine straight-ahead blues over the years, most recently on the cassette-only release CC Stomp, which sounds like the ghost of Joe Hill Louis had come back to the Austin of the l990's. Ted is a SUPERB harp blower also. And let's not forget the lounge R&B of the Naughty Ones, a live experience that can hardly be described, and their fine album I DIG YOUR VOODOO on the Continental label. If rocknroll had been rooted mostly in Louis Prima, Louis Jordan, Jimmy Cavello and the like instead of in Berry, Penniman, Diddley, et al, the Naughty Ones are where the post-Prima/Jordan music would have been in the mid-late 60s. And Ted plays a mean pair of bongos. I have no idea what kind of music TEd is performing on his Hightone album, but it can't be less than fine whatever the genre. If anyone on blues-l has gotten it, please let us know about it. Come payday, I'll score it immediately. Bill Shute San Antonio, TX ========================================================================= Date: Mon, 18 Sep 1995 08:09:28 -0600 From: James Foster Subject: AUSTIN BLUES TRIBUTE Last night (Sunday, September 17) the Texas Folklife Resources (the fine folks who have produced some tremendous concerts and educational activities over the last five years or so) sponsored a benefit for some of Austin's legendary blues performers and their families: Erbie Bowser, the GREAT piano player who recently passed away; Lavada Durst (a.k.a. "Dr. Hep Cat"), one of the first black DJs in the South, who is now is poor health; Roosevelt Williams (a.k.a. "The Grey Ghost"), one of the original barrelhouse piano players who has suffered many hospital stays in the last year, but managed to make it to the stage last night; and, last but not least, Ural DeWitty, the long-time drummer for Blues Boy Hubbard, both with the band the Jets and with the recent Dynamic Duo, who also recently passed away. The show was held at the Doris Miller Auditorium, one of the cultural and community centers of East Austin, the traditionally black and Hispanic neighborhood in Austin (just two years ago Bobby "Blue" Bland gave an interesting show at this "venue", which is really a gym, complete with the basketball hoops and vending machines!!! Of course, no liquor is available, but most folks just brought in their bottles of Seagram's and Crown Royal). THe show last night was a little unorganized and took some time to get going. First up, after some startling sound malfunctions, was Hosea Hargroves, one of the seldom-heard players from the Eastside who was so influential on a host of more modern players (Jimmie Vaughan is one of these modern players who spent much time being tutored by Hosea). Hosea, played just a few tunes, but was an excellent opener! At this point there were a few announcements by the omniprescent Tary Owens, owner of Catfish Records who put out some LPs by the Grey Ghost as well as the Piano Professors compilation, and who served as MC for the evening. He introduced Erbie Bowser's widow, who read a poem from her niece about the power of Erbie's life...a few other folks made some announcements, then, SLOWLY, the Grey Ghost, looking splendid as usual made his way to the stage and played a great rambling piano blues, dedicated to Erbie! (As the Ghost is well into his ninties, his public appearances have dwindled to just a few a year, so we were blessed to see him). A tremendous standing ovation followed the Ghost's appearance. The Bells of Joy, the fabulous gospel group who recordeda hit for Robey's Peacock label in the fifties, were on the bill to perform, but only a few of them could make it, so their spokesman, Mr. Alexander, said a few words of condolences to the families of the deceased and the show took another short break. Next up was an ensemble jazz performance, with folks like Martin Banks and a host of others working their way through a number of tunes. However, things sort of dragged though this point in the show and some folks seemed restless. The auditorium was filling up and, unlike so many functions in Austin, this one was attracting a mixed audience of all ages! After a short break the show took a different turn with the rip-roaring sounds of Little Jake Andrews shaking the rafters. Jake is a 14-year old guitar wizard, driven by his father since a young age to play the blues. This was my first time seeing Jake and I was prepared to be unimpressed, but actually Jake was fine. His playing is very accomplished, though a bit over-the-top...he can also sing pretty well. The rest of his band, including his father, is only adequate and their LOUD bakcing was a distraction. However, I will say this, Jake got people moving and dancing and, after the show, tables of older balck women were crooning for Jake to come visit them!!! Things were starting to roll and next up was T.D. Bell and the Blues Specialists, Erbie Bowser's friends and former band mates. These guys play weekly at the Continental Club and always put on a fine show, but last night was something different. When T.D. stepped up to the mike and said that he missed his buddy and running partner of fifty years then stepped back and took a breath and launched in to the most heart-breaking, wonderful rendition of "When Something Is Wrong With My Baby", the audience, which had dwindled to a hundred or so, simply melted...T.D. sang like I'd never heard him sing before and played great licks as well...people rose to their feet and people were crying, a great moment...the band played many more tunes and, as the night moved on, Cynthia and I decided to call it an evening, but there was MORE music to be had...as we were leaving at 11 or so, the Dynamic Duo, with Blues Boy Hubbard and Matthew Robinson along with the East Side Horns were just arriving and they were set to continue the celebration. Though it took a while to get going it was a great evening of music and community. James Foster ========================================================================= Date: Mon, 18 Sep 1995 13:12:31 GMT From: Barry Bean Subject: Re: Just when we thought . . . In <950918005024_102106615@emout06.mail.aol.com>, Dick Waterman writes: > Well, if this Townsend fellow is 'so well known,' we can only be dismayed >that he was not correctly identified as Robert LOCKWOOD Jr. > I hope they get his name right by the time he gets to Washington. > >dick waterman At least there wasn't a state senator there to identify him as "Pinktop"... ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Mon, 18 Sep 1995 08:12:32 CDT From: L W Subject: Re: LW's playing ----------------------------Original message---------------------------- Jeff - Get out your pocketbook & come to the Bham Jam in Oct. Rumor has it that Keb Mo is opening for LW. ________________________________________________Trout & Susie Brooks OH NO !!!! Denny and Susie Brooks have access to Blues-l...These two folks are local folks in B'ham and HARD workers in the Magic City Blues Society. They are very supportive and I'm very thankful...The rumor has to be re-worded however, LW follows Keb' Mo...is much better and truthful LW 'they meant it with humor, btw' ========================================================================= Date: Mon, 18 Sep 1995 08:20:14 -0500 From: T-Bone Subject: Re: HO$$$$ On Sun, 17 Sep 1995, Ian Angus wrote: > T-Bone writes: > > >. But as many problems as America has, this is STILL > > the one country that everyone else in the world wants to live in. > > I have the greatest respect for America and its achievements, not the > least of which is the blues. But I live in the country that the UN ranks > as the best place in the world to live, and I agree with the UN. > > So make that "everyone minus at least one." Okay, before everyone jumps on me (and it would be deserved if it happened), let me put that another way: In spite of America's problems, it's still the most popular place to emigrate to. I think there's got to be a reason for that. Now, this may get me branded as a wild rebel, but I'd like to talk about the blues for a bit. This weekend, I went down to some of my favorite record stores with the intent of buying some music by Piedmont artists that y'all were kind enough to tell me about. One of the discs I picked up was an import which had the complete recordings of Carolina Slim. After listening to this, I was struck by a thought: though he played quite a bit in the East Coast/Piedmont style, Slim was also influenced by the records of Lightnin' Hopkins. (He even recorded for Federal under a different name while under contract with Savoy.) Now, Slim was in his early thirties when he died of a heart attack during surgery. His records sold fairly well, in spite of sounding "old-fashioned", and he was starting to use the electric guitar by his last sessions. Now, when you think about it, Muddy's records for Chess, great as they are, were probably a bit "old-fashioned" when they were recorded: his references to, say, mules kicking in a stall weren't exactly an image born by living in Chicago in the 1950s. So Muddy's electric blues were, in their own way, "old-fashioned" but quite successful commercially and artistically. Now, one of the things I've read about Piedmont blues was that it can't be translated to electric guitar. However, in Carolina Slim's last recordings, it sounds (to me) like he may have been on to something, that he might have been ready to make his own "Rolling Stone". So, let's say Muddy never moved north to Chicago and never exerted a great influence on 50s (and later) blues, while we assume that Carolina Slim had not died and continued to be popular while developing an electric blues that was partPiedmont, part Lightnin' Hopkins. His success could have spurred other record companies on the East Coast to look for more "primitive" bluesmen in their own neighborhoods, thus leading to bigger blues scenes around Newark, Philadelphia, and so on. Not that the blues scene in Chicago would have withered on the vine without Muddy, far from it. Chicago already had Willie Dixon working for Chess and a lot of great blues artists in the city. But maybe Carolina Slim could have been the catalyst for a different postwar blues style to flourish on the East Coast. Thoughts? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Mon, 18 Sep 1995 08:45:35 CDT From: L W Subject: Joanna Connor review Not really a review: The girl has talent, but IMHO she should realize that "Trix are for kids". The adults would rather hear some blues, not heavy metal slide. I repeat she has MUCH talent, when she wasn't doing that handbangin kind of thing, she played realyl nice slide. It's like Albert Collins told John Campbell "You play great, but you need to learn to make it whisper, also". I think Joanna needs to heed the same advice, cause she CAN play. She had a beautiful tobacco-burst Les Paul and played through a piece of crap Peavysolid state head. terrible tone, why own such a nice guitar and screw up the tone. I really don't understand, very METAL tone. The opening band from Troy Al. was Street Feet (I hope) and I enjoyed them much more than I did Joanna. I wish they wouldn't cover "Mustang Sally" or "Down Home Blues"....I've heard those two songs WAY too many times lately. They did an original called "Show Me Yours and I'll Show You Mine'. It's an excellent tune. Anyone affiliated with Johnny Winter :-) should hear this tune it would be a great acoustic tune for Johnny, (ala Blue Mood)....I'm serious Johnny should give this tune a listen, he would nail it...Perfect for him It was all FREE and made possible by Dreamland BarBque and MAGIC CITY BLUES Society and others....They did a great job. LW ========================================================================= Date: Mon, 18 Sep 1995 07:08:23 -0700 From: Mary Katherine Aldin Subject: House of Blues redux In Sunday's Los Angeles Times there was an article, under the hedline "House of Headaches," noting among other things that the West Hollywood City Council has declared the House of Blues a nuisance. Mary Katherine ========================================================================= Date: Mon, 18 Sep 1995 09:10:44 -0500 From: T-Bone Subject: Re: Joanna Connor review On Mon, 18 Sep 1995, L W wrote: > The opening band from Troy Al. was Street Feet (I hope) and I enjoyed them > much more than I did Joanna. I wish they wouldn't cover "Mustang Sally" or > "Down Home Blues"....I've heard those two songs WAY too many times lately. > > They did an original called "Show Me Yours and I'll Show You Mine'. My trailer-park upbringing may be showing, but wasn't that a country song from the 70s/early 80s? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Mon, 18 Sep 1995 09:28:11 CDT From: L W Subject: Re: Joanna Connor review ----------------------------Original message---------------------------- On Mon, 18 Sep 1995, L W wrote: > The opening band from Troy Al. was Street Feet (I hope) and I enjoyed them > much more than I did Joanna. I wish they wouldn't cover "Mustang Sally" or > "Down Home Blues"....I've heard those two songs WAY too many times lately. > > They did an original called "Show Me Yours and I'll Show You Mine'. >My trailer-park upbringing may be showing, but wasn't that a country song >from the 70s/early 80s? They called it an original, the singer is great. He had a sound that was part Louie Armstrong and part Leon Redbone. It was no country song, although it could have been "lifted"...He's a great guy and If I see him I'll ask... LW ========================================================================= Date: Mon, 18 Sep 1995 10:45:57 -0400 From: Peter Welch Subject: Nothin' But the Blues Playlist Here's the playlist from this past Friday's (9/15) "Nothin' But the Blues" program on WTJU, FM 91.1, Charlottesville, Virginia: On this show I paid birthday tributes to Snooky Pryor and B.B. King as well as tributes to living legends Robert Lockwood, Yank Rachell and Henry Townsend. Lucille - B.B. King (Lucille; MCA CD) Take a Little Walk with Me - Robert Lockwood (Lonesome Road Blues - Yazoo CD) Mr. Downchild - Robert Lockwood (Contrasts - Trix CD) Whatcha Doin? - Sleepy John Estes (w/Yank Rachell) (I Ain't Gonna Be Worried No More - Yazoo CD) Diving Duck - Yank Rachell (Chicago Style - Delmark LP_ Henry's Worried Blues - Henry Townsend (St. Louis Blues, The Depression - Yazoo LP) Talkin' Guitar Blues - Henry Townsend (Mule - Nighthawk LP) Miss Martha King - B.B. King (The Rarest King - Blues Boy LP) When My Heart Beats Like a Hammer - B.B. King (One Nighter Blues - Ace LP) The Woman I Love - B.B. King (The Best of B.B. King, Vol. 2 - Ace LP) You Upset Me Baby - B.B. King (The Best of B.B. King - Ace LP) Ten Long Years - B.B. King (The Best of B.B. King, Vol. 2 - Ace LP) Going Back on the Road - Snooky Pryor (Snooky Pryor - Flyright CD) Judgement Day - Snooky Pryor (Combination Blues - Charly LP) Crosstown Blues - Snooky Pryor (Hand Me Down Blues - Relic CD) Keyhole in Your Door - Snooky Pryor (Too Cool to Move - Antone's CD) Oh Baby - Little Walter (The Essential Little Walter - MCA/Chess CD) She's My Baby - Sonny Boy Williamson #2 (The Essential Sonny Boy Williamson - MCA/Chess CD) It's Too Late Brother - Little Walter (The Essential Little Walter - MCA/Chess CD) Cool Disposition - Sonny Boy Williamson #2 (The Essential Sonny Boy Williamson - MCA/Chess CD) Last Night - Little Walter (Little Walter - Chess LP) King Biscuit Time - Robert Lockwood (Does 12 - Trix LP) Driving Wheel - Robert Lockwood (Contrasts - Trix CD) My Home Ain't Here - Henry Townsend (The Blues in St. Louis - Folkways LP) Let Me Tangle in Your Vine - Yank Rachell (Chicago Style - Delmark LP) Bad Luck Dice - Henry Townsend (Mule - Nighthawk LP) Terraplane Blues - Robert Lockwood (Does 12 - Trix LP) Paying the Cost to be the Boss - B.B. King (Great Moments with B.B. King - MCA CD) The Thrill is Gone - B.B. King (King of the Blues Guitar - Blues Encore CD) Why I Sing the Blues - B.B. King (The Best of B.B. King - MCA LP) -Peter ========================================================================= Date: Mon, 18 Sep 1995 11:01:40 -0400 From: Patti Bowman Subject: Still Looking for a Name? >Blues Slingers >Whomp, There's The Blues >Blues Gunners >Blues Pedalers >Blues Lions >Mojo Blues Machine >Devil's Blues Zombies How about: Blues Chillen' Blues Hobos Mojo Men -Patti who is tappin' her foot (and typin' this post) to JLH;The Ultimate Collection 1948-1990 "boom, boom,boom,boom..........hey, hey, hey, hey............" ========================================================================= Date: Mon, 18 Sep 1995 10:13:42 -0500 From: David Silberberg Subject: Re: HO$$$$ At 08:20 AM 9/18/95 -0500, T-Bone wrote: > So, let's say >Muddy never moved north to Chicago and never exerted a great influence on >50s (and later) blues, while we assume that Carolina Slim had not died and >continued to be popular while developing an electric blues that was >partPiedmont, part Lightnin' Hopkins. His success could have spurred other >record companies on the East Coast to look for more "primitive" bluesmen >in their own neighborhoods, thus leading to bigger blues scenes around >Newark, Philadelphia, and so on. Not that the blues scene in Chicago would >have withered on the vine without Muddy, far from it. Chicago already had >Willie Dixon working for Chess and a lot of great blues artists in the >city. But maybe Carolina Slim could have been the catalyst for a >different postwar blues style to flourish on the East Coast. > I would think that the blues scene that did develop on the east coast - a kind of counterpoint to the jazzier, R & B - oriented, big band sound of the West Coast - was more or less what you were talking about - a merger of piedmont styles with the big city jazz styles of the northeast. Had your "what-if" occurred, I don't know that the music actually made would have been different. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 18 Sep 1995 10:13:46 -0500 From: David Silberberg Subject: Re: Just when we thought . . . At 12:50 AM 9/18/95 -0400, Dick Waterman wrote: > Well, if this Townsend fellow is 'so well known,' we can only be dismayed >that he was not correctly identified as Robert LOCKWOOD Jr. > I hope they get his name right by the time he gets to Washington. > >dick waterman > > ... and we thank Dick Shurman - uh, I mean Waterman - for the above.... :-) David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Mon, 18 Sep 1995 09:39:32 -0600 From: Watterworth Jay Subject: Re: HO$$$$ On Sun, 17 Sep 1995, T-Bone wrote: > On Sun, 17 Sep 1995, Stew Crossen wrote: > > What the hell is wrong with our society? > > That would take a long, long, long time to go through, and this isn't the > correct forum anyway. But as many problems as America has, this is STILL > the one country that everyone else in the world wants to live in. > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Kiddies, don't try this at home. Because it hurts like buggery!" > - Sir Adrian Dangerous > Not to belabor the obvious, but there are many people in the world who are quite happy where they do live. If you look at the indicators for most any measure of a successful society, say health care or per capita income, you might notice we aren't as well off as Newt and co. would have you believe. There is a good reason to sing the blues in the USA. Jay Watterworth CU Boulder ========================================================================= Date: Mon, 18 Sep 1995 11:54:37 -0400 From: Dave Roos Subject: Re: New Orleans info >Peter E. Beal (pbeal@MOZART.INET.CO.TH) wrote: > My wife and I will be visiting New Orleans in the middle of next month. > I would appreciate any advice on: > > Where to stay- reasonable, close to the action. A friend mentioned the > Downtown (or Downtowner). > > Where to go (food)- Anything goes. > > Where to go (music)- After Preservation Hall (OK, that's jazz), what's best? > Where to stay: I don't know what you think is reasonable but I have stayed at Le Pavillon (pronounced La Pah-vee-on) for $99/night. It is a grand old hotel about 4 blocks from the Quarter in the business district on Poydras. Where to eat: (my favorites) NOLA on St. Peter; fine, casual, reasonably priced dining Mother's on Poydras; po-boys, jambalaya, red beans & rice Gumbo Shop; great gumbo & other stuff Tally-Ho in the Quarter; good breakfast My advice is don't go to any place that can be visited in other towns. There is so much good, local, reasonably priced food there's no reason to eat at a chain or tourist trap. And unless you really like it stay away from restaraunts that serve mainly fried food. Once you fry it, it all tastes the same, IMO. Where to go: Jimmy's, Carrollton Station, Mid-City Lanes (aka. Rock 'n Bowl), Maple Leaf, Muddy Waters, Tipitina's. The House of Blues has good acts but reminds me of something Disney would build. The locals call it the House of Rules. It's usually at the bottom of my list. Get a copy of Gambit & OffBeat on the street & the Lagniappe section from Friday's Times-Picayune. Check out the following web pages for restaraunt & club info: Virtually New Orleans - http://yatcom.com/neworl/vno.html Chuck Taggart's Gumbo Page - http://www.webcom.com/~gumbo/ WWOZ, New Orleans - http://www.gnofn.org/~wwoz/ OffBeat Magazine - http://www.NeoSoft.com/~offbeat/ -- Dave Roos droos@iac.net ========================================================================= Date: Mon, 18 Sep 1995 11:03:26 -0500 From: Richard Shurman Subject: Re: Just when we thought . . . I wish David was the first to get me and Dick Waterman mixed up. Oh well; maybe some good will come out of the Lockwood/Townsend confusion and next year Henry Townsend will get the same equally deserved award! (If he hasn't already.) ========================================================================= Date: Mon, 18 Sep 1995 12:48:26 EDT From: Roland Mandler Subject: New Robben Ford CD Any first impressions out there on this disc? I haven't been able to track it down anywhere yet and would like to know whether it's worth spending a lot of time on. - Roland ========================================================================= Date: Mon, 18 Sep 1995 12:01:18 CDT From: L W Subject: New Robben Ford CD ----------------------------Original message---------------------------- >Any first impressions out there on this disc? I haven't been able to track it >down anywhere yet and would like to know whether it's worth spending a lot of >time on. I am a Robben Ford fan. We listened to part of this disc and I DO NOT plan on buying it. The reason is simple, Robben is one of those artists that has a unique sound and it sounds too similar to the first Blue Line CD. IMHO if you have the Blue Line CD (not Mystic Mile) you have the new one also. It's a good recording, produced by Danny Kortchmar (sp) and it's typical Robben Ford. Which is a good thang. I see no reason FOR ME to get the new one......YET :-) LW ========================================================================= Date: Mon, 18 Sep 1995 17:15:28 GMT From: popei Subject: searching for lyrics i,m searching for some lyrics from gary moore ========================================================================= Date: Mon, 18 Sep 1995 17:24:29 GMT From: popei Subject: eric w from holland i,m searching for some lyrics from gary moore pretty woman ========================================================================= Date: Mon, 18 Sep 1995 13:29:43 -0400 From: Curtis Hewston Subject: The Blue Highway Delta Log Okay, y'all. It's up: my account of August's trip to the Delta and the Sunflower Festival. It includes more than 60 jpeg images for your viewing pleasure. Highlights: New Orleans; gravesites and memorials to Charley Patton, Robert Johnson, Mississippi John Hurt, Sonny Boy 2; where the Southern cross the dog; Dockery Farms; Parchman Farm; the Delta Blues Museum; LW's check presentation; those Norwegian guys; a few cameo appearances; and a lot more of Clarksdale and the festival. You can get there directly with http://www.vivanet.com/~blues/deltalog.html or just go to http://www.vivanet.com/~blues/ then click the "blue" Blue Highway button and scroll down to the essays. Enjoy. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 18 Sep 1995 13:50:51 -0400 From: Barry Silverberg Subject: Columbia House - Major Sale. To everyone who joined Columbia House - here's a great deal. They just mailed out a 2/3 off sale notice - if you haven't received it call them at 1-800-457-0500 and request info on it. Here's how it works - Buy one at full price Get a second one FREE Then buy all you want at 2/3 off their prices. S&H additional on the above. For those of you who have recently joined and need to buy 1 to fulfill your obligation this is the time to do it. I've never seen a better offer from them Use the list you have to list all of the CD's you want. Ask them when you call for the price of each of your selections and buy the least expensive one as the one at full price. Have a ball. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 18 Sep 1995 13:18:02 -0600 From: James Foster Subject: JACK OWENS FOR LEVI's Okay, maybe I was hallucinating, but a few nights ago I swear I was watching TV and on came the DISTINCTIVE sounds of Bentonia bluesman Jack Owens, complete with moving images of him playing on the porch of a rural house, undoubtably near his home in the hills of Mississippi. It turns out to be an ad for Levi's jeans...this was very surreal as I'm sure 99.9% of the population of the US has never heard of Jack Owens and this commerical did nothing to improve that condition. Yep, very strange...did I really see this? James Foster ========================================================================= Date: Mon, 18 Sep 1995 18:21:07 GMT From: j.mac@METRONET.COM Subject: Re: Slide guitar strings > william higdon writes: > In Stefan Grossman's video on slide guitar (which I picked up this > weekend and am delighted with) he suggested using an unwound g string, > which makes some sense to me. My question is do I replace a wound > string of size .025 with an unwound string of the same size? You can, but you don't need to use the exact same size. You will notice a difference just as you do when you switch between acoustic guitar (which traditionally use wound G's) and electric (which don't). Try buying a few single stings around the size of your current G string and see what works for you. For an example of how to size unwound strings, look for acoustic strings made for Dobro or Lap Steel guitars. They usually have as few wound strings as possible. If your local stores don't carry them, call Elderly Instruments (517-372-7890) or Mandolin Brothers (718-981-3226) and ask for a copy of their acoustic instrument catalog. You could use a flat-wound G string, but you would probably notice a difference in tone. Flat wounds tend to be a little less bright which is one reason jazzers love them. Or, just don't worry about it! Most of the slide players I see using plain 3rds are either playing lap style or electric. There is a subtle difference between slide on a wound and unwound 3rd, but most country blues players never really bring it out. Keep on slidin'! ========================================================================= Date: Mon, 18 Sep 1995 13:22:18 -0500 From: Jeff Seale Subject: Re: Just when we thought . . . On Mon, 18 Sep 1995, Richard Shurman wrote: > I wish David was the first to get me and Dick Waterman mixed up. Oh > well; maybe some good will come out of the Lockwood/Townsend confusion > and next year Henry Townsend will get the same equally deserved award! > (If he hasn't already.) I think that Henry Townsend got it in 1994. They made some announcement at the St. Louis blues fest that Henry had been designated a "National Treasure" by the President. Well deserved and a very nice guy. -Jeff (who still wishes he were back in StL) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 18 Sep 1995 18:37:26 GMT From: j.mac@METRONET.COM Subject: Re: Tuning Tricks > "Abe W. Mathews" writes: > > I have evolved a kinda different tuning method over the past few years of > playing with other people (i.e. everybody tuning at the same time - can't > hear anything). I start by tuning the standard way (frets 5-5-5-4-5) > just to get close, then I tune to chords, listening for the beats. > > This method now works better for me, because I can hear if the chord is > out faster than if two unison notes are out. > > But then again, I'm kinda strange. You're not strange at all. Most guitars, particularly acoustic, lack perfect intonation. Tuning a fretted instrument is really a compromise. If you never play a chord or note above the 5th fret, the standard tuning method alone will work. If you play in various places to keep the sound interesting, you should check tuning in more than one place. Here's a method that works for me: 1. Use the standard 5-5-5-4-5 method. 2. The harmonic on the 7th fret of the 6th string is the same pitch as the open 1st string. 3. The harmonic on the 5th fret of the 6th string is the same pitch as the open 2nd string. 4. Open 6th string one octave below 4th string, 2nd fret; same idea for 5th/3rd strings. 4. Compare 5th fret -7th fret harmonics on the 6-5, 5-4, 4-3, and 2-1 pairs. 5. Compare 12th fret harmonics at the 7th fret of the next highest string (8th fret for the 2nd string). Particularly on acoustics, you may have to get close without an exact match to get all comparisons within reason. The result of this is that you will be able to play anywhere on the neck and be pretty close to in tune. This method sounds like a lot of steps, but once you get the hang of it you can run through it pretty quickly. The same procedure works just as well with a tuner, but I recommend learning how to do this with your ears alone first. Save the tuner for noisy areas where you can't hear your guitar clearly. ========================================================================= Date: Mon, 18 Sep 1995 13:34:32 CDT From: L W Subject: Terry Garland Terry Garland will also be playing the B'ham Jam acoustic stage and thank goodness he plays AFTER me. I don't think I'd feel really good following Terry Garland, not that following Keb' is going to be "a bowl of cherries" either..... LW For those keeping Jam score: John Hammond, Keb' Mo, Terry Garland, Etta James Luther Allison, Little Milton , Topper Price and others.... ========================================================================= Date: Mon, 18 Sep 1995 18:47:55 GMT From: j.mac@METRONET.COM Subject: Re: Owners of Nationals/Dobros -Reply > Steve Leigh writes: > >NEVER EVER WOULD I BUY A DOBRO, EVEN THE BISCUIT AND CONE TYPE DOBROS > >DO NOT HOLD A CANDLE TO NATIONALS. PERIOD. Forgive me for shouting, > >but i wanted to make that point very clear. > > I've got a newer steel-bodied Dobro and think it's great. Love the > sound! > There are a lot of subtle differences, but assuming both use a biscuit bridge (i.e., the resonator points towards the strings rather than to the back with a spider bridge) there are two main things affecting the sound of a National vs. a Dobro: 1. Nationals have a 9" resonator and (most) Dobros have a 10" resonator. This is the main difference. 2. National resonators are spun out of thinner aluminum and have spirals embossed on the cone to make it rigid enough to support the strings. Some Dobro resonators are pressed and others are spun out of thicker aluminum. Keep in mind also that the way a resonator guitar is set up makes a difference. I've heard great Dobros and lousy Nationals because one was set up properly and one wasn't. I have an all original 1930 National Duolian and a 70's Dobro 33H. I like the sound of the National a little better because the smaller cone more closely resembles the 1920's and 30's recordings. I use the Dobro more often because I don't have to worry as much about someone stealing it. Both work well for pre-war style blues. BTW - I finally got to play one of the new National Resophonics this weekend. I'm in love! For half the price of an original Style-O in decent condition, you can get a guitar that looks exactly like a 1926 original but with (hidden) modern features that will help the guitar stand up longer than the originals. Way cool! I know what I want for Christmas... ========================================================================= Date: Mon, 18 Sep 1995 13:53:12 CDT From: L W Subject: ----------------------------Original message---------------------------- I have an all original 1930 National Duolian and a 70's Dobro 33H. I like the sound of the National a little better because the smaller cone more closely resembles the 1920's and 30's recordings. I use the Dobro _______________________________ Hopefully before today is over I will also own a 1932 Duolian and I have my 75 33S right here at work with me....I'm selling the 33S for a very attractive price, though. I don't need both of them.... LW 'waiting on UPS' ========================================================================= Date: Mon, 18 Sep 1995 19:08:49 GMT From: Brent bluett Subject: Re: Columbia House - Major Sale. Barry Silverberg (bsco@PANIX.COM) wrote: : To everyone who joined Columbia House - here's a great deal. : They just mailed out a 2/3 off sale notice - if you haven't : received it call them at 1-800-457-0500 and request info on : it. Here's how it works - : Buy one at full price : Get a second one FREE : Then buy all you want at 2/3 off their prices. : S&H additional on the above. : For those of you who have recently joined and need to buy 1 : to fulfill your obligation this is the time to do it. I've : never seen a better offer from them : Use the list you have to list all of the CD's you want. Ask : them when you call for the price of each of your selections : and buy the least expensive one as the one at full price. : Have a ball. : -- : NY CD Blues : Definitive In-Depth Blues Reviews : c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 : e-mail bsco@panix.com -- -- She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you? -Norman Bates ========================================================================= Date: Mon, 18 Sep 1995 18:13:08 GMT From: j.mac@METRONET.COM Subject: Re: musician question... > L W writes: > Do you not feel like you exposing a deep part of yourself when you play LIKE > YOU KNOW YOU CAN. I would almost be naked on stage than to expose my inner > feelings when I play. I play from deep down inside and I feel like I'm kind of > exposing a very private part of me......Am I making sense. It's like the real > me coming out when I play my best....Which is usually when I'm alone (I bet > that sounds familar)...It's frightening to me to share my inner most feeling > with strangers and even some friends. My wife and close friends has experiecned > it and I usually have to rest a minute or two after I "let go".... That's not strange at all - that's what music is supposed to do. You don't need to apologize for being honest. If you are going to perform in public on a regular basis you will need to develop some defence mechanisms. Regardless of how well you play/sing/whatever, you are going to encounter people in the audience with whom you don't connect. It takes a pretty thick skin to spill your guts on stage only to be brought back to earth by a loud laughter from a person or group of people that didn't really notice you were even on stage. The first time it happens is REALLY rough. The show must go on however. If you perform outside your bedroom, this type experience is bound to happen to you sooner or later. Take it in stride and remind yourself that the fact that some or all of the audience wasn't swept up in your performance is not a reflection on the quality of your material. It just happens sometimes, no matter how good you are. Of course, if you rarely or never connect with the audience, you may want to take a step back and carefully review your material and performance. There is always room for improvement. ========================================================================= Date: Mon, 18 Sep 1995 14:38:23 -0500 From: "Henry Busse Jr." Subject: BIRTHDAYS 9/19/95 AHLERT, FRED E. BORN:1892 NEW YORK, NY DIED:10 20 1953 NEW YORK, NY AGE;61 Occupation:COMPOSER Worked With:JACK YELLEN / GRANT CLARKE / BENNY DAVIS / JOE YOUNG / STANLEY ADAMS / ROY TURK / SAM M. LEWIS / HARRY RICHMAN, / EDGAR LESLIE Wrote:LOVE,YOU FUNNY THING /THE MOON WAS YELLOW / I'M GONN SIT.RIGHT DOWN AND WRITE MYSELF A LETTER / i DON'T KNOW WHY / MEAN TO ME / I'LL GET BY / WALKIN' MY BABY BACK HOME Style: POP / BIG BAND AUSTIN, LOVIE ( CALHOUN, CORA ) Born:1887 CHATTANOOGA, TN Died:07 10 1972 CHICAGO, IL Age:85 Occupation:PIANO / LEADER Worked With:IDA COX / ALBERTA HUNTER / MA RAINEY / ETHEL WATERS / KID ORY / LOUIS ARMSTRONG Style:JAZZ / BLUES COXHILL, LOL ( LOWEN ) Born:1932 PORTSMOUTH, ENGLAND Occupation:SOPHRANO SAX Style:JAZZ / BLUES WARD, HELEN Born:1916 NEW YORK, NY Occupation:SINGER Worked With:BENNY GOODMAN / GENE KRUPA / TEDDY WILSON / HAL MCINTYRE / RED NORVO Style:BIG BAND ========================================================================= Date: Mon, 18 Sep 1995 14:40:28 CDT From: L W Subject: ----------------------------Original message---------------------------- >whom you don't connect. It takes a pretty thick >skin to spill your guts on stage only to be brought back to earth by a loud >laughter from a person or group of people that didn't really notice you were even on stage. The first time it happens is REALLY rough. The >show must go on however. That's already happened over a year ago, the first time I played solo acoustic. Everybody seemed to be talking, I almost stopped and said "%&*ã it", but the applause came and it was obvious that folks liked it. I've got over the audience talking while I play. I've gotten better, last time I focused on a couple that appeared to be enjoying it. I acted like they were the only two folks and played to them. It helped a whole lot... THANKS LW ========================================================================= Date: Mon, 18 Sep 1995 15:20:10 -0500 From: Roger Struve Subject: Re: Slide guitar strings -Reply As far as i am concerned....i use an unwound 26 gauge GHS "G" string....on all my nationals....wouldn't play without it, as i DO get a sound from that string, and use it all the time....and the way i pick (classical players are aghast), the unwound G string last MUCH longer than a wound G string... I'm always replacing wound G strings on my Martin...but i don't slide on it.... But i say go for the unwound G string, and 25 or 26 gauge sounds just right....i use 16, 20, 26, 36 wound, 46 wound, 56 wound, nickel semi flat. They work for me...in fact, i just changed the strings (d'adario phosphor bronze) that came on my new style "O" which you may recall me saying i didn't like the sound of as much as my Duolian?! Well, put on a whole set this weekend, and now I LOVE the sound of this guitar.... regards, delta doc roger ========================================================================= Date: Mon, 18 Sep 1995 16:44:14 -0400 From: Tom Morgan Subject: Playlist: Bartender's Bop Here is this afternoon's show. Some vocal group roots, a little west coast r&b and some other goodies. I just love Percy Mayfield, have they ever released a CD of his Specialty stuff? Tom Title Group Year Label -------------------- -------------------- ---- -------------- That's Georgia Mills Bros 33 JSP That Cat Is High Ink Spots 38 Conifer Utt Da Zay Watson, Leo 39 Swingtime Jack, You're Playing Delta Rhythm Boys Storyville the Game Your Feet's Too Big Ink Spots 35 Conifer Fiddlin Joe Mills Bros 33 JSP Have You Talked To Brownlee, Archie 54 Gospel Jubilee The Man Upstairs Seek Seek Swan Silvertones 63 Archives Alive Snake Pit Watson, Leo 46 Swingtime Cement Mixer Gaillard, Slim 45 Arhoolie Good Man Rhodes, Todd 45 Jukebox Lil Pink Champagne Liggins, Joe Specialty Blues Jumped Over Turner, Big Joe 53 EMI The Rabbit You're Gonna Miss It Lee, Julia 50 Charly Big Fat Mama Milton, Roy 47 Jukebox Lil That's What The Good Robins 51 ACE Book Sez Little Girl Sings Bartholomew, Dave 52 EMI Ding A Ling I Got News For You Lee, Julia 52 Charly Let-Down Blues Rhodes, Todd 53 Jukebox Lil Blue Turning Grey Milton, Roy 47 Jukebox Lil Slow Down (alt) Williams, Larry Specialty You Ain't So Such A Thomas, Blanche 54 EMI Much Loose Lips Mayfield, Percy Specialty Oh Baby Williams, Larry Specialty Bo Weevil Domino, Fats 56 EMI Memory Pain Mayfield, Percy Specialty Midnight Hour Charles, Ray 52 Rhino Hoo Doo Reed, Al 55 EMI Bad Boy (alt) Williams, Larry Specialty Please Send Me Mayfiled, Percy Specialty Someone To Love Sinner's Prayer Charles, Ray 54 Rhino Little Moron, The Smith, Huey Piano 60 Pathe Check Mr Popeye Bo, Eddie 61 Rounder Double Eyed Whammy Ridgely, Tommy 60 Rounder Would You Believe It Smith, Huey Piano 58 ACE Dinky Doo Bo, Eddie 61 Rounder Three Times Ridgely, Tommy 61 Rounder Every Dog Has Its Bo, Eddie 60 Rounder Day Rockin Behind the Smith, Huey Piano ACE Iron Curtain ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 18 Sep 1995 14:49:36 -0700 From: Ron Wack Subject: First Public Appearance I did it! I played in public for the first time Friday night. Some friends have a light/medium R&R band and hauled me up on stage for one set in front of about 250 people, most of whom were really drunk, thank God! I played some rhythm guitar, a bit of lead, and bass. The band members assured me that if I started to screw up too bad the sound man would cut me out. Took a lot of the pressure off! People actually whistled and cheered when the band thanked me at the end of the set! What a rush! (Maybe they were just glad I was done %) ) Sure has rekindled my interest in playing guitar. RW P.S. The finish is chipping off my '94 Strat's maple neck. Seems that the neck is shrinking and the frets aren't. This is causing the finish to lift at the frets. Fender is replacing the neck for free. No questions asked. Can't beat that! ========================================================================= Date: Mon, 18 Sep 1995 20:53:53 +0000 From: James Wood Subject: Re: The Blue Highway Delta Log Curtis Hewston (curtis@MAGICNET.NET) wrote: : Okay, y'all. It's up: my account of August's trip to the Delta and the : Sunflower Festival. It includes more than 60 jpeg images for your viewing : pleasure. Highlights: I hit this site the other night just after getting an email from Curtis about it. If you can believe it, the (IMO) best blues site around just got better. A terrific visual and text essay! It's a must to check out. : http://www.vivanet.com/~blues/deltalog.html ========================================================================= Date: Mon, 18 Sep 1995 17:47:49 -4 From: "P.W. Fenton" Subject: Re: The Blue Highway Delta Log On18 Sep 95, James Wood had this to say... > Curtis Hewston (curtis@MAGICNET.NET) wrote: > : Okay, y'all. It's up: my account of August's trip to the Delta and the > : Sunflower Festival. It includes more than 60 jpeg images for your viewing > : pleasure. Highlights: > > I hit this site the other night just after getting an email from Curtis > about it. If you can believe it, the (IMO) best blues site around just > got better. A terrific visual and text essay! It's a must to check out. > > > : http://www.vivanet.com/~blues/deltalog.html > > Let me THIRD that. I took the full trip and it was very exciting. Vicarious thrills. I recommend everyone make the trip with Curtis and his buddies. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 18 Sep 1995 17:17:15 -0500 From: "Pat Seger (Pat Seger)" Subject: Re: your choice After reading all of your great concert experiences I figured I would add my own two cents. #1 Eric Clapton (at the HO* in Los Angeles). You may not like EC or HO*, but the show was outstanding! Blues, by EC in a small club setting. (for this show they had seats ;) ) #2 see above (it rates two votes) #3 Harry Chapin, Gordon Lightfoot, John Denver and James Taylor in- the- round at Detroit. Amazing night of solos and improvised accompaniments. Just four people who enjoyed making music - no egos involved. #4 Bob Seger at the local clubs in Detroit (before he hit the big time). Got into these for free after showing my brother's I.D. (his name is Bob, too) and telling the guy at the door Seger had left his wallet at a restaurant ;) #5 Bruce Springsteen at Michigan State University - got a photo pass for this one! ========================================================================= Date: Mon, 18 Sep 1995 18:18:50 -0400 From: Tom Freeland Subject: P-Vine Elvis "roots of" CD A friend on another list wants the tack listing for the P-Vine CD of originals of songs Elvis covered. If someone out there has it, please send it to me by private e-mail if possible. LW, surely you have this one? Thanks. Tom Freeland ========================================================================= Date: Mon, 18 Sep 1995 18:59:12 -0400 From: Brenda Bogert Subject: Re: Still Looking for a Name? On Mon, 18 Sep 1995, Patti Bowman wrote: > How about: > Mojo Men > That name is taken by a *very* talented blues band out of Nashville. Pen & Brenda Bogert Louisville KY ========================================================================= Date: Mon, 18 Sep 1995 20:28:25 -0500 From: Brad Stevenson Subject: C.J. Chenier's guitar player? Does anyone know the guitar player for C.J. Chenier's Red Hot Louisianna Band? And better yet, can anyone tell me how to get in touch with him? He wrote is name and address on the back of a cigarette pack for me Saturday night. Well, it was dark and I didn't look at it then. Now all I can make out is his first name (Harry) and his zip code. I would really like to contact him. If anyone can help, please e-mail me. Thanks, Brad --------------------------------------------------------- Brad Stevenson - bstevens@nbnet.nb.ca NIGHTINGALE MULTIMEDIA The Best Bands You've Never Heard Web Site: http://www.mi.net/night1.html -------------------------------------------------------- ========================================================================= Date: Mon, 18 Sep 1995 19:46:43 -0400 From: "Catherine E. Cross" Subject: Sonny Landreth on Austin City Limits 9/23 Sonny Landreth fans: Sonny will be appearing with Darden Smith on Austin City Limits this Sat (9/23) at 10pm EST in the Chapel Hill/Durham/Raleigh, NC area. This is an ACL re-run so check your local TV guide. Someone on this list (or the John Hiatt or Dire Straits lists)--can't remember who--told me Sonny plays with Darden on this show. I don't know anything about Darden Smith so it's anybody's guess what kind of music Sonny will be playing. But fans of Sonny shouldn't miss this. Suzanne Vega is the other featured artist and she is wonderful. Apologies for the (perhaps) non-blues content. Cathy ========================================================================= Date: Mon, 18 Sep 1995 16:56:04 -0700 From: Chris Adams Subject: Re: P-Vine Elvis "roots of" CD I don't have the Elvis collection, but I recently saw 2 volumes of Ry Cooder, I assume from the same series. They were priced at $9.99 each and I had only seen them for 20-30$ other places. I went back the next day to pick them up, and they were gone. I assumed that nobody would spot these wonderful collections amongst all the dreck that you find in some of those mega-stores. If you have heard some of Ry's obscure covers and want the originals, this is the collection to get. On P-Vine. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Mon, 18 Sep 1995, Tom Freeland wrote: > A friend on another list wants the tack listing for the P-Vine CD of > originals of songs Elvis covered. If someone out there has it, please send > it to me by private e-mail if possible. LW, surely you have this one? > > Thanks. > Tom Freeland > ========================================================================= Date: Mon, 18 Sep 1995 19:45:43 EDT From: "William R. Tschanz" Subject: Johnny Johnson Yes it is the same Johnny Johnson of Chuck Berry fame. I've just finished talking with Doug at the Phily Blues Machine. Johnny will have his band with him. Oct.21st at the Commodor Barry Club. Ill have more news later about the Phily Blues & The Phily Blues Machine. "It's a goose bump kinda thing Ya know what I mean." Slik Willy at Manayunk ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Mon, 18 Sep 1995 17:29:00 CDT From: Bonnie Kalmbach Subject: Bob Stroger's T-Shirt Mississippi Heat appeared once again in Madison last Friday night. Instead of their usual venue, the Harmony Bar, they played out on the lakeside terrace of the Wisconsin Student Union. It was a beautiful starry night but the band had to contend with a brisk chilly wind blowing off Lake Mendota at their very backsides. The drummer was wearing a leather jacket. Bass player Bob Stroger, who band leader Pierre LaCocque refers to as the "living legend" was surprised and delighted with the Blues-L T-Shirt. I told him I would get him one last winter when he seemed intrigued with the concept of an international blues discussion group. I told him that they would probably be looking for him to wear it in Canada. Bob replied "Let's see, I think we go to Canada in November". I wonder if he'll wear it then - he's been into spiffy double breasted suits and wide brimmed hats as of late. So there's our first non-Blues-L "celebrity" to have our own shirt. Pierre told me that htey were working on getting a national distributor for their CD's so folks won't have to wait for them to come to town to get one. "Thunder in My Heart" in the new one - it's fine 50's-style Chicago blues. -Bonnie "whodat" K. ========================================================================= Date: Mon, 18 Sep 1995 17:17:24 -0800 From: Don Cicchetti Subject: Re: your choice >After reading all of your great concert experiences I figured I would add >my own two cents. Me Too! years ago: Sonny & Brownie in a little club in San Clemente... 5 feet away.... yes! Jimi in the San Diego sports arena. (I sat on the stage) Watching Loggins and Messina try to follow BB (!) also in San Diego. Funny stuff. The Who playing "Quadrophenia" in the Cow Palace The Rascals in San Bernardino... Last good show they had there! Recently, The Posies at the Coach House, San Clemente, Los Lobos, same place... (the were GREAT) Laurie Anderson at the Beacon Theatre in NYC. Strawbs up close at the Lone Star cafe in NYC (don't you miss it?) Clannad at the Wiltern in El Lay. Chieftains at Claremont Colleges. and more.... fun stuff Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 18 Sep 1995 08:11:00 PDT From: Meridith Farnworth Subject: Re: Joanna Connor review L.W. says: >I wish they wouldn't cover "Mustang Sally" or "Down Home Blues"....I've heard those >two songs WAY too many times lately. But I have to wonder...can anyone hear *either* of those songs TOO many times? Everyday (at a live show) would suit me just fine! --Meri, who's never heard Joanna Connor, live or recorded... ========================================================================= Date: Mon, 18 Sep 1995 17:42:01 -0700 From: Jennifer Meserve Subject: Re: Primich Itinerary (long) On Fri, 15 Sep 1995, CATHI N. wrote: > Here we are again folks: > > Gary Primich's Itinerary: > > OCT > > 4 Bojangles .................. Portland, OR Since Bojangle's had their last gig last night, due to a raise in the rent, I'm curious if Gary's rescheduled at another Portland location? I'd check him out if I could. Thanks, Jennifer ========================================================================= Date: Mon, 18 Sep 1995 09:02:00 PDT From: Meridith Farnworth Subject: B.B. in yet another tv commercial!? So I just went & turned on the tv, and there was ol' B.B. selling M & M's, plugging the new Blue m&m's. --Meri (not complaining...I say more power to him, and it's always great to see him so unexpectedly!) ========================================================================= Date: Mon, 18 Sep 1995 21:04:03 -0400 From: Cliff Warnken Subject: JACK OWENS FOR LEVI's Yes, I saw this TV spot last month, also found it quite amazing. I think there's a Levi's factory in Canton, Miss. Cliff Warnken ========================================================================= Date: Tue, 19 Sep 1995 00:20:44 GMT From: Peter Groves Schweitzer Subject: *Anybody want free air time?* oll,alt.rock-n-roll.metal,alt.rock-n-roll.metal.progressive,rec.music.christian,rec.music.early,rec.music.classical.guitar,alt.rock-n-roll.hard,alt.rock-n-roll.metal.death,alt.rock-n-roll.heavy,bit.listserv.allmusic,rec.music.misc,rec.music.makers,alt.music.gaffa,rec.music.makers.percussion,rec.music.classical.performing,alt.music.progressive,alt.rock-n-roll.symphonic,alt.thrash,alt.music.hardcore,alt.exotic-music,alt.music.ebm, X-Newsreader: TIN [version 1.2 PL2] My name is Noah Goodman and I work with WUTZ FM 88.3. WUTZ is a community radio station on The Farm in Summertown, Tennessee that works with the local school letting students DJ radio shows. We are currently looking for new music to review for airplay. Most music will be played. If you have a band or know someone that has a band that is willing to send music to us please send it to: Attn: Noah Goodman WUTZ FM PO Box 259 Summertown, TN 38483 Noah Goodman Keepin' it RUDE WUTZ FM 88.3 ========================================================================= Date: Tue, 19 Sep 1995 01:34:22 GMT From: "Roy W. Forgy" Subject: HOB in the news! Quoted from today's San Francisco Chronicle. "TRENDY L.A. CLUB CALLED A NUISANCE West Hollywood The popular House of Blues nightclub, a trendy watering hole, has been declared a public nuisance. Residents complaining about noise, traffic, parking and crime got the city Planning Commission to issue the nuisance designation last week, but the club operators said they will ask the City Council to reject the commission's notice at a meeting October2. AP Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Mon, 18 Sep 1995 21:38:21 -0400 From: James Leftwich Subject: Re: HO$$$$ BTW there's a Carolina Slim that plays the subways of New York City. Infer what you will... Jim ========================================================================= Date: Mon, 18 Sep 1995 21:50:54 -0400 From: Curtis Hewston Subject: The Blue Highway, Again This is the last time I'm gonna do this, really. But (yawn!) The Point (the Top %5 WWW Sites people) are including The Blue Highway in an upcoming book to be called "The 1,000 Best Sites On The Internet." This ain't just music sites, but ALL sites! Preachin the blues, blah, blah, blah, and thanks again to every single blueszeller there ever was! *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* I got to keep movin'. Blues fallin' down like hail. -- Robert Johnson curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Mon, 18 Sep 1995 22:59:26 EDT From: Joseph Leichter Subject: Re: HOB in the news! Yeah..that's it...public nusiance.....remember the days when HOB people would post to this group offering free tickets? yeah...public nusiance.... ========================================================================= Date: Mon, 18 Sep 1995 23:01:22 EDT From: Joseph Leichter Subject: Re: HO$$$$ Carolina Slim...great stuff! A friend of mine plays harp with him in the 53rd st station every now and again...So where *are* you, Mr. Akroyd? ========================================================================= Date: Tue, 19 Sep 1995 13:26:13 +1000 From: Daniel Bruce Subject: Re: Johnny Johnson > > Yes it is the same Johnny Johnson of Chuck Berry fame. > > I've just finished talking with Doug at the Phily Blues Machine. > Johnny will have his band with him. Oct.21st at the Commodor Barry Club. > Ill have more news later about the Phily Blues & The Phily Blues Machine. > > "It's a goose bump kinda thing > Ya know what I mean." > Slik Willy at Manayunk > > ____________________________________________________ > | > > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > > | TEMPLE UNIVERSITY ----------- > > |___________________________________________________> > he really gets around because he is appearing in Sydney, Australia this Wednesday & Thursday nights at the Bridge Hotel, Rozelle. -- Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia | "Born under a bad sign, been down since I began to crawl | If it wasn't for Bad Luck, Wouldn't have no luck at all" | Albert King | Internet: danielb@g2syd.genasys.com.au ========================================================================= Date: Tue, 19 Sep 1995 13:52:35 +1000 From: Peter Blanken Subject: Re: Johnny Johnson Reply to: RE>>Johnny Johnson >he really gets around because he is appearing in Sydney, Australia >this Wednesday & Thursday nights at the Bridge Hotel, Rozelle. >Daniel Bruce | Genasys II Pty Ltd, Sydney, Australia Johnnie's also playing at Tilly's in Canberra, Australia on Tuesday September 26. Does anybody know if he is touring with the band that plays on his latest CD "Johnnie Be Back" or is he playing with pick up bands? Can't wait to see Johnnie again!! Thanks Pete. ========================================================================= Date: Tue, 19 Sep 1995 02:38:24 -0400 From: Msbeale Subject: San Francisco Blues Calendar For any internetters that are coming to the Bay area in the next week or so. BAY AREA BLUES MUSIC CALENDAR who, what, when and where for the week of September 17, 1995 Join the party this Friday, September 22 at Slim's in San Francisco when Chris Cain appears as part of the Blind Pig Records Blues and Soul Revue. Also scheduled to appear: Frankie Lee, Debbie Davies, Magic Slim and the Teardrops. Cain recently released his 4th Cd - "Somewhere Along the Way" on Blind Pig Records the board of directors The votes are all in, and this band will be calling the party to order this Friday, September 22 at the Mission City Roasting Company in Santa Clara. nitecry One of the hardest working bands in the bay area, Nitecry performs Thursday, September 21 at Biscuits and Blues in San Francisco. the rhythm sheiks Sultans of jump blues and roots music-the Rhythm Sheiks will be at The Irvington Monument Saloon in Fremont, Friday, September 22 and Biscuits and Blues, Saturday, September 23. blues on b Blues on B- in the cellar of Barley & Hopps, 2nd and B Street in Downtown San Mateo features the finest in live blues music. This week: a special return engagement with Shirley Johnson and Detriot Junior from Chicago. Detriot Junior was a side man for Howlin' Wolf for many years and wrote "Call My Job", which Albert King recorded and made famous. Shirley Johnson has been a regular on the Chicago blues scene for many years and is extremely popular in Europe,where she performs frequently. Wednesday, September 20 through Saturday, September 23. NEXT WEEK: FLYING FISH RECORDING ARTIST GARY PRIMICH(SEPTEMBER 28-30). Cover and showtimes vary. Call 415.348.7808. jj's blues club The flagship blues club of the Bay area-located at 14 South Second, Downtown San Jose. Sunday, September 17 Greg Waterman performs. Tuesday, September 19 it's Jam Night with the JD Blues Band hosting the show. All instruments/vocalists welcome. Wednesday, September 20, Blue Reptile performs (no cover) Thursday,September 21 it's Blind Pig Recording artist Jimmy Thackery and the Drivers ($3 cover) Friday, September 22 It's the Charles Williams Revue (Edgar Winter has been cancelled) Saturday, September 23, Tommy Castro and Johnny Nitro perform. Cover and showtimes vary. Call 408.286.3066 for details. Tickets available through all Bass ticket outlets. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 19 Sep 1995 02:12:00 -0400 From: "J.E. Downey" Subject: Re[2]: New Orleans info IMHO, Any trip to New Orleans that does not include a stop at K-Paul's (splurge a little, why dontcha, it's cheaper at weekday lunch) is a waste. To dine upon the native cuisine of one of America's most acclaimed chefs (Paul Prudhomme) at his own tables is truly a joy. The upstairs section takes reservations, the downstairs doesn't. I would also stop in for a muffalletta (sp.?) at the Napoleon House. Reasonable, and what atmosphere! Some of the SECOND LINE brass bands (the "new" brass generation, not the old guys in straw hats) will play some blues in addition to wild Afro-Caribbean and jazz innovations. It's mainly a jazz town, but there is some blues at the fringes. ========================================================================= Date: Tue, 19 Sep 1995 09:31:22 EZT From: Jean-Pierre Urbain Subject: HANDZAME BLUES FESTIVAL - BELGIUM For European bluzellers who'd like to have a nice weekend I simply would like to remind everyone living not to far from Belgium that the HANDZAME BLUES FESTIVAl will take place next saterday in HANDZAME (surprising?) a small town located not far from Brugge(NOthern part of Belgium) . With the Spring blues festival of Ecaussinnes it's certainly the most enjoyable blues fest in Belgium. Not too crowded, nice program, usually good music and great spehere.... well everything we need for a nice saterday. It starts at 14h00 and usually ends around 01h-02h (am). This year's programm: Eddon's Corner (Belgium) Luther Houserocker Johnson HENRY QUALLS (with Hash Brown) ******************<<<<<<<< THE BILL PERRY BLUES BAND SUE FOLEY (no comment ... :-)... IMHO JIMY JOHNSON BAND (with a special horn section) There's a camping place and there are also some local band playing for free sunday 24 during what they call an "APPARITIEF CONCERT"... You can get more info by phone +32-51-567 667 (after 18h local time) or by Fax +32-51-567 667 Entrance costs 800bfr. Hope to see some bluezeller there (I'll have my Blues-L T-Shirt). The program is not the best of all, but Henry Qualls is really sufficient (I saw hime last year in Utrecht at the Blues Estaffette) to motivate a trip to Handzame!! jean-Pierre P.S. I have noe financial relation/interest in this festival.. I just support them since these are really nice persons doing their best since years for the promotion of the blues in Belgium! P.S. European Bluezellers should also reserve the date of november 18th... for the essential annual BluesEstafette in Utrecht (holland). I'll send the program next week. ========================================================================= Date: Tue, 19 Sep 1995 04:40:11 +0000 From: "P.W. Fenton" Subject: Re: The Blue Highway, Again On 18 Sep 95, Curtis Hewston had this to say: > This is the last time I'm gonna do this, really. But (yawn!) The Point (the > Top %5 WWW Sites people) are including The Blue Highway in an upcoming book > to be called "The 1,000 Best Sites On The Internet." > > This ain't just music sites, but ALL sites! Preachin the blues, blah, blah, > blah, and thanks again to every single blueszeller there ever was! Congrats again, Curtis. But we already knew the Blue Highway was the best. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 19 Sep 1995 04:40:11 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 19th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ABRAMS, MUHAL RICHARD (p/author/AACM) b. 1930-0919, CHICAGO, IL ARNONE, MIKE (of THE DUPREES) b. 1943-0919, JERSEY CITY, NJ AUSTIN, LOVIE (CORA CALHOUN) (p) b. 1887-0919, CHATTANOOGA, TN BARKER, SALLY (g) b. 1959-0919, BARROW-ON-SOAR, UK BASTIN, BRUCE (owner:INTERSTATE/FLYRIGHT) b. 1939-0919, CHELMSFORD, UK BENTON, BROOK [BENJAMIN FRANKLIN PEAY] b. 1931-0919, CAMDEN, SC BROMBERG, DAVID (g/vln) b. 1945-0919, PHILADELPHIA, PA EPSTEIN, BRIAN (:) b. 1934-0919, LIVERPOOL, UK FAIR, MELVIN ANTHONY (g/WILSON PICKETT) b. 1939-0919, NEW YORK CITY, NY HASKINS, JAMES S. (author) b. 1941-0919, DEMOPOLIS, AL HOLMES, CHARLES W. (asax/JESSE STONE) d. 1985-0919, STOUGHTON, MA 75 KALB, DANNY (g/BLUES PROJECT) b. 1942-0919, BROOKLYN, NY MEDLEY, BILL (of THE RIGHTEOUS BROS) b. 1940-0919, SANTA ANA, CA PAYNE, FREDA CHARCILIA (v) b. 1945-0919, DETROIT, MI RODGERS, NILE (g/prod) b. 1952-0919, NEW YORK CITY, NY SIMMONS, JOHN J. (b/NAT KING COLE TRIO) d. 1979-0919, LOS ANGELES, CA 61 WARD, BILLY (of THE DOMINOES) b. 1921-0919, LOS ANGELES, CA ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 19 Sep 1995 04:40:11 +0000 From: "P.W. Fenton" Subject: Re: New Orleans info On 19 September 1995, J.E. Downey had this to say: > IMHO, > > Any trip to New Orleans that does not include a stop at K-Paul's > (splurge a little, why dontcha, it's cheaper at weekday lunch) is a > waste. To dine upon the native cuisine of one of America's most > acclaimed chefs (Paul Prudhomme) at his own tables is truly a joy. > The upstairs section takes reservations, the downstairs doesn't. > > I would also stop in for a muffalletta (sp.?) at the Napoleon > House. Reasonable, and what atmosphere! > If you must have a muffaletta (and you must), it must be purchased at The Central Grocery (which is, incidentally, where they were invented). All other muffalettas are pale imitations. The Central Grocery is at 923 Decatur St. between St. Philip and Dumaine, right across from the French Market. Go to the Napoleon House anyway (eat something else) because it's the only place I know that has classical music in the Juke Box. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 19 Sep 1995 09:48:50 GMT From: Geir OEien Subject: NORWEGIAN BLUES TRIP REPORT pt. 1 of 4 Greetings all blues-l'ers: Finally, here is the report from The Great Norwegian US Blues Trip '95! For those of you who don't know the story, once upon a time there were four Norwegian friends and blues fanatics dreaming about the ultimate blues holiday in the US.... and in the summer of '95, it all came true! After a year of planning, including some good advice from blues-l'ers, we decided upon a four-week schedule which took us from HOUSTON, TX to AUSTIN, TX, then by plane to NEW ORLEANS, LA., followed by two weeks all over MISSISSIPPI - also including MEMPHIS, TN - in a hired Mazda van (with The Sunflower Festival in Clarksdale being the only "pre-scheduled" stop), then finally a long drive up to CHICAGO for our final stop. Sorry this report is over 4 weeks late - but after four weeks out of the country we all had a lot of catching up to do... Hope some of you enjoy the report anyway, though - and we would welcome any comments and questions! For the most part, only our music-related experiences (which means most of our experiences, actually) are described here. The report is STILL VERY LONG, though... so we have decided to split it into four parts/separate postings: Part 1: Houston + Austin + New Orleans Part 2: The Mississippi Delta Part 3: Oxford/Holly Springs + Memphis + Helena Part 4: Chicago Before we start, though, here are some ACKNOWLEDGEMENTS: One of the most pleasant things we learned - or got confirmed - was that there is a wonderful community of blues lovers out there - and that the music generates so much friendship, so many shared experiences, so much interesting knowledge to be shared, so many great stories - you really have to go out there and experience it yourself. In addition to all the great musicians we had the privilege of experiencing, we would especially like to thank the following, in roughly chronological order, for their generosity of time and spirit: Randy Long and Teresa Brooks at Ms. T's Cafe in Bentonia, Mary Shepard of the Club Ebony in Indianola, Marvin Flemmons at the Music Mart in Drew, James Segrest in Drew and Clarksdale, Curtis Hewson and his two friends in Tutwiler and Clarksdale, Dick Waterman in Clarksdale and Oxford, Tom and Deborah Freeland in Oxford and Holly Springs, Jim (?) Komara of the Blues Archive in Oxford, Judy Peiser at The Center for Southern Folklore in Memphis, Bubba Sullivan of Bubba's Blues Corner in Helena, Sonny Payne of King Biscuit Time in Helena, Panny Mayfield at The Blues Hall in Helena, Mrs. Gist of Gist Music in Helena, and Dave Markovits and John Sturm in Clarksdale, Holly Springs and Chicago. You all helped make our trip more special than we could ever have imagined! MANY THANKS from The 4 Blue Norwegians: Per Arne Hansen (Per.Hansen@nbl.sintef.no), Roland Kruse (roland.kruse@efi.sintef.no), Geir Oien (oien@hsr.no) (MAIN AUTHOR of the above opus), Tor Arne Reinen (tor.a.reinen@delab.sintef.no). Now, on with the show.... PART 1: Houston + Austin + New Orleans ************************************** July 22: Arrival in Houston for the first three members of our group. This first night was spent at BILLY BLUES with MIKE PRITCHARD (formerly unknown to us) and his band. The show was not very good, though - uninspired, tired "blues rock muzak" at a too-low volume, before an unattentive, dinner-eating audience. Oh well, a slow start is better than no start. July 24: After the last member of the group had arrived in Houston, we immediately drove to Austin and settled in at a motel. After having a fine Mexican dinner (with the to-be favorite drink of the trip, frozen margaritas!!!) at wonderful 6TH STREET while studying THE AUSTIN CHRONICLE too see what musical experiences we might expect during our stay, we decided to go to the legendary ANTONE'S club for "Blue Monday Night" with the club's great house band, including the awesome drummer GEORGE RAINS, GENE 'FINGERS' TAYLOR on piano, and SARAH BROWN on bass. Introduced by owner CLIFFORD ANTONE himself, the show, which was very enjoyable, went on for several hours, with some exchange of personell (especially guitar players) as the evening passed. We were served mostly traditional - and fine - blues in the classic Texas tradition. Unfortunately, the scheduled master guitarist DEREK O'BRIEN failed to show up, though. (NOTE: Contrary to what is stated in Christiane Bird's "The Jazz and blues lover's guide to the US" - otherwise an INVALUABLE guide book, btw - Antone's is still in its old location at Guadalupe Dr. - and is NOT yet a part of the Billy Blues chain!) July 25: After breakfast we drove to the ANTONE'S RECORD STORE, located just across the street from the club, for our first of many CD shopping extravaganzas. Severe heat (104 F) made us quite laidback - but we at least managed to walk up to THE CONTINENTAL CLUB for their afternoon "happy hour" show, - Antone's recording artist TONI PRICE, known as "Nasty Toni", with an acoustic band! As we understood it, it actually was a release party for her newest CD "Hey" on Antone's. What a great and soulful singer she is (combining blues, jazz and country) - and what great atmosphere there was at the club! Btw, this was the night BILL SHUTE of blues-l suddenly walked up to us, having recognized us as Norwegians - which we found quite amazing.... Later in the evening we went to the 'upscale' nightclub TOP OF THE MARC to see Black Top recording artist W. C. CLARK, a black soul/blues singer/guitarist. He was good, but the venue had an unfitting "supper club" feel and we had the feeling that W. C. was holding back, performing "politely" and not unleashing his full powers. Nice guitar and vocals, though. July 26: This day found us at the best record store of the trip, WATERLOO Records! They had a big sale - on top of their already low prices - and great variety of music. We went completely nuts and came out with a combined lot of CDs for about 500 $... The evening was spent traversing the bars of 6th Street and listening to music - including the fine young white songstress STEPHANIE BRADLEY in the early afternoon at JOE's GENERIC BAR (whose "washroom" facilities have to be seen to be believed!); the veteran black bluesman (singer/guitarist) HOSEA HARGROVE at the 311 CLUB just next door - and the energetic and very competent young white "cover" bluesband THE HEADHUNTERS (quite Little Walter-influenced) back at Joe's again later in the evening. A wonderful and cheap evening's musical entertainment in the very nice, relaxed, "safe" atmosphere that seems to characterize everything about Austin. July 27: Our final day in Austin found us back at the early afternoon show at The Continental Club to catch local c&w favorite and veteran DON WALSER, whose heartfelt and "blue" renditions of traditional acoustic country material in the Hank Williams Sr. style (complete with yodeling and steel guitar) really charmed us. We then went back to ANTONE'S to visit an old acquaintance from last year's NOTODDEN Blues Festival in Norway, GUY FORSYTH and his band. This young white Guy (!) has a devastating voice, which sounds like it belongs to an old, big, black singer. He's also a fine harp player and slide guitarist and has a good band, including the not-easily-forgotten "The Mountain Man" on bass (and, fittingly, vocals on "300 pounds of joy")!. Chicago and Texas blues meet in Guy's fine - and LOUD! - music, which is tirelessly energetic, tight, and authentic, a interesting covers and fine original material. July 28: Although we were sad to leave the great Austin atmosphere (which is unreservedly recommended for all music lovers!), the flight to New Orleans found us expectant of things to come. We checked in at The Fairmont Hotel just adjacent to the French Quarter (expensive but worth it) and went to FELIX's for a seafood dinner. We then took a cab to the MAPLE LEAF BAR out near The Garden District, where, according to the unvaluable free magazine "OFFBEAT", ROCKIN' DOPSIE JR. & THE ZYDECO TWISTERS were playing. The band contains three of zydeco legend Rockin' Dopsie's sons - on vocal/percussion, accordion, and (I think) drums. And - they sure kicked up a storm. Tight, enthusiastic, raucous, loud, danceable, irresistible - this was great live zydeco, and the audience responded with dancing, shouts, big smiles, spontaneous washboard playing (!) and general good vibes. Only their more "modern" funk/rock-influenced material disappointed somewhat (too loud, too much Hendrix guitar), but there was thankfully not too much of this. July 29: The day's activities included an expensive trip to TOWER RECORDS on Decatur, a tasting of the superb coffee and beignets (french donuts) at famous CAFE DU MONDE nearby, a mind-bogglingly big Muffaletta sandwich at MASPERO's - and the hard but unavoidable choice between JOHNNY ADAMS at Mid-City Lanes and SNOOKS EAGLIN at the new club BUGSY'S. Well, Snooks won - and we were glad he did. This was THE musical experience of the whole trip - a 3-hour virtuosic performance (in front of about 20-30 people) of boundless and exuberant enthusiasm, energy and humor; the greatest guitar playing we have EVER heard (what you might think are overdubs on his records are NOT); superb, tough and soulful Ray Charles-like vocals; a rhythm section as tight, funky and energetic as can be imagined; and a set list of such eclecticism, spontaneity, and richness that it can only be found in the head of a human jukebox like Snooks. Upon learning that we were from Norway, he immediately engaged the audience in a singing contest - "Norway against The US!" which had us shouting our heads off in a (failed) attempt to win .... SEE THIS MAN, he is probably the greatest raw talent you'll ever witness. July 30: Nothing could really follow Snooks, but strolling around the Quarter, eating great New Orleans food, catching some fine and funny street musicians ("Stoney B. and Grandpa") and drinking DIXIE beer isn't bad either! For our last evening in The Crescent City we went to the nice bar MADIGAN'S out by The Garden District to catch a solo set by JOHN MOONEY, who was good but not spectacular, playing Son House/Robert Johnson-influenced slide guitar... and overplaying it quite a bit ("too much show-off virtuosity" was the general verdict). Still, a fine ending to our stay. Part 2 follows... -- ****************************************************** * Geir E. Oien * * Associate Professor * * Rogaland University Center * * Department of Electrical and Computer Engineering * * Signal Processing Group * * P. B. 2557 Ullandhaug * * 4004 Stavanger * * NORWAY * * E-mail: oien@hsr.no * * Office phone: +47 51 83 20 58 * * Home phone: +47 51 53 36 61 * * Fax: +47 51 83 17 50 * * WWW: http://www.hsr.no/~oien * ****************************************************** Keywords: ========================================================================= Date: Tue, 19 Sep 1995 09:49:43 GMT From: Geir OEien Subject: NORWEGIAN BLUES TRIP REPORT pt. 2 (of 4) PART 2: The Mississippi Delta ***************************** July 31: Driving off from New Orleans in extremely heavy rainfall, this was a travel-and-clothes-washing day with JACKSON, MS as our final stop point. There was no music to be found here, but we had the best meal of the trip - hot tamales ("Robert's Red Hots" read the menu) and barbecued grilled chicken breast - at HAL'S & MAL'S, a restaurant and club down by the railroad tracks which has seen a lot of big music names come through. The walls were filled with nice memorabilia, signed photos of blues and rock'n'roll legends (BB, John Lee, Jerry Lee Lewis, Charlie Musselwhite, Warren Zevon, Albert King,...), autographs, posters etc - wonderfully atmospheric. August 1: Driving north from Jackson, we stopped almost immediately to visit the tiny community (pop. 300?) of BENTONIA, MS, birthplace of famed bluesman SKIP JAMES and still home to his contemporary, JACK OWENS, and harp player BUD SPIRES. Stopping in front of Ms. T's CAFE at the square, the first thing we saw was a cement mixer with BUD written in white paint on it! Talking to the very friendly cafe owners, Randy and Teresa, we found out that it actually was Bud Spires'! Upon hearing that we had stopped by in a faint hope that we could meet Jack Owens (who is now 90 years old), Randy's response was: "Well, I don't see his truck out here right now... but we could direct you to his house?"...!!! Of course we jumped on this, so, after being treated to a sample of Randy's blues guitar playing, we set out on small, dusty country roads until we reached a small, run-down shack of a house, with a frail-looking old man standing on the front porch.... JACK OWENS. We went out to greet Jack, who immediately demanded to have his playing partner Bud delivered at the house - upon which Randy drove off again to find him! Meanwhile we chatted with, and had our pictures taken with Jack, who seemed happy that we came to see him, smiling, reminiscing about Skip James ("my cousin"), David Evans ("I taught him to play") and his trip with Evans to the North to receive his 10,000 dollar government grant about one year ago. Then Randy, Teresa, Bud and some beer arrived, Jack got some moonshine, a jam jar full of guitar picks, and his guitar, and we were treated to a 30-minute front porch concert of Bentonia blues classics ("Devil blues", "Hard times", "Can't see baby", "Cherry Ball",...), interspersed with Bud's famous - but somewhat unintelligible - jokes. A magical experience in the 110 F-heat and overwhelming humidity, out in the Mississippi backwoods! We ended up driving Bud back to Bentonia - he may be blind, but he could still direct us back! After this, the deepest of blues experiences, we drove to Indianola, hometown of BB KING, where we ended up staying two nights... August 2: This was the first real "blues sightseeing" day: With Indianola as our base, we drove first to MOORHEAD, to see the place and historical marker at the railroad tracks "where The Southern cross The Dog", as sung in 1903 by the unknown guitarist WC Handy first heard play the blues. Here we also visited the friendly, overfilled, and wonderfully atmospheric MOORHEAD COUNTRY STORE. Then we sought out (with some difficulty) the two ROBERT JOHNSON memorial headstones, one in MORGAN CITY at Mt. Zion Baptist Church (really moving atmosphere, beautiful location) and one in QUITO at the Payne Baptist Chapel. Following that, we went on to DREW, birthplace of POPS STAPLES, to visit the small but renowned music store MUSIC MART, run by blues enthusiast (and organizer of the annual Pops Staples Festival) MARVIN FLEMMONS. We stayed there for a long time talking both to him and his even more enthusiastic co-worker JAMES SEGREST, currently at work on his doctoral thesis on HOWLIN' WOLF - one of our own favorites! In the evening we couldn't find any live music (which happens mainly on weekends in the delta), but we drove to The CLUB EBONY, located across the railroad tracks in the "black" part of Indianola, the place where BB KING got his start and where he still plays an annual homecoming show. Here the motherly and lovely owner Mrs. MARY SHEPARD treated us to her great fried catfish, a juke box filled with mainly modern soul blues hits (many of which she insisted on playing us for free), and free posters from old BB King homecoming concerts, which she signed herself with her wise motto "It's nice to be important and important to be nice"! August 3: After stopping by in HOLLY RIDGE to visit the tombstone of CHARLEY PATTON, we arrived in CLARKSDALE, where the SUNFLOWER RIVER BLUES FESTIVAL was to be held for the next three days. We visited the STACKHOUSE DELTA RECORD MART and said hello to owner and festival arranger JIM O'NEAL (also author of our invaluable DELTA BLUES MAP KIT) before strolling two blocks up to the DELTA BLUES MUSEUM. Here, we sampled BOSS HOG's superb barbecue ("Tender as a mother's love" according to the ads) at the food demonstration outside, before taking a stroll through the nice museum exhibition,... and its small book/record store of course! August 4: Due to heavy rainfall, the festival program was delayed before the show eventually was moved inside. We therefore had time to go to TUTWILER to visit SONNY BOY WILLIAMSON II's grave, to donate a harmonica there, and then go see the marker at the railroad station where WC Handy first heard the blues in 1903... At the grave we also met CURTIS HEWSON of "Blue Highway" WWW fame, with two friends whose names I never did catch. Curtis, we still owe you and your friends some beers! The early show of the festival was held inside the Delta Blues Museum and included the unknown MONROE JONES (pure anarchy, quite awful to my ears), JOHNNIE BILLINGTON & THE MIDNIGHTERS (wonderful BB-like guitar from Mr. Billington, and great enthusiasm from the kid band he has been tutoring), and JOHN 'SO BLUE' WESTON (fine, though unspectacular, original country blues). After Weston we went to (the front row of) the THOMPSON THEATRE to catch the main part of the day's program. The show started with a fine set by the authoritative, Albert King-influenced BIG MACK ORR and his Chicago band. Then we were treated to a solo set by CLAYTON LOVE (who sang his jazzy blues very Ray Charles-like and soulful, but should have had a proper-sounding piano, not that synthetic clavinet sound he favored). Next came a tight and funky soul blues set by THE WESLEY JEFFERSON BAND with local favorite JAMES "SUPER CHIKAN" JOHNSON, followed by great traditional 50s Chicago blues from the one-legged veteran harp player WILLIE FOSTER, who was backed by the ultra-tight Indianola band LADIES' CHOICE and featured a guest appearance by LITTLE BILL WALLACE - a powerful blues shouter, although an extremely simplistic guitarist. Of course, the best was saved for last, and CHARLIE MUSSELWHITE and his top-flight band (including excellent guitarist Andrew Jones) presented their usual superb set - tight, , tasteful, exciting, heartfelt, varied. The highlight was the long version of his beautiful signature instrumental "Christo Redemptor" from his debut Vanguard album. After the "official" show, the RIVERMOUNT LOUNGE on Sunflower Avenue presented, once again, WILLIE FOSTER - blues incarnate - backed by LADIES' CHOICE, for an even better and more intense set than their first - partly because of the more suitable club atmosphere of course. He even made "Got my mojo workin'" sound great! There was also a young white - and quite good - female singer dueting with Mr. Foster, but her name escaped us. Then, when what seemed like a very drunk LITTLE BILL WALLACE once again was brought on stage, things deteroriated completely, with a lot of sound problems and fumbling about. August 5: Finally, the sun broke through, and the acoustic early show could be held on the lawn outside the Delta Blues Museum. After a very tentative start by 81-year old debutant (!) GEORGE WASHINGTON JR., who had a lot of tuning problems and seemed moody and nervous, the excellent SI PERRY came on with his intense, original, archaic-sounding blues, reminding us somewhat of Lightnin' Hopkins and Robert Pete Williams. Then Son Thomas' son, PAT THOMAS, followed with a not-too-impressive, somewhat derivative and insecure set, before the next octagenarian, legend EUGENE POWELL (aka Sonny Boy Nelson) was introduced. Looking fit for his age, but understandably somewhat stiff-fingered, he performed a nice set in the relaxed, John Hurt-like fingerpickin'/songster tradition. Following Powell was the extremely impressive EDDIE CUSIC, the man who gave Little Milton his first gig some 45 years ago. He boasted the most powerful, shiver-inducing voice of the day and played loud, rhythmic, hypnotic guitar on a great selection of Delta standards, including "Catfish blues". Only a true virtuoso could follow this, and happily LONNIE PITCHFORD is just that. This "all around man" and Rooster recording artist has the technique, the enthusiasm (he was everywhere where there was music, it seemed, during the festival), the charm, and the charisma to make it big. His set included both original material and fine versions of Robert Johnson and Jimmy Reed tunes. Jimmy Reed, btw, seems like a "secret hero" of the delta - so many are performing his songs! (The not-so-secret hero is of course ZZ Hill, whose "Down home blues" was delivered in what felt like about 20 versions during our stay in Mississippi... The last acoustic performers of the day were our old friends from Bentonia, JACK OWENS & BUD SPIRES, who played and sang an intense hour-long set, musically in fact better than the "front porch" performance we witnessed. The years may have taken their toll on Jack's voice, but their music can still be extremely moving and the communication and inter-reliance between the two is a wonder to behold, as is Bud's rapport with the crowd and his intuitive understanding of when it's time to substitute for Jack on vocals when the old man gets worn out. Finally, OTHAR TURNER's FIFE & DRUM BAND led us all in a procession off the lawn with their energetic, African-sounding dance rhythms, before entering the back of a truck and driving off, still playing. Inbetween sets, we spoke to and had our pictures taken with CHARLIE MUSSELWHITE - a great guy as well as a wonderful musician - and legendary promoter/photographer/writer/etc. DICK WATERMAN, whom we were introduced to by our friend James Segrest from Drew. Mr. Waterman told anecdotes, pointed out notable blues people in the audience, and generally shared his vast blues knowledge with us - it was a real treat! In the evening, at the Railroad Depot Stage, we missed the acts prior to the much-awaited set by vocalist/harp player FRANK FROST & drummer SAM CARR and their band. These two veterans played a tight, swinging, satisfying set, with Frank looking fit, relaxed and happy and playing good harp, and Sam's simple, effective drumming driving the music relentlessly onwards. The closing act, after a brief intermission by LONNIE PITCHFORD once again, was the heroine of the chitlin' circuit, MS. DENISE LASALLE and her band. Hers was the only set during which the crowd was completely dominated by black people - an interesting cultural phenomenon. Among today's southern blacks, the soul blues of Malaco and Ichiban seem to be THE blues, - and Denise was received as a true queen. She responded with a raunchy, humorous, energetic set filled with her usual "raps" on love and infidelity. Great entertainment! After the official show we ended up once again at The Rivermount Lounge, where Johnnie Billington, Clayton Love, Sam Carr and various other musicians held court for a small crowd. Lonnie Pitchford, I'm told, was also there, and I think we even spoke to him. The memories from this night are, however, rather unclear for some of us at least... Btw, did I mention that the festival was co-sponsored by Colt 45 Malt Licquor? Part 3 follows... -- ****************************************************** * Geir E. Oien * * Associate Professor * * Rogaland University Center * * Department of Electrical and Computer Engineering * * Signal Processing Group * * P. B. 2557 Ullandhaug * * 4004 Stavanger * * NORWAY * * E-mail: oien@hsr.no * * Office phone: +47 51 83 20 58 * * Home phone: +47 51 53 36 61 * * Fax: +47 51 83 17 50 * * WWW: http://www.hsr.no/~oien * ****************************************************** ========================================================================= Date: Tue, 19 Sep 1995 09:50:31 GMT From: Geir OEien Subject: NORWEGIAN BLUES TRIP REPORT pt. 3 (of 4) PART 3: Oxford/Holly Springs + Memphis + Helena *********************************************** August 6: This was the Sunflower Festival's gospel day, which we would have liked to attend, but we finally decided to move on in order to catch JR. KIMBROUGH's HOUSE PARTY up north in HOLLY SPRINGS instead. After phoning Fat Possum Records to ensure that Jr.'s Place would be open, and phoning TOM FREELAND (whom we - of course! - met via blues-l) in OXFORD to ask him if he would like to take us there (which he would, thankfully!) - we drove to Oxford. The first person we ran into at the wonderful bookstore there, SQUARE BOOKS, was... Charlie Musselwhite!!!... this time with his wife, Henrietta. Charlie, looking somewhat startled to see us, was there to visit relatives. We told him that we were going to Jr's and afterwards to Memphis, upon which he told us to go give his and Henrietta's greetings to JUDY PEISER at the CENTER FOR SOUTHERN FOLKLORE on Beale Street. Following this nice meeting, we had dinner at SMITTY'S just around the corner before going one block down to the local art gallery to meet Tom Freeland and his wife, Deborah. There was to be a reception there in conjunction with the International Elvis Presley Conference staged at the University of Mississippi the same week. We sat there enjoying a relaxed jazz/blues set from members of BB KING's band when Tom and Deborah arrived. Half an hour later, an impressive limousine with "GATEMOUTH" printed on its plates drove up, and out strode blues shouter/preacher legend GATEMOUTH MOORE, looking about 20 years younger than he probably ought to. He proceeded, backed by the BB King Band members, to get the place jumping and dancing with a selection of great and powerfully sung blues/R&B standards - as well as delivering a veritable and very entertaining (though not always very reliable - he didn't REALLY write "Going down slow" did he? And is he old enough to have known IDA COX too well?) "secular sermon" between songs. Later at the reception, we again met Dick Waterman, who lives and works in Oxford and is also a friend of Tom's. We chatted with him for a while, encouraging him to come to Jr's Place with us, which he unfortunately didn't. Finally, around 9 pm, it was time to drive up to Holly Springs, and we followed Tom and Deborah's car (while listening to Tom's Memphis prewar blues tape) along lightless, spooky Mississippi roads until we came to a bend just packed with cars. The sound of raw, dirty, heavily amplified country blues guitar reached us as we approached the juke, around which both black and white people (several faces recognizable from the festival in Clarksdale) stood drinking, chatting, smoking, just having a good time. The atmosphere turned out to be very friendly and relaxed - and the heat and humidity like nothing we had experienced before! Tom took us to greet his friend Junior himself, while sons, relatives and friends of the Kimbrough and Burnside families kept the pounding, down home blues music going. The musical constellations changed all the time, - before the night was through we had seen Jr's son DAVID MALONE both sing, play guitar, bass and drums - all great; GARRY BURNSIDE play - maybe even greater - bass and drums; DWAYNE BURNSIDE play razor-sharp solo guitar... and of course JR. himself, with his loud, trance-inducing, hypnotic, floating, undescribable one-chord "cotton-patch" blues. The greatest surprise was maybe David Malone, though, who really impressed us with his complete commitment to his performance, and by managing to sound somewhat simultaneously like Hound Dog Taylor, Led Zeppelin, and Prince!!! His encore of the latter's "Purple Rain" still reverberates in the ears. At Jr.'s we also met again some nice folks we had first met in Clarksdale - JOHN STURM and DAVE MARKOVITS from Chicago. We got their phone number so that we could give them a call when we arrived in The Windy City - more of which later. We returned to our hotel at about 2 am, completely exhausted, scraping our soaked clothes off our weary bodies - and jumping right into the outdoor pool... wonderful. All in all this was a night not easily described - pure magic! August 7: Before leaving Oxford for Memphis, we visited UNCLE BUCK's RECORD STORE at the town square, and drove up to the University of Mississippi campus to visit the BLUES ARCHIVE, and the place where Living Blues is produced. At the archive we were greeted warmly by the curator Mr. KOMARA (whom we first met in Clarksdale) and shown around and explained about the archive's activities - very interesting. Much of what was once JIM & AMY O'NEAL's and BB KING's record collections can be found here - plus books, magazines, videos, memorabilia of various sorts. Too bad browsing is not allowed! Upon reaching Memphis a little more than an hour later, the first thing we sought out was, of course, legendary "home of the blues" BEALE STREET. Beale today, though, to us, has a somewhat peculiar and hollow "movie scene" feel - it looks (and is) so well-scrubbed, clean, new,... and the atmosphere is not all it should be; at least this first evening we felt a bit detached from it all, uncomfortable, unsafe, threatened almost - especially after the wonderfully "homey" feel of Mississippi. Musically, we also had our first real disappointment here; in BB KING's BLUES CLUB we saw guitarist/singer LITTLE JIMMY KING perform a lifeless, polite, almost muzak-like set of what sounded like blues-influenced easy-listening. He does have talent, but this was not the time or place for him. The club itself was very "upscale" but nice, with fine food - better gumbo than in New Orleans! August 8: Our first stop of the day was SUN STUDIOS, which runs a nice museum and provides a guided 30-minute "tour" of the studio (i.e. of one small room!), in addition to continuing its recording activities. Its story is fascinating and a visit is definitely recommended. Feeling CD shopping abstinence coming on, we next sought out a record store, SHANG-RI-LA records, for a quick fix, before going back to Beale to visit The CENTER FOR SOUTHERN FOLKLORE. This combined museum-record store-book store- educational center-folk art shop is managed by JUDY PEISER, who we gave Charlie Musselwhite's greetings as promised, only to learn that Charlie and Henrietta had been in there just before us! At this point we started to feel like the nemesis of Charlie's life, the fans he never could get away from... This evening saw a definite rise in musical standards: At the cozy RUM BOOGIE CAFE on Beale we saw JAMES GOVAN with the BOOGIE BLUES BAND (the club's house band). Govan is a great, though obscure, deep southern soul singer in the Otis Redding tradition - and he went through as strong a collection of 60s soul classics from the vaults of Stax and Atlantic as you could wish to hear. His heart-stoppingly beautiful and intense version of "When a man loves a woman" was the stunning highlight of an impressively soulful set. August 9: No visit to Memphis is complete without a tour of GRACELAND - and this was our touristic experience of the day. To sum it all up, it was both more entertaining and much more moving than (at least some of us had) feared. The tours are extremely commercially, effectively, and professionally done, but in a strange way the visit still adds to your respect and compassion for the man rather than diluting it. Leaving Graceland we drove back to The Center for Southern Folklore in the hope that we could catch one of veteran blues pianist MOSE VINSON's fairly regular performances there. According to Mrs. Peiser, Vinson (now 88 years old) wasn't feeling too good, but she phoned him up at home just to be sure, asking him to come play for us. At first he was reluctant, but then she let us speak to him ourselves. We said we were sorry that we couldn't see him and he said: "Well... maybe if y'all come get me, y'know..."...!!! Whereupon we drove off, following Mrs. Peiser's directions, to pick up Mr. Vinson in his house! He was waiting for us when we arrived, beaming and relishing the fact that we had "come all the way just to hear the old man play". Returning to the Center, he gave us 45 wonderful minutes of fluent boogie woogie and deep blues, throwing in piano "lessons" (taking us up to the stage, grabbing one of our fingers and using it to solo with while playing boogie patterns with his left), requests, jokes and stories. What a guy! August 10: Our last stop in Memphis was the BEALE STREET BLUES MUSEUM, which nicely showcases the history of the blues through both visual and aural exhibitions. Heading back down South, we then set off to HELENA, ARKANSAS - and boy, it felt good going into delta country again! On the way we stopped to view the TUNICA MOTEL, as besung by Tony Joe White on his "Closer to the truth" album. Yes - it really exists! Arriving in Helena, home of the KING BISCUIT BLUES FESTIVAL in October, we first stopped by the Helena bridge to perform the religious act of washing (or rather soiling!) our hands in the mighty Mississippi river, before we went downtown and sought out the superb record store BUBBA'S BLUES CORNER and its owner Bubba SULLIVAN - president of The Sonny Boy Blues Society. He helped us find a very nice and cheap motel, The Delta Inn in West Helena, as well as selling us some great records. The rest of the day was then spent relaxing by the pool and eating far too much pizza. August 11: By a nice coincidence, The Sonny Boy Blues Society this night was staging a concert at their regular venue THE SONNY BOY BLUES HALL, by one of our favorite live blues bands, ANSON FUNDERBURGH & THE ROCKETS feat. SAM MYERS. Of course they gave, as always, a very fine show - Anson is THE best white blues guitar player to these ears! Bubba Sullivan had a table reserved for us close to the stage, and through SONNY PAYNE (see below for how we met him) we were also personally introduced to Mr. MYERS, who has been a regular visitor in Norway for almost two decades now, and who was as impressive and dignified (and nice) in person as he is on stage, only much younger-looking than we had expected! We also bought the band's new live CD, autographed by ANSON and SAM, and we met the press photographer (and co-arranger of the Sunflower festival) PANNY MAYFIELD from Clarksdale, who engaged us in dancing and took our picture - which we still hope she'll send us... Earlier in the day we had already had a couple of other nice experiences: At 12 a.m. we showed up at the DELTA CULTURAL CENTER in downtown Helena, where the legendary more-than-40-year old radio show KING BISCUIT TIME is still broadcast on 1360 AM, each weekday 12.15 a.m. - 12.45 a.m. by its original DJ, SONNY PAYNE. Upon hearing that we were Norwegian blues fans come to visit him, Mr. Payne immediately decided to interview us as part of this day's show (which incidentally was broadcast number 12305). We got to talk about our blues interests and had played our request as the show's opening song ("Mighty long time" by the show's legendary house musician SONNY BOY WILLIAMSON II). Sonny seemed particularly impressed that two of us first got interested in the blues via LIGHTNIN' HOPKINS instead of the more usual Muddy, BB etc. After the broadcast, we visited the music store GIST MUSIC, just a couple of blocks down the street, where Sonny Boy used to buy his harps and where he once turned one in because he didn't like it - it is now in the Blues Archive in Oxford. We spoke to MRS. GIST, a lovely old lady who, when she heard that we came from so far away and why we were there, reminisced about Sonny Boy, and insisted on playing for us - and giving us gifts in the form of - old 45s of children's music and comedy music - including "Jingle Bells" sung (or rather barked) by.... DOGS! August 12: Since nothing musical seemed to go on in Helena this evening, we drove up to Clarksdale again to see if anything might be happening there. On the way we stopped by to see MUDDY WATERS' CABIN, now in complete ruins, on STOVALL's PLANTATION. However, upon arriving in Clarksdale, it turned out that nothing musical was going on there - on the contrary, we were advised at Stackhouse to go back to Helena because FRANK FROST and SAM CARR might be giving a show at Frank's girlfriend's place, EDDIE'S CAFE. As it turned out, they didn't, because Sam never showed up - but we got to speak to Frank, who sat relaxing outside the cafe. The rest of the evening was spent at the banks of the Mississippi, gazing at the surroundings, being bitten by mosquitos, getting drunk on atmosphere, moonlight, bourbon, and beer.... August 13: It being Sunday again, we decided to give JR's PLACE another shot, this time based in Holly Springs instead of Oxford. After a stop at the Lady Luck Casino on the Mississippi side of the river bank to spend some money, we drove northoeast through Tunica, Senatobia, Como, etc. up to Holly Springs, stopping by at Jr's Place in the daytime to assure ourselves that it was going to be open - which it was. We were hoping to catch RL BURNSIDE there that evening - but as it turned out, the last notes of what seemed like it had been a great set by RL died out just as we got out of the car outside the joint, at around 9.30 pm...! We got to talk to him though - what a nice and friendly and humble guy! -, and tell him how much we appreciated his music - but we couldn't convince him to go back on stage. However, we DID get much good music by David Malone, who greeted us like old friends, by Junior himself, and various others - and the atmosphere was even more "homey" this time around - but some of the magic of Junior's music was diluted by the fact that there were some young white "outside" musicians - including a slide player - who sat in with the band. Although fine musicians, they just served to remove the focus and a bit of the power of the music - which seems to rely on the almost telepathic knowledge the "regulars" have of each other. Anyway, we had a fine night once again, although the some of the magic of the first visit was missing. Part 4 follows... -- ****************************************************** * Geir E. Oien * * Associate Professor * * Rogaland University Center * * Department of Electrical and Computer Engineering * * Signal Processing Group * * P. B. 2557 Ullandhaug * * 4004 Stavanger * * NORWAY * * E-mail: oien@hsr.no * * Office phone: +47 51 83 20 58 * * Home phone: +47 51 53 36 61 * * Fax: +47 51 83 17 50 * * WWW: http://www.hsr.no/~oien * ****************************************************** ========================================================================= Date: Tue, 19 Sep 1995 09:51:32 GMT From: Geir OEien Subject: NORWEGIAN BLUES TRIP REPORT pt. 4 (of 4) PART 4: Chicago *************** August 14: Leaving Mississippi - the place where we felt most in tune with the blues on the whole trip - felt sad, but Chicago was waiting for us! We managed to reach the tiny and sleepy community of RANTOUL, Illinois (where everything seems to close at 9 pm!) on this "transport" day, which also included being stopped by the police for driving at 77 mph in a 65 zone.... and being let off the hook with only a warning! August 15: Checking in at our downtown hotel on West Ohio Street, we immediately felt comfortable in Chicago, which felt much nicer and safer than Memphis had done (although I suppose this does NOT hold for the South and West sides...?). The first thing we did was visit Delmark boss Robert Koester's famed JAZZ RECORD MART ("The world's largest jazz and blues store") just 3 or 4 blocks away - 8000 square feet of jazz and blues records!!! It was an expensive visit, but worth it... In the evening we wanted to see ROBERT CRAY at The NAVY PIER, but the show was sold out. Instead we started out at BLUE CHICAGO with probably the worst music of the whole trip - THE GLORIA HARDIMAN BLUES BAND. What a disappointment - no voice, no blues feeling, nothing! We moved quickly on to the sister club some blocks away (covered by the same ticket), BLUE CHICAGO ON CLARK, where Earwig recording artist ARON BURTON held court, along with a young white guest singer, LIZ MANDVILLE GREESON. Although Aron clearly held back, complaining about the heat (which to Mississippi-tuned bodies wasn't really that bad), it was a quite nice show of mainly traditional Chicago blues, especially on the songs that allowed Liz's powerful voice (somewhat Janis Joplin-like) to really soar. August 16: Unfortunately for our wallets, we found our way to TOWER RECORDS, where the CDs turned out to be plentiful, cheap - and way too tempting to resist! The blues section was extremely impressive, especially considering that this is a "nonspecialist" shop. In the evening, we ventured out of the "established" downtown clubs, to catch harmonica virtuoso SUGAR BLUE and his band at his regular gig at ROSA'S. Although we had heard in advance that the club was situated in a neighborhood where "even the rats wear armor", we found it to be very nice, friendly, and atmospheric. Sugar Blue put on an amazingly energetic and virtuosic show, only marred by the too loud sound system, and a distinct tendency to overplay - to fill every possible air pocket with the sound of his lightning-fast harmonica arpeggios. That said, his technique, imagination, and stamina was a wonder to behold - as he did both original numbers and quite re-arranged/modernized versions of classic blues songs such as "Back door man". His band was good, especially the left lead guitarist MOTOAKI MAKINO - and there were nice guest spots by impressive singer/guitarist SAMMY FENDER, veteran bass player BOB STROGER (looking fit and relaxed), last seen in Norway with JIMMY ROGERS some years ago -, and vocalist KATHRYN DAVIS. August 17: This night we finally got to meet our old acquaintance JOHN STURM (whom we first met in Mississippi) again. John met up with us at BLUES ETC to see MAGIC SLIM & THE TEARDROPS. There was disagreement in the group about the quality of this show - some felt it to be very boring and monotonous, while others were won over by the rolling, hypnotic shuffle rhythms, gruff vocals and raw guitar playing. Guitarist JOHN PRIMER and the band played without Slim for about 1 1/2 hour before the big man came on - which definitely was too long. Powerful vocalist BIG TIME SARAH guested on an intense "Hoochie Coochie (Wo)man" - while ROOSEVELT "BOOBA" BARNES, whose burning (really!) eyes could be seen in the audience, unfortunately never got to play with the band. He got, fittingly enough, a Howlin' Wolf tune dedicated to him though. We left, on John's recommendation, after the first set by Slim, to catch the last of WILLIE KENT & THE GENTS featuring BONNIE LEE at BLUE CHICAGO. What we heard was fine soulful West Side-styled blues, with especially impressive vocals by Bonnie. However, the ambience of, say, Rosa's, simply isn't there at places like Blue Chicago. August 18: Having agreed the night before to meet up once again with John and his friend "DISCO" DAVE MARKOVITS on this, our final night in the US, we had some nice beers in an ale house and at a German-American restaurant downtown, before going to Dave's apartment to listen to some blues records... and have some more beers. Dave played an extremely impressive CD by MAXWELL STREET JIMMY DAVIS on Wolf (which prompted two of us to go buy it at Jazz Record Mart the next day!). We then set off to BUDDY GUY'S LEGENDS to catch what we hoped was to be the musical highlight of our stay in Chicago: JUNIOR WELLS. The place was packed already, as we arrived quite late - and our view and chances of hearing properly were small because of this. Junior, dapperly dressed and thin as a rake, presented a show with heavy leanings towards funk, with a fine horn section but, sadly, not too much harp. He seemed in good shape but there was a bit of a shallow "show" feeling to it all, more than a blues feeling - even a fine, sloooow version of his classic "Hoodoo man blues" couldn't disguise that fact. This may have something to do with the actual venue, which isn't exactly intimate. After the first set we had had enough of standing in the midst of the tightly packed crowd, and we went down, once again, to BLUE CHICAGO, to see the final minutes of "THE CHIEF" EDDY CLEARWATER's set, which unfortunately seemed empty (as did the club) and boring at this point. Oh well, you can't be right EVERY time... August 19: Time to GO HOME!!! Sad, but inevitable.... To sum up, our trip was, if anything, even more successful - fun, exciting, educational, music-filled, and blues-approved - than we had any reason to expect. We wholeheartedly recommend similar trips to all of you out there who REALLY love the blues and the culture from which it springs! And that's everybody, right? Thanks for your attention and patience! Greetings to all blues-l'ers from PER ARNE (per.hansen@nbl.sintef.no), ROLAND (roland.kruse@efi.sintef.no), TOR ARNE (tor.a.reinen@delab.sintef.no), and GEIR (oien@hsr.no - main author of the above report). PS. To finish off, here is our private "Top 5" out of all the record stores we visited in the US: 1) Waterloo Records, Austin 2) Jazz Record Mart, Chicago 3) Tower Records, Chicago 4) Bubba's Blues Corner, Helena 5) Antone's Records, Austin Honorable mentions: Tower Records, New Orleans and Uncle Buck's Records, Oxford. All in all, the average number of CDs bought by each of us was about 45... Btw, the whole trip, including airplane tickets, accomodation, car rental, food and drink, concert tickets, CD shopping and so on, cost us about 5000 USD per person... and it was worth it! DS. -- ****************************************************** * Geir E. Oien * * Associate Professor * * Rogaland University Center * * Department of Electrical and Computer Engineering * * Signal Processing Group * * P. B. 2557 Ullandhaug * * 4004 Stavanger * * NORWAY * * E-mail: oien@hsr.no * * Office phone: +47 51 83 20 58 * * Home phone: +47 51 53 36 61 * * Fax: +47 51 83 17 50 * * WWW: http://www.hsr.no/~oien * ****************************************************** ========================================================================= Date: Tue, 19 Sep 1995 06:50:56 -0400 From: Stew Crossen Subject: Black Top Record Sale I spoke to Heather West at Black Top yesterday (9/18). She told me their office is overflowing with orders from their record sale. It'll take a while to fill'em, so if you ordered, hang on. Heather may get to by a computer and go online! Beef Stew WHUS Radio ========================================================================= Date: Tue, 19 Sep 1995 07:00:05 -0400 From: Stew Crossen Subject: 1996 Blues Calendar First, let me say that I am not affiliated with the Tucson Blues Society, nor do I make any gains from this post. The Tucson Blues Society is offering its 9th annual, 1996 Blues Greats Calendar. It is a well done 12 month calendar with superb cover and monthly photos. It also offers over 1100 birthdates and important event dates. I have hung their calendars next to my desk and enjoyed them greatly. And its very inexpensive. Hefty quantity discounts are offered. Tuscon Blues Society - PO Box 30672 - Tucson, AZ 85751 Beef Stew WHUS Radio ========================================================================= Date: Tue, 19 Sep 1995 07:14:12 -0400 From: Stew Crossen Subject: Portland Blues? Anybody from or near Portland, OR? How about your blues scene? I recently interviewed Kelly Joe Phelps (Vancouver, WA) and Terry Robb (Portland). Both have discs on Burnside Records (Portland). IMHO, both disc are wonderful. Kelly Joe is a marvelous acoustic guitar player, very rhythmic, sounds like two players! Album is "Lead Me On." On his fifth album, "Acoustic Blues Trio", Terry covered 13 standard and obscure blues tunes (Blind Blake, Rev Gary Davis, Son House, Muddy Waters). Terry was John Fahey's producer for over a decade. Now, Terry just might be one of the top pickers in the nation! Duffy Bishop also recorded for Burnside, Kinda Janis Jopinlish. Album is "Bottled Oddities." For What It's Worth Beef Stew WHUS Radio ========================================================================= Date: Tue, 19 Sep 1995 08:40:18 -0400 From: "David L. Prychitko" Subject: Re: C.J. Chenier's guitar player His name is Harry Hypolite. Currently plays for C.J., but also played for five years in Clifton Chenier's Red Hot Louisiana Band. Hope that helps. Dave Prychitko ========================================================================= Date: Tue, 19 Sep 1995 08:54:39 -0400 From: "David L. Prychitko" Subject: What about a monthly Blues-L Radio Top Ten? Here's a thought (in light of the posting of blues radio playlists): Would folks on this list be interested in some sort of Blues-L radio top ten, say once a month, gleaned from the playlists of deejays on Blues-L? If most of the deejays here already report to LIVING BLUES or HARD REPORT, it would just be a matter of emailing your list to "somebody" (I might volunteer for a while) here on Blues-L. There may be drawbacks, however. Most notably, if only a small number of us participate, such a top ten list won't be meaningful. Also, if our shows are quite heterogeneous, it might be difficult to come up with a "top" ten. "Southside" Dave Prychitko Blues 101 88.9 FM WNYO-Oswego (upstate NY) Saturdays 9:00am-Noon ========================================================================= Date: Tue, 19 Sep 1995 09:14:44 EDT From: Toby Levy Subject: SITTING AND THINKING: Sonny Rhodes - The Blues is My Best Friend SONNY RHODES / THE BLUES IS MY BEST FRIEND (KING SNAKE #022) KING SNAKE RECORDS 205 LAKE BLVD SANFORD FL 32773 There are several reasons why Sonny Rhodes is unforgettable. The first is the turban he wears on stage. Another is the custom made Hawaiian lap steel guitar he plays so wonderfully. But Sonny is also graced with a gritty, emotional voice he uses to sing his catchy songs, many of which are Sonny Rhodes originals (Sonny wrote eight of the thirteen songs on this cd). Mr Rhodes is another of the endless list of great Texas Blues guitarists, who began his professional career playing bass for Freddie King and Albert Collins. After moving to California in the early 60's, he hooked up with fellow Texan L.C. "Good Rockin'" Robinson, who taught him to play the lap steel guitar. Sonny dedicates this CD to Albert Collins, who had just died at the time the CD was recorded. STAND BY ME / THANK YOU, LORD / THE BLUES IS MY BEST FRIEND / WHAT I DON'T SEE CAN'T HURT ME / PUT THE SHOE ON THE OTHER FOOT / RIGHT AROUND THE CORNER / TRYING TO MAKE A COMEBACK FOR MYSELF / PRESIDENT CLINTON / I JUST CAN'T STAY / CRAZY FOOL BLUES / ONE MORE DRINK / CAN'T LET YOU GO / THE LETTER SONG (S-Y-S-L-J-F-M) NY CD-Takes STAND BY ME: A great soul classic opens the CD. Sonny's voice is ideally suited to this kind of musical pleading. The legendary rhythm and blues tenor sax player Noble "Thin Man" Watts takes a moving solo here. THANK YOU, LORD: Sonny gives thanks for being a bluesman and thanks the lord for all the legendary blues men he has known. The horn section gives this uptempo Rhodes original a real "good time" feeling. THE BLUES IS MY BEST FRIEND: The title track is a wonderful slow blues in the style of Albert King. On this original tune, Sonny shows just how much he knows about playing a "regular" lead guitar. The solo in this number is nothing shot of breathtaking. WHAT I DON'T SEE CAN'T HURT ME: Back to a soul groove. Here Sonny gives just a taste of the delicious slide guitar he is to play for much of the rest of the CD. PUT THE SHOE ON THE OTHER FOOT: Now the slide guitar takes the forefront in a medium tempo blues. You've never heard a slide guitar played this way before. The notes of Sonny's solo, rain down like drops of honey on your ears. RIGHT AROUND THE CORNER: Step on it to solid uptempo here, lap steel wailing, in a number that Howling Wolf would have loved to sing. "I can get to my baby's house fifteen different ways," Sonny sings, and yet she lives just around the corner! TRYING TO MAKE A COMEBACK FOR MYSELF: Another soulful slow blues. Howard Resnick's piano playing is especially pretty here. And it almost goes without saying that Sonny's slide guitar solo is to die for. PRESIDENT CLINTON: No matter what your political persuasion, the Elmore James groove is infectious. Sonny thanks The Lord in the first number on this CD, and here he thanks The President. Makes sense to me. The only thing that bothered Sonny was that when Clinton played Saxophone on TV "I didn't hear [him] play no blues." I JUST CAN'T STAY: This is a great cover of Mark Naftalin's sad sad slow blues. The horns sit this song out and Sonny fills the air with magnificent slide guitar. CRAZY FOOL BLUES: This is a medley of Percy Mayfield songs. Mayfield was known as "The Poet of the Blues." Rhodes weaves pieces of several songs together to tell the story of a man whose woman has done him wrong. Sonny moves back to a "regular" lead guitar for this number. ONE MORE DRINK: "Give me one more drink, woman, and I won't drink no more!" Yeah, sure, Sonny. In a straight ahead rocking blues Sonny decries the evils of demon rum. CAN'T LET YOU GO: Another rocker, but this time Sonny switches back to the slide guitar. And in this number it is his woman doing the drinking, one night coming home drunk "wearing nothing but panty hose." Now there's an image to ponder! THE LETTER SONG (S-Y-S-L-J-F-M): The letters stand for "Save Your Sweet Loving Just For Me." Bob Greenlee, the album's producer and owner of King Snake Records, plays bass and baritone sax on the final song of this powerful CD. About halfway through the number Sonny shouts "I like this song!" There will be few if any dissenters. Reviewed by Toby Levy Copyright NY CD Blues - 1995 ========================================================================= Date: Tue, 19 Sep 1995 07:26:41 -0600 From: Jessica Jones Subject: Bleecker St. NW Tour Bleecker St. will be touring the northwest in early Oct. from Montana through Seattle, Portland and Eugene. For tour dates and venues, e-mail me at jessicaj@spot.Colorado.edu. ========================================================================= Date: Tue, 19 Sep 1995 08:38:01 -0500 From: Bruce Roberts Subject: Allison At Antone's Luther Allison is going to be at Antone's on Oct. 13. If any of you Texas Blues-Lers are planning on going, let me know. Its going to be a great show. Bruce Roberts Austin, TX PS - This is also for all you local lurkers (Kevin I know your out there!). ========================================================================= Date: Tue, 19 Sep 1995 07:41:48 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Slide guitar strings Kicking Mule Records used to sell a set of strings they called their Bottleneck Blues Set. These were basically D'Addario Bronze lights with a .020 unwound G string. I've used them for the last 15 years or so on all my acoustics and like them alot. I'm not sure if they still sell them. the last number I have for Kicking Mule is (707)926-5312. Jim Smith >> william higdon writes: >> In Stefan Grossman's video on slide guitar (which I picked up this >> weekend and am delighted with) he suggested using an unwound g string, >> which makes some sense to me. My question is do I replace a wound >> string of size .025 with an unwound string of the same size? > >You can, but you don't need to use the exact same size. You will notice a diffe >rence just as you do when you switch between >acoustic guitar (which traditionally use wound G's) and electric (which don't). > Try buying a few single stings around the size of your >current G string and see what works for you. > >For an example of how to size unwound strings, look for acoustic strings made fo >r Dobro or Lap Steel guitars. They usually have as >few wound strings as possible. If your local stores don't carry them, call Elde >rly Instruments (517-372-7890) or Mandolin Brothers >(718-981-3226) and ask for a copy of their acoustic instrument catalog. > >You could use a flat-wound G string, but you would probably notice a difference >in tone. Flat wounds tend to be a little less bright >which is one reason jazzers love them. > >Or, just don't worry about it! Most of the slide players I see using plain 3rds > are either playing lap style or electric. There is a subtle >difference between slide on a wound and unwound 3rd, but most country blues play >ers never really bring it out. > >Keep on slidin'! > ========================================================================= Date: Tue, 19 Sep 1995 08:49:45 CDT From: L W Subject: Re: Slide guitar strings ----------------------------Original message---------------------------- >Kicking Mule Records used to sell a set of strings they called their >Bottleneck Blues Set. These were basically D'Addario Bronze lights >with a .020 unwound G string. I've used them for the last 15 years >or so on all my acoustics and like them alot. I'm not sure if they still >sell them. the last number I have for Kicking Mule is (707)926-5312. IMveryHO That's way too light for slide playing. The G on my guitars go from 24 to at least 26 (I think I even used a 29) That's my prefernce, I wouldn't recommend light strings on any guitar LW "A matter of taste, but heavier strings make a big difference for ME' >few wound strings as possible. If your local stores don't carry them, call Elde >rly Instruments (517-372-7890) or Mandolin Brothers >(718-981-3226) and ask for a copy of their acoustic instrument catalog. > >You could use a flat-wound G string, but you would probably notice a difference >in tone. Flat wounds tend to be a little less bright >which is one reason jazzers love them. > >Or, just don't worry about it! Most of the slide players I see using plain 3rds > are either playing lap style or electric. There is a subtle >difference between slide on a wound and unwound 3rd, but most country blues play >ers never really bring it out. > >Keep on slidin'! > ========================================================================= Date: Tue, 19 Sep 1995 09:58:22 -0400 From: Jim McGlynn Subject: R.L. Watson & Josiah Jones (was: Acoustic Blues) Denise Tapp wrote: >Just this morning, I was listening to the 1969 double LP known as >"Memphis Swamp Jam." (I believe Arhoolie has released it on CD under >another title recently.) Anyway, most of the stars are long gone, but >the Side D finale act is still around. In fact, one of them lurks on >this list. > >R.L. Watson and Josiah Jones perform three songs together, and I've >seldom heard finer acoustic blues picking. Now if either or both of >those guys could be rounded up for a festival, you'd have a great show. Whoa! I asked here last year about these guys and got no response. Are you saying that one of these gentlemen (described as "elderly" in the 1969 liner notes) is lurking on blues-l? I'm a little confused. Their three cuts on "Memphis Swamp Jam" (re-released on Arhoolie as "Kings Of Country Blues, vol.2)," are brilliant examples of acoustic duo guitar. "Memphis Rag" and "St. Louis Blues" are great; "Praying On The Old Campgrounds/Lonesome Blues" is absolutely breathtaking. This is music I've wanted more of for 25 years. Please, if anybody knows of other available material by them, please lemme know. This stuff is stone magic. Jim -- ========================================================================= Date: Tue, 19 Sep 1995 14:32:02 GMT From: marc borms Subject: KebMo lyrics Yes, I know there is a "lyrics" newsgroup. But they can't help me. Probably nobody in there who listens to fine music ;-) I'm looking for the lyrics of Keb'Mo's first ( the one and only ) CD named "Keb'Mo", and esp. the song "Victims of comfort". My English isn't that good to understand ev'ry word of the song. Those who own this cd and are willing to write it down.... thanks, thanks, thanks. embee. ps. Please reply by email. Tabs are very welcome too. ========================================================================= Date: Tue, 19 Sep 1995 10:57:34 -0400 From: Kenneth Michael Peskin Subject: Re: KebMo lyrics On Tue, 19 Sep 1995, marc borms wrote: > Yes, I know there is a "lyrics" newsgroup. > But they can't help me. > Probably nobody in there who listens to fine music ;-) > > I'm looking for the lyrics of Keb'Mo's first > ( the one and only ) CD named "Keb'Mo", > and esp. the song "Victims of comfort". > > My English isn't that good to understand > ev'ry word of the song. > Those who own this cd and are willing to write it down.... > > thanks, thanks, thanks. > > embee. > There is a Keb Mo "Boulevard of Blues Page" with all of his song lyrics at www.sony.com Go to "music", then "artists", then you will find Keb Mo. Though the page is rather difficult to navigate, the lyrics are there. ---kmp12@cornell.edu ========================================================================= Date: Tue, 19 Sep 1995 12:01:26 -0300 From: Rob Hutten Subject: Raise A Ruckus Tonight Doesn anyone know of any recordings of a hokumy song called "Raise a Ruckus Tonight"? There's a great version by the Mobile Strugglers on the "Blues Roots" cd, but I'm wondering if anyone else did it. The chorus goes something like C C7 F C Come along, won't you come along C G7 While the moon is shining bright C C7 F Fm (or something) Get on board, and down the river flow [go?] C G7 C We're gonna raise a ruckus tonight Thanks, -Rob ========================================================================= Date: Tue, 19 Sep 1995 11:08:33 -0400 From: Rick Miller Subject: Pretty Woman lyrics (NOT Gary Moore!!) Eric from Holland..... Dude, no offense, but please do your blues homework. I've met so many Gary Moore fans who think he wrote those songs. To me, they are badly overplayed versions of the classic originals. The song "Oh, Pretty Woman" covered by Moore was written at least 30 years ago by A.C. Williams and was made most famous by the late, great Albert King, in a recording from 1966. I really wish Gary Moore fans would take the time to listen to the great original versions of those songs he does. You might never put a GM cd back on the player again. Just my 2 cents worth, Eric. Riffin Rick (((( oo-) /- Pretty woman what's the matter with you? Can't make you love me, no matter what I do. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 19 Sep 1995 15:09:20 EST From: Jim Miller Subject: Jr Kimbrough's Place After reading the wonderful posts regarding the Norwegian blues' journey I found one of their experiences to be troubling. When I began reading articles (even in Newsweek!) concerning the vibrant blues scene in the Mississippi I concluded that if you want to see Jr Kimbrough's place and experience the real deal you better do it soon. My fear is that the place will be swamped with all kind of musicians wanting a little taste of glory so we can end up hearing Garry Moore type leads over "Fireman Ring the bell". Please if you are a musician on this list JUST GO VISIT because this is one of the last truly innovative areas going on in the blues today. I play in this style and when I go visit I still plan to keep my equipment at home! Because if you don't this could end up being just another homogeneous blues jam night typical of any U.S. city. ========================================================================= Date: Tue, 19 Sep 1995 11:28:00 EDT From: edward c liu Subject: S&T: Elvin Bishop/Ace In The Hole Howdy all, Welcome to the first NYCD Blues "Sitting and Thinking" CD review! ELVIN BISHOP / ACE IN THE HOLE (ALLIGATOR #4833) ALLIGATOR RECORDS BOX 60234 CHICAGO, IL 60660 It's easy to dismiss Elvin Bishop for a lot of reasons. As a founding member of the Paul Butterfield Blues Band, one could dismiss him along with the Allman Brothers' Band as just another Southern white boy trying to play the blues. One could dismiss him as a symbol of the excesses of 70's rock. One could put him firmly into the category of blues-rock, which seems to get demeaned and abandoned by both genres. One could dismiss him as a performer of strictly comedic, novelty songs. Or one could dismiss him because he just seems to be having far too much fun singing about drinking, fishing, and chasing women. It becomes a lot harder to dismiss Elvin Bishop when he picks up one of his cherry-red semi-hollowbody guitars and kicks you in the face with an over-the-top Elvin riff. Make no mistake -- underneath his tomfoolery, there's a tremendously talented and underrated musician. Ace in the Hole, his latest release from Alligator, provides plenty of Elvin's mix of country, blues, and rock-and-roll to produce nothing but 100% pure, Elvin Bishop fun. ANOTHER MULE KICKIN' IN YOUR STALL / DRIVING WHEEL / GIVE ME SOME OF THAT MONEY / ACE IN THE HOLE / PARTY 'TIL THE COWS COME HOME / THINK / HOME OF THE BLUES / PIGMEAT ON THE LINE / AIN'T THAT LOVE / FISHIN' / BLUE FLAME / TALKIN' MOOD / FOOLED AROUND AND FELL IN LOVE NY CD-Takes ANOTHER MULE KICKIN' IN YOUR STALL: Borrowing the famous last line of Muddy Waters' "Long Distance Call," Elvin starts off this CD with a medium-tempo number, complete with spoken monologue as he explains the saying to some clued out fellows at a gig. Very nice fills from the horn section highlight Elvin's wonderfully raspy vocals and distinctive guitar tone. DRIVING WHEEL: Opening with a dramatic blast from the horns, this hard-driving instrumental kicks into a basic call-and-response between Elvin's tough-as-nails guitar and the excellent horn section. "Daddy Ray" Arvizu gets one of many chances to showcase his sax chops on this track. GIVE ME SOME OF THAT MONEY: It could be called Marxism according to Elvin Bishop -- "There's plenty of money in the world, the problem's howit's split up." It could also be called "Elvin Bishop Raps," since he talks his way through most of it, and even gets his band into a "Go Elvin" chant by the end. It could be called excessively topical,referring to the recent baseball strike and David Letterman. However,you'll probably just call this one fun and funny as hell. ACE IN THE HOLE: A slower, more restrained, country-ish number that sticks to a straight 12-bar AAB blues song format. This track features a minimal setup, featuring fine playing by Elvin and guest harper Charlie Musselwhite, backed by bass and drums. PARTY 'TIL THE COWS COME HOME: The title says it all. A fast shuffle that should be played loud. Vocals are provided by keyboardist Randy Forrester, who manages to evoke images of a young Gregg Allman with his shouted, raspy vocals and piano solo. The only complaint anybody could have about this track is, "Where's Elvin?" He sticks to the background, providing a nice rhythm base. THINK: Another basic 12-bar blues. The same straightforward simplicity found in "Ace in the Hole," except with more amplification. This song asks the question of a would-be lover, "what kind of life would we have, just in case we both were wrong?" Elvin's delivery is classic, inflecting the lines with subtle touches of humor. HOME OF THE BLUES: Elvin slows it down and borrows Charlie Musslewhite again to sing about his adopted hometown of Chicago, Illinois. A musical tour of Chicago, this song could be used as a guidebook to would-be blues pilgrims, as Elvin mentions just about every major blues hot-spot and musician in Chicago today. Charlie provides some very tasty harp playing to nicely complement Elvin's slide. PIGMEAT ON THE LINE: An upbeat instrumental, credited to Memphis Minnie. Elvin shows off his slide licks again on this track, with the horn section providing some nice fills and the rhythm section providing flawless backing. AIN'T THAT LOVE: A track that Dr. John would feel right at home in. Swampy with a capital "S," and funky enough to smell. Elvin's vocals seem almost out of place (do they have swamps in Oklahoma?), but interject some nice, dry patches of humor. FISHIN': A slow-tempo shuffle, this track features some nice backing bass work by Evan Palmerson, humorous honks from the horn section, enthusiastic backing vocals by "the Carptones," and an extended monologue by Elvin in the middle about the finer points of going fishing, as well as a page out of the Elvin Bishop workout book on getting a flat tummy. BLUE FLAME: An instrumental that finds a slow groove and stays there. Elvin's guitar work is counterpointed by the horns and then the piano. Some more restrained but sizzling slide work by Elvin and piano work by Randy. TALKIN' MOOD: Another "Elvin Bishop Raps" riff-rock tune. In this one, Elvin targets gossipers, men and women alike, and slams daytime talk show hosts while he's at it. One of the great pleasures of this track is when Elvin asks Daddy Ray to talk to him, which he does...with an infinitely funky sax solo. FOOLED AROUND AND FELL IN LOVE: A gentle, moving, and beautiful instrumental version of Elvin Bishop's only top 10 hit. There just aren't words to describe Elvin's ethereal slide playing and Daddy Ray's gorgeous saxophone solos. You want it to go on for much, much longer than it does. Best heard while slow-dancing in candlelight. Reviewed by Edward C. Liu Copyright NY CD Blues - 1995 NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com -- Ed Edward C. Liu | "We don't mean any harm. We just don't have edwick@cc.bellcore.com | any better SENSE!" | -- Elvin Bishop The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 19 Sep 1995 09:34:51 -0600 From: Watterworth Jay Subject: Re: B.B. in yet another tv commercial!? On Mon, 18 Sep 1995, Meridith Farnworth wrote: > So I just went & turned on the tv, and there was ol' B.B. selling M & M's, > plugging the new Blue m&m's. > > --Meri (not complaining...I say more power to him, and it's always great to > see him so unexpectedly!) > Yesterday's NY Times (September 18) with BB King for Northwest Airlines (no sound track): "Fly the airline fit for the King." Jay Watterworth CU Boulder ========================================================================= Date: Tue, 19 Sep 1995 10:50:36 CST From: William Shute Subject: on Playlists/on Norwegians From: Bill Shute For this blues-l person at least, the value of the playlists posted on blues-l is their individual character, their regional differences, etc. All of this would be lost with a composite "top 20" or whatever. If we start getting too many playlists with the same albums/tracks appearing on them, perhaps we could start moving toward something like that. For the present, however, I do enjoy seeing the individual focus of each playlist; and if I'm having a busy day, I can always delete the playlists...the way I used to automatically delete anything emanating from the "raggin' on the paul," "karaoke hell, " and "From the Cradle" threads and the way I do contributions from certain sources. Blues-l is in some ways like a buffet restaurant--you take what you want from the many offerings. Some times I may be in the mood for the jello mold, other times not. BTW, the Norwegians' four-part exploits were about the best "blues read" I've had in awhile. I appreciate those guys' enthusiasm! Despite the many aspects of life and society that suck, there is still a lot to be enjoyed and appreciated OUT THERE if you look for it and are not afraid to just go where you've never been before and TRY IT OUT. I think we all can learn from our Norwegian friends' attitudes and openness (while still retaining high standards and labelling crap as crap). Bill Shute San Antonio, TX (where Scandinavians DO somehow stand out in a crowd!) ========================================================================= Date: Tue, 19 Sep 1995 10:35:57 -0500 From: Richard Shurman Subject: Otis Rush update Otis had his foot surgery yesterday. He has to stay in bed so I wasn't able to talk to him, but his wife said the surgery went fine. His next scheduled gig I know about is Oct. 14 in Chicago (B.L.U.E.S. Etcetera), which means that contrary to at least one report, he won't be at Tramps this month. I hope to look in on him one of these days and if there's anything to report, I will. ========================================================================= Date: Tue, 19 Sep 1995 12:47:18 -0400 From: Tom Day Subject: Re: Raise A Ruckus Tonight I watched a little of the movie version of "How The West Was Won" the other day with my daughter. The part we saw had Debbie Reynolds singing "Raise A Ruckus Tonight". I'm pretty sure it's the same song. Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** On Tue, 19 Sep 1995, Rob Hutten wrote: > Doesn anyone know of any recordings of a hokumy song called "Raise a > Ruckus Tonight"? There's a great version by the Mobile Strugglers on > the "Blues Roots" cd, but I'm wondering if anyone else did it. > > The chorus goes something like > > C C7 F C > Come along, won't you come along > C G7 > While the moon is shining bright > C C7 F Fm (or something) > Get on board, and down the river flow [go?] > C G7 C > We're gonna raise a ruckus tonight > > Thanks, > -Rob > ========================================================================= Date: Tue, 19 Sep 1995 10:19:46 -0800 From: James Carmin Subject: GARY PRIMICH *TRAVELIN' MOOD* Whoa! I finally picked up Gary Primich's latest release, TRAVELIN' MOOD (Flying Fish 70635), and I can't believe I waited so long to get this great recording of the blues. Gary, a Gary IN native who now lives in Austin TX -- which seems fitting -- is one hellava fine harpist and a damn fine singer and songwriter too. Gary and his band featuring, among others, Riley Osbourne on the B-3, open up with a fabulous Primich original, HOUSE ROCKIN' PARTY which sets the mood for this disc: hot, cookin' music that shakes all night long ("I really don't remember how it all started, but it turned into a house rockin' party"). I could listen to this track all night long! Next, Gary wanted to do Jerry McCain's DING DONG DADDY but apparently couldn't remember the lyrics, so Gary telephoned Jerry and introduces this rockin' track with Jerry himself telling Gary the lyrics on Gary's answering machine! And once the track takes off, Mark Korpi lays down some ripping guitar and Gary displays some of that monster tone he's capable of playing on his harp. Gary's sparkling harp opens up SHAKE THE BOOGIE (a Sonny Boy Williamson I cover) and continues the party with bouncing and dancing all over the place. Longtime band member Shorty Lenoir does the boogie guitar work here. Covering a Memphis Slim track, BEER DRINKIN' WOMAN, Steve James joins the band on a wonderful mandolin (reminding us of Johnny Young or Yank Rachell) and trades off some great licks with Gary. Gary's cover is a much more serious rendition than the kind of goofy -- but still enjoyable -- cover made popular by Elvin Bishop. Back to a more electric track, and one that Gary co-wrote, TRIPLE TROUBLE shows the full depth of Gary's talents: great harp, singing, and song writing in the best tradition of the blues: "You triple trouble baby, you made me your triple fool." This is a great example of a song that has all the elements of a traditional blues theme but still sounding completely contemporary and original. Picking up the wonderful Tarheel Slim classic, WILDCAT TAMER, Gary displays his macho side. Not exactly PC Blues, but to hell with it: Gary and guitarist Mark Korpi just take off and soar. Next, guaranteed to catch everyone off guard, Gary and the band do a killer cover of the Duke's CARAVAN. Rob Stupka (who played on a couple of tracks on Luther Allison's latest cd, "Blue Streak") shows off his jazz drumming and Gary goes wild and crazy on the chromatic. This is Gary telling us, like Charlie Musselwhite and a lot of other straight ahead blues artists, that blues and jazz have strong and deep links. A mellow and bouncy TRAVELIN' MOOD follows with Floyd Domino's piano featured but it's Gary's harp that surfaces to the top. This track has its roots in country music but this is definitely the blues. Another John Lee, Sonny Boy, tune, SHE WAS A DREAMER, features Steve James again, this time on acoustic guitar. This is straight forward country blues with Gary and Steve just having fun playing like they're on LW's back porch! SCHOOL OF HARD KNOCKS is completely different than anything else on this disc. Gary wrote this one but it owes a lot to the sound of Mose Allison. This track is very cool and very jazzy -- VERY COOOOL -- but there's no doubt it's still the blues. Shorty Lenoir is featured here playing great guitar and Gary picks up his dynamite harp again. As he says, he "graduated with honors" from the School of Hard Knocks. Gary co-wrote PUT THE HAMMER DOWN, a track that's a genre in itself in the blues, about a musician trying to get home to his baby. There's somthing about this track, too, that just says Texas; might be Shorty's guitar, might be those harmonious lyrics. Another Primich original and this one an instrumental, is THE POODLE BITES, where Gary gets to show off again his monster tone that doesn't exactly sound like a fluffy, curly headed dog! Gary and the band finish off the disc with the vampy KNOCK ME A KISS, and Gary camps it up a bit, a la Rick Estrin: "Baby, c'mon and knock me a kiss." There is a huge range of material on this disc and Gary Primich shows he's a damn fine musician and an excellent, original blues man who has put together a great band. Thanks to Blueszeller Cathi Norton we know when Gary is touring through our towns, and after hearing this disc, it sounds like you better see him if you get the chance! James Carmin jcarmin@teleport.com ========================================================================= Date: Tue, 19 Sep 1995 12:23:32 CDT From: L W Subject: Joe LEWIS Walker I'm looking at the ad in the current LB for the KB Fest and they list Joe LOUIS Walker as Joe LEWIS Walker. Did they blow it or did I miss a name change or something.....? LW ========================================================================= Date: Tue, 19 Sep 1995 10:50:46 -0700 From: Eric LeBlanc-CISTI Subject: DORIS AKERS, GOSPEL DIVA, DIES AT 72 Gospel songwriter/publisher/singer/pianist/choir master DORIS AKERS has died. She has been called one of the most influential and prolific composers in all of gospel music. During her lifetime, she composed over 500 gospel songs, including "A Double Portion of God's Love" (1947), "God Is So Good (To Me)" (1956), "Grow Closer" (1952), "I Never Knew Joy Before" (1951), "I Was There When The Spirit Came" (1950), "Lead Me and Guide Me" (1953), "Sweet, Sweet Spirit" (1962), "You Can't Beat God Giving" (1957). Mahalia Jackson's original 1956 version of "God Is So Good (To Me)" is still to me one of Mahalia's finest recordings & is included in SONY/LEGACY 2CD 47083 : MAHALIA JACKSON - GOSPEL SPIRITUALS AND HYMNS V.1. Her songs have a contemporary feeling which may account for her songs also being recorded by Christian pop stars. Bill Gaither's videos "Old Friends" and "Turn Your Radio On" includes maybe her last appearance on film. Her songs are also included in hymn books and has been used in musicals like "Praise House" and "Me And Bessie". Her recording career began when she left The Sallie Martin Singers in 1945, forming the Simmons-Akers Singers. A few of these rare recordings are now available on SPECIALTY CD 7056 : WOMEN OF GOSPEL GOLDEN AGE V.1. (There's also some evidence she formed a bop group during her stay in Los Angeles.) Over the years she recorded for RCA Victor, Capitol and Christian Faith Records. In 1961, she was voted Gospel Composer Of The Year, and Female Gospel Singer Of The Year. In 1992, the Smithsonian Institute honored her as the foremost black gospel songwriter in the United States. DORIS MAE AKERS was born on May 21, 1923, Brookfield, MO., and died Wednesday, July 26, 1995, Minneapolis, MN., at the Heritage Of Edina Nursing Home. She was survived by her brother Donald, and 2 sisters, Nellie Bright and Bernice Tillman. She was preceded by the other important black gospel songwriters/ publishers of this century : William Herbert Brewster (1897-1987), Lucie Eddie Campbell (1885-1963), James L. Cleveland (1931-1991), Thomas Andrew Dorsey (1899-1993), Roberta Martin (1907-1969), Sallie Martin (1895-1988), Kenneth Morris (1917-1988) and Charles Albert Tindley (1851-1933) Reference: ========= Black Women In America / Darlene Clark Hine, Elsa Barkley Brown & Rosalyn Terborg-Penn (Carlson Publishing, 1993) We'll Understand It Better By And By : Pioneering African American Gospel Composers / Edited by Bernice Johnson Reagon (Smithsonian Institute Press, 1993) ========================================================================= Date: Tue, 19 Sep 1995 10:46:48 -0700 From: Corinne Subject: Accordions in NYC --Boundary-621226-0-0 Watch out for those PA players! ============================================================================== --Boundary-621226-0-0 Content-Type: message/rfc822 Date: 19 Sep 95 10:40:41 From:"Esther Sandrof " To: accordion@cs.cmu.edu Subject: Refuseniks show at alt.coffee Last night, I caught the first half of the performance of the Refuseniks, Ted Reichman's three piece kick ass band, at alt.coffee in NYC. From what I heard, (and unfortunately, I couldn't stay for the full show) they played a diverse melange of muscial styles including microtonal pieces, cosmic Sun Ra tunes, and staccato middle eastern tunes (that sounded like Simone Shaheen). I'm sure that my description does not do them justice. It was encouraging to see the positive reponse from East Villagers, probably the most jaded people on the whole planet. My experience is that accordion music is so rarely heard in New York City and that New Yorkers are so jaded, that accordion ends up having a profound appeal among the literati, the gliterati, the musicati, and all other -ati. Therein lies the seeds of the impending accordion revolution. GUITARISTS! WE WILL BURY YOU!! Refusniks will play at alt.coffee (A between St. Marks and 9th) every Monday. Check them out. Be part of the revolution! --Boundary-621226-0-0-- ========================================================================= Date: Tue, 19 Sep 1995 11:25:30 PST From: Mike McCourt Subject: SF Blues Radio: was SF Blues Calendar Thanks to Msbeale for the great calendar information. Does anyone have schedule information about blues on Bay Area radio? Are there any regularly scheduled blues shows on locally? KJAZ used to have a regular Friday evening blues show on before they changed owners, but I don't know about any others. I caught a great show from the Monterey Jazz Festival on KCSM (91.1 FM.) Sat. night. There was a blues band that sounded similar to Robert Cray but were out of SF/Oakland, excellent music. Did any one else hear it and remember the name of the group? I think it was a live feed, about 8:30pm, the band was and the Blues ? (sorry for the sketchy info. Thanks, Mike mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Subject: San Francisco Blues Calendar Author: Msbeale at ccUnix For any internetters that are coming to the Bay area in the next week or so. BAY AREA BLUES MUSIC CALENDAR who, what, when and where for the week of September 17, 1995 ========================================================================= Date: Tue, 19 Sep 1995 13:35:44 -0400 From: Jerry Zolten Subject: Nat'l Heritage Fellows Terry Liu sent in a long message about Robert Jr. Lockwood's (and others') upcoming honors through the NEA National Heritage Affairs Award. Waterman and Shurman have commented on other blues performers deserving their due. I'd like to add that in any given year, anyone can nominate deserving blues artists for this prestigious award. Contact Terry Liu at tliu@cpcug.org for information about the nomination process. ========================================================================= Date: Tue, 19 Sep 1995 13:38:07 -0400 From: Jerry Zolten Subject: Archie Edwards Archie Edwards CD, "Blues 'n Bones" is on the Mapleshade label. ========================================================================= Date: Tue, 19 Sep 1995 14:39:03 EDT From: "William R. Tschanz" Subject: Keb Mo Keb Mo is coming to Phily on Oct 5th. at the "Tin Angel" at 20 south 2nd st. Tickets are 12 clams. Seeya in the Blues. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Tue, 19 Sep 1995 14:03:09 -0500 From: Bruce Roberts Subject: Re: GARY PRIMICH *TRAVELIN' MOOD* > Whoa! I finally picked up Gary Primich's latest release, TRAVELIN' MOOD > (Flying Fish 70635), and I can't believe I waited so long to get this great > recording of the blues. Gary, a Gary IN native who now lives in Austin TX > -- which seems fitting -- is one hellava fine harpist and a damn fine > singer and songwriter too. He's coming out with a new CD very soon. Bruce Roberts Austin, TX ========================================================================= Date: Tue, 19 Sep 1995 19:07:51 GMT From: Tony Burke Subject: Re: Raise A Ruckus Tonight Rob, Buster Brown on Fire 516 cut in 1961, Sonny and Brownie cut it for Folkways and prob. lotsa others too. TB ========================================================================= Date: Tue, 19 Sep 1995 14:39:14 -0600 From: Don O Subject: tutu jones Tutu has a contract in hand from Bullseye Blues and will probably sign with them. Should help give him a lot more exposure in the U.S., which he definitely deserves. He'll be the third Dallas artist on Bullseye. The others are Smokin Joe Kubek (and Bnois) and The Prowlers. The Prowlers, BTW, have just cut their second album for the label at a studio in Memphis. Don O. ========================================================================= Date: Tue, 19 Sep 1995 14:37:31 -0600 From: Don O Subject: JSP news Tre' Hardiman has signed with JSP and will be recording his debut album for the label shortly. There is a very nice article on Tre' starting on page 36 of the brand new Living Blues (#123). I have heard his demo and it is VERY good. On a par with Tutu Jones or Larry Garner IMO. Fort Worth's U.P. Wilson has his second album for JSP in the can but it needs to be re-mixed. The new Charlie Sayles CD is out and is titled "I Got Something to Say". It has 13 original songs and was produced by Bobby Parker. Parker does NOT play on the CD, he was just producing. One of the interesting things about this CD is that John Stedman (the JS of JSP) didn't care for some of Parker's mixes. Rather than just re-mixing the whole album to suit his own tastes, he includes his re-mixes of 6 of the songs at the end of the CD. So there are actually 19 tracks (with two copies of six of the songs) and the listener can judge for themselves which of the two mixes they prefer. Total running time is 77 minutes and 38 seconds. JSP has also just re-issued a number of Phil Guy tracks (all previously released) on a new compilation titled "Phil Guy-Breaking Out on Top-The Best of 1982-86". They have also re-issued Buddy Guy's "Live at the Checkerboard Lounge-1979" with new cover art, a new catalog number, but the same music. Yes, I am associated. I operate Blue Z Music Company, a mail order outlet for JSP in the USA. You can e-mail me for more info on any of the above or for a brief e-mail catalog. Don O. don.o@chrysalis.org ========================================================================= Date: Tue, 19 Sep 1995 14:37:35 -0600 From: Don O Subject: DFW blues this weekend Just a reminder to those in driving distance of DFW that the Bedford Blues Festival happens Friday through Sunday. It is a free festival featuring 23, mostly local, bands on two stages. Anson and Sam and Doyle Bramhall play Friday and Delbert McClinton plays on Saturday. The festival runs 4 to 11 pm Friday and Saturday, 1 to 8 pm on Sunday. Also, the big B.B. King, Jimmie Vaughan, Etta James package tour is in Dallas on Saturday at Starplex. Don O. ========================================================================= Date: Tue, 19 Sep 1995 14:37:37 -0600 From: Don O Subject: B.B. on ACL B.B. King will be recording a new show for Austin City Limits this week, I believe either today or tomorrow (9-19 or 20). Don O. ========================================================================= Date: Tue, 19 Sep 1995 12:57:07 -0700 From: Joe Lempkowski Subject: Blues TV Shows A few weeks back when I was in Chicago I saw a show that featured Willie Kent & The Gents (IMHO, one of the hottest bands today) and possibly Latimore (who is also one cool dude). I think it may have been on WGN at about 3:00am on Saturday. Does anyone know what this was or did I have one too many Miller Lites? Naturally, my cable system doesn't have WGN in the SF Bay Area. I feel like I'm stranded on an island. Fortunately, Magic Slim is coming to the Bay Area and Detroit Jr. is out here now. Rumor has it that the Sugar Bear, Mr. Willie Kent is coming out to the left coast in November. Joe P.S. I really don't care about the HOB TV show, so let's let that thread die. ========================================================================= Date: Tue, 19 Sep 1995 15:27:39 -0500 From: tbeabout@UTDALLAS.EDU Subject: HOB on radio On Sunday nites, here @ DFWTX, the House of Blues hour is on the radio. @ the end of the hour, he mentions the WWW address. However, he speaks way toooo fast for me to get it. Anybody know? ????hob??.com -- _________________________ & I still haven't found what I'm looking for - U2 ========================================================================= Date: Tue, 19 Sep 1995 16:13:15 CDT From: L W Subject: Iza Anderson..?? Messner I'm working on transcribing the Charles Brown interview and he mentions someone that sounds like "Iza Anderson" who's husband had "Iza's Chicken Shack".. Can someone spell that or correct me please. Also before Aladdin records was it "Farlow" records..... Eddie Messner does that ring a bell...one of the "Farlow" partners Private e-mail of course THANKS LW ========================================================================= Date: Tue, 19 Sep 1995 21:34:50 GMT From: Art Schuna Subject: Re: tutu jones In article <9509191439.0KL3U02@chrysalis.org>, Don O says: > >Tutu has a contract in hand from Bullseye Blues and will probably sign with >them. Should help give him a lot more exposure in the U.S., which he >definitely deserves. I would have to second Don's statement that Tutu deserves a lot more exposure. "I'm For Real" by Jones (on JSP) is one of the finest debut efforts in recent memory and belongs in the blues collection of anyone who has an appreciation of modern blues guitar. He has a great voice too. JSP is kind of tough to find in most stores but this is well worth the effort to special order. I know you can contact Don if you can't find this elsewhere. Hopefully, Bullseye which seems to be available e verywhere will result in better distribution. Art Schuna BTW - I have no connection with Don or JSP. Just happen to be a big fan of Tutu's music. In fact, when given the opportunity to sit in on Bonnie the K's radio show and program an hour I included not one but 2 tracks off "I'm For Real". This says a lot as there were too many things to choose from and too little time. ========================================================================= Date: Tue, 19 Sep 1995 17:40:10 -0400 From: James Leftwich Subject: SRV tribute Hey, I posted this before and came up empty, so here goes again... Does anyone know the status of the SRV tribute taped for ACL? I think I read somewhere that it was going to be merchandised. Has it aired anywhere yet? Jim ========================================================================= Date: Tue, 19 Sep 1995 17:58:44 -0400 From: Tor Elting Subject: Caught in the net All right-here we go- all ready to upload, download, or whatever it is. As of sept. 1, 1995 Flying Fish records is hooked into the internet. Drop us a line or check out the latest releases from Flying Fish at Torfish@aol.com ========================================================================= Date: Tue, 19 Sep 1995 18:18:06 -0400 From: Patti Bowman Subject: delete now just me talking to myself ----------------------------------- Check out the new InDeepEndAnts site: http://www.elwood.com/ants ----------------------------------- ========================================================================= Date: Tue, 19 Sep 1995 17:27:02 -0500 From: Jeff Seale Subject: cd length Why is it that these big labels (like MCA, Warner Bros. etc) release cds that only have ~40 minutes of music while these smaller labels like Arhoolie consistently put out cds with 60+ minutes of music? Any ideas? I feel cheated when I pay $12-$15 for a cd that only has a little over 30 minutes of music on it. -Jeff (perplexed) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 19 Sep 1995 22:49:18 GMT From: Beth Oliver Subject: Re: HO$$$$ In article , T-Bone wrote: > This weekend, I went down to some of my favorite record stores with the > intent of buying some music by Piedmont artists that y'all were kind > enough to tell me about. One of the discs I picked up was an import which > had the complete recordings of Carolina Slim. What caught my eye in the above excerpt was "One of the discs I picked up was an import...." Interesting. An import of Carolina Slim. I think that's ironic considering the discussion threads woven through this subject. Just a thought. Beth Oliver ========================================================================= Date: Tue, 19 Sep 1995 18:39:29 -0500 From: "Henry Busse Jr." Subject: Birthdays 9/20/95 BO, EDDIE ( EDWIN BOCAGE ) Born:1930 NEW ORLEANS, LA Occupation: SINGER / PIANO / RECORD PRODUCER Style:BLUES COLEMAN, STEVE Born:1956 CHICAGO, IL Occupation:TENOR SAX / CLARINET Style:JAZZ COLLINS, JOHN ( ELBERT ) Born:1913 MONTGOMERY, AL Occupation:GUITAR Worked With:ART TATUM / ROY ELDRIDGE / BILLIE HOLIDAY / LESTER YOUNG / NAT COLE / FLETCHER HENDERSON / BENNY CARTER / SLAM STEWART Style:JAZZ / BIIG BAND COMSTOCK, FRAN Born:1922 SAN DIEGO, CA Occupation:ARRANGER / PIANO Worked With: LES BROWN Style:BIG BAND DANKWORTH, JOHNNY ( PHILLIP WILLIAM ) Born:1927 LONDON, ENGLAND Occupation:ALTO SAX / LEADER / ARRANGER / COMPOSER Worked With:CLEO LAINE MARRIED TO CLEO LAINE Style:JAZZ / BIG BAND DE ARANGO, BILL ( BUDDY ) Born:1921 Occupation:GUITAR Worked With:BEN WEBSTER / DIZZY GILLESPIE / CHARLIE PARKER / IKE QUEBEC Style:JAZZ / BIG BAND DEVOL, FRANK Born:1911 MOUNDSVILLE, WV Occupation:ARRANGER / COMPOSER / LEADER MARRIED TO HELEN O'CONNELL Style: BIG BAND GALE, ERIC Born:1938 NEW YORK, NY Occupation:GUITAR WOKED WITH:KING CURTIS / DAVID FATHEAD NEWMAN / STANLEY TURRENTINE / SONNY STITT / CARLA BLEY STYLE:JAZZ GUY, JOE JOSEPH LUKE BORN:1920 BIRMINGHAM, AL DIED:1962 BIRMINGHAM, AL AGE:42 OCCUPATION:TRUMPET WORKED WITH:TEDDY HILL / COLEMAN HAWKINS / T. MONK / KENNY CLARK STYLE:JAZZ / BIG BAND HOWARD, PAUL ( LEROY ) BORN:1895 STEUBENVILLE, OH DIED:02 18 1980 LOS ANGELES, CA Age:85 Occupation:TENOR SAX / CLARINET Worked With:KING OLIVER / JELLY ROLL MORTON / LIONEL HAMPTON / EDDIE BAREFIELD Style:JAZZ / BIG BAND MITCHELL, RED ( KEITH MITCHELL ) Born:1927 NEW YORK, NY Died:11 08 1992 SALEM, OR Age:65 Occupation:BASS Worked With:JACKIE PARIS / CHARLIE VENTURA / WOODY HERMAN / RED NORVO / GERRY MULLIGAN Style:JAZZ / BIG BAND MORTON, JELLY ROLL ( FERDINAND JOSEPH ) Born:1895 GULFPORT, MS Died:07 10 1941 LOS ANGELES, CA Age:46 Occupation:PIANO / COMPOSER / ARRANGER / LEADER Style:JAZZ PARIS, JACKIE Born:1926 NUTLEY, NJ Occupation:GUITAR / SINGER Worked With:LIONEL HAMPTON / DONALD BYRD / CARLIE MINGUS Styte:JAZZ / BIG BAND PASQUALL, DON ( JEROME ) Born:1902 FULTON, KY Died:10 18 1971 Age:69 Occupation:TENOR SAX Worked With:FATE MARABLE / FLETCHER HENDERSON / FREDDIE KEPPARD / JABBO SMITH / TINY PARHAM / EDDIE SOUTH Style:JAZZ / BIG BAND REDD, VI ( ELVIRA REDD GOLDBERG ) Born:1928 LOS ANGELES, CA Occupation:SINGER / ALTO SAX / SOPRANO SAX Worked With:EARL HINES / MAX ROACH / DIZZY GILLESPIE / COUNT BASIE Style:JAZZ / BIG BAND WILLIAMS, FRANCIS Born:1910 MCCONNELL'S MILLS, PA Died:10 02 1983 HOUSTON, PA Age:73 Occupation:TRUMPET Worked With: FATS WALLER / CLAUDE HOPKINS / DUKE ELLINGTON / CLYDE BERHARDT Style:JAZZ / BIG BAND ========================================================================= Date: Tue, 19 Sep 1995 23:45:49 GMT From: Steve Leigh Subject: Re: The Blue Highway Delta Log >> I hit this site the other night just after getting an email from Curtis >> about it. If you can believe it, the (IMO) best blues site around just >> got better. A terrific visual and text essay! It's a must to check out. Absolutely! The best blues web site I've seen! SUPER JOB to those that took the time to create this work of art! Thanks!!! ========================================================================= Date: Tue, 19 Sep 1995 20:19:38 -0400 From: Dick Waterman Subject: HERRRRRRRRRE'S LENNY ! The new issue of "Living Blues" has hit the stands featuring the photograph of our own Blues-L guy Leonard Watkins presenting the $1,000.00 check to Delta Blues Museum acting curator John Ruskey at the Sunflower Blues Festival in August. Oh, yeah, sure, there are articles on Snooky Pryor and Aron Burton plus a tribute to Floyd McDaniels and a couple of dozens record reviews but the picture of LW wearing his Blues-L shirt is well worth the price of the magazine. Step right up and put your money down. Only $4.50 US and you get to see the face (and body) that lurks behind those Alabama posts. Circle the wagons and lock up the kids . . . LW now walks among us. dick waterman I told her I loved her She said she felt the same I took her to where I was playing And the whole damn band knew her name ========================================================================= Date: Wed, 20 Sep 1995 00:23:44 GMT From: Art Schuna Subject: Re: Iza Anderson..?? Messner In article L W writes: >Also before Aladdin records was it "Farlow" records..... LW- Sorry I'm not posting this directly but my news reader for reasons that aren' t clear to me doesn't allow me to private email. The label name you're looking for is "Philo". Eddie & Leo Mesner (2 brothers) started the label. They had to change the name from Philo to Aladdin due to a conflict with the Philco Company (who made radios- I'm not aware of any recordings) over confusion caused by their name. Before Philo, the 3 Blazers (with Charles Brown) recorded for Atlas and Exclusive labels. Art Schuna ========================================================================= Date: Tue, 19 Sep 1995 20:50:48 +0100 From: Al DiPantziou Subject: Re: B.B. on ACL In article , don.o@CHRYSALIS.ORG wrote: > B.B. King will be recording a new show for Austin City Limits this week, I > believe either today or tomorrow (9-19 or 20). > > Don O. Is this part of his 70th birthday celebration? Any further info would be appreciated...eg, air date(s), play list, etc.. ========================================================================= Date: Tue, 19 Sep 1995 20:48:57 -0400 From: GDKimball Subject: Re: Acoustic Blues The request for ideas on the top five acoustic blues recordings certainly drew some interesting responses. Although they are compilations, I like the "Friends of Charlie Patton" and "Roots of Robert Johnson" releases from Yazoo. They are excellent introductions to early acoustic blues, and "Roots" links all those covers of Johnson's material with the Delta tradition. Naturally, these recordings are primarily Delta oriented, and many East Coast and Texas artists have been suggested by others. I second the Blind Blake and McTell recommendations. Also, I really like the "Young Bill Broonzy" Yazoo release. Makes the '60s stuff pale in comparison. I didn't see any mention of Blind Lemon Jefferson. Pretty basic purchase it seems to me. I have the Library of Jazz (I think) release, but Yazoo has one too. Sorry, I think I exceeded my five picks. Gregg in Richmond ========================================================================= Date: Tue, 19 Sep 1995 18:46:00 -0700 From: Garry Segal Subject: Walter Wolfman Washington I've heard Walter Wolfman Washington on the radio several times and think he is great. Can anybody suggest the best of his releases? Thanks, Garry Moodswingerpage http://www.island.net/~blues/BlueSngr.html BTW thanks to all that sent me info on what to expect when I perform in South Africa, anyone with additional advice feel free to email me BlueSngr@ix.netcom.com ========================================================================= Date: Tue, 19 Sep 1995 23:17:56 -0400 From: Msbeale Subject: Re: SF Blues Radio: was SF Blues Calendar > I caught a great show from the Monterey Jazz Festival on KCSM (91.1 FM.) > Sat. night. There was a blues band that sounded similar to Robert Cray >but were out of SF/Oakland, excellent music. Did any one else hear it and >remember the name of the group? I think it was a live feed, about 8:30pm, >the band was and the Blues ? (sorry for >the > sketchy info. That was probably Joe Louis Walker and the Bosstalkers. Wasn't that a great program??? Despite the fact that KCSM lost their feed...they did a great job of getting it all down on DAT and re-broadcasting.Instead of live, they were about 4 hours behind, I think. I hear that ISDN lines are getting more and more affordable..which I hope means that we'll be able to hear more concerts and festivals *live* on the radio. Although it probably won't help ticket sales............ ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 19 Sep 1995 23:18:14 -0400 From: Msbeale Subject: Chris Cain Florida Tour Dates The HurriCain tour will soon be underway! Catch Chris Cain in Florida at: OCTOBER 6 Gatorz Port Charlotte, FL 7 Blues on the Bayou Tarpon Springs, FL 8 Ringside Cafe St. Petersburg, FL 10 Opera House Sarasota, FL 11 Sebastian Beach Inn Melbourne Beach, FL 12 The Backroom Delray Beach, FL 13 Tabacco Road Miami, FL 14 Musician's Exchange Cafe Ft. Lauderdale 27 Kuumba Santa Cruz,CA (jazz trio gig) 28 Golden Nugget Casino Reno, NV ms beale st. "I ain't lyin'!" -Albert King ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 19 Sep 1995 23:31:52 -0700 From: "Terry L. Odor" Subject: Re: San Francisco Blues Calendar >Msbeale writes the following: >Join the party this Friday, September 22 at Slim's in San Francisco when >Chris Cain appears as part of the Blind Pig Records Blues and Soul Revue. >Also scheduled to appear: Frankie Lee, Debbie Davies, Magic Slim and the >Teardrops. Cain recently released his 4th Cd - "Somewhere Along the Way" >on Blind Pig Records MsBeale neglected to mention that also appearing on this show is E.C.Scott whose Blind Pig release is called "Come Get Your Love". E.C. Scott's web page: http://www.teleport.com/~boydroid/ec-scott/ec-scott.htm Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Wed, 20 Sep 1995 02:27:09 -0600 From: Kyle McLaren Kelly Subject: 9-9 BLUES EXPLOSION PLAYLIST ARTIST SONG ALBUM LABLE ---------------------------------------------------------------------------- ----John Lee Hooker We'll Meet Again Chill Out Pointblank Butterfield Blues Just to Be w/ you Strawberry Jam Winner Catfish keith Cool Can of Beer Cherry Ball Fish Tail George Butler Rent $ Gone Again Stranger Bullseye Sam Lay Blues Band Sam Lay Shuffle Shuffle Master Howlin Wolf Sugar Mama Real Folk Blues Chess Ron Thompson Just Like a Devil Just Like A Devil Winner Satan and Adam Mother Mojo Mother Mojo Flying Fish Albert King Funk-Shun King of Blues Gtr. Atlantic CoCo Montoya Talkin' Woman Blues Gotta Mind to Travel Blind Pig Little Sonny Jones I'm Loaded New Orleans R+B Black Top Fabulous T-birds Too Many Irons Roll of The Dice Private Paul Jones Diggin' Mama's Taters Mule Fat Possum Jonny Dyer Hands Off Listen Up Black Top John Mooney Country Girl Late Last Night Bullseye James Cotton Band Blues in My Sleep Verve Kinsey Report Too Early to Tell Crossing Bridges Pointblank Lil' Ed+Blues Imperials Pride and Joy Roughousing Alligator Johnny Shines Hoodoo Snake Dr. Blues Sampler Testament Jr. Kimbrough Crawlin' Kingsnake Sad Days, Lonley Fat Possum E. C. Scott Something Wrong Goin' Come Get Your Love Blind Pig Funderburgh/Hughs I Don't Want your $$ Gulf Coast Blues Blacktop Little Milton I Play Dirty Blues Masters Zillion Jimmy Thackery Mercury Blues Trouble Man Blind Pig Pena Bros. Band Runs in the Blood Iowa Blues Comp.V.1 Hot Fudge B.B. King Every Day I Have... Live@San Quentin MCA Johnny Winter Shame, Shame, Shame Let Me In Pointblank Albert Collins Iceman Live '92-'93 Pointblank Phillip Walker I Got A Problem Working Girl Blues Black Top Bleecker Street Make Me A Pallet Tumblin' down Flying Radio Jimmy McCracklin I got Juiced Taste of the Blues Bullseye James Harman Band Too Right to Run Black and White Black Top Buddy Guy She's a Superstar Feels Like Rain Silvertone Hop Wilson My Woman Done Quit Me Houston Ghetto Blues Bullseye Dave Hole Goin' Down Steel on Steel Alligator Kenny Neal Bad Check Devil Child Alligator R.L. Burnside Goin' Down South Too Bad Jim Fat Possum Butterfield Blues Mystery Train Strawberry Jam Winner Son Seals Tough as Nails Nothing But Aliigator ========================================================================= Date: Wed, 20 Sep 1995 07:44:36 GMT From: marc borms Subject: Re: KebMo lyrics Thanks a lot for all those helping me : all Keb'Mo' lyrics are on http://www.sony.com embee. ========================================================================= Date: Wed, 20 Sep 1995 05:05:13 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 20th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BOOKER, CHARLEY (g/SUN REC) d. 1989-0920, SOUTH BEND, IN 64 BROOKS, HARRY (songw/FATS WALLER) b. 1895-0920, HOMESTEAD, PA BROWN, JAMES "PETE" (asax) d. 1963-0920, NEW YORK CITY, NY 56 CAVADINI, MIKE(keybd/GARRY& MOODSWINGERS) b. 1953-0920, NORTH HAVEN, CT COLLINS, JOHN E. (g/PETE JOHNSON/TURNER) b. 1912-0920, MONTGOMERY, AL CUSCUNA, MICHAEL (prod/owner: MOSAIC REC) b. 1948-0920, STAMFORD, CT ERBY, JOHN T. (p/MONETTE MOORE) b. 1902-0920, FORT WORTH, TX GALE, ERIC (g/KING CURTIS) b. 1938-0920, BROOKLYN, NY GILBEAUX, GENE (p/TRENIERS) d. 1991-0920, LAS VEGAS, NV -- GOODMAN, STEVE (g/songw) d. 1984-0920, SEATTLE, WA 36 GUY, JOE (tpt) b. 1920-0920, BIRMINGHAM, AL HAMILTON, JIMMY (tsax/cl/ELLINGTON) d. 1994-0920, ST. CROIX,VIRGIN IS 77 JOHNSON, BILL (asax/TUXEDO JUNCTION) b. 1912-0920, JACKSONVILLE, FL KNOX, RICHARD (of THE DIRTY DOZEN) b. 1941-0920, IL VALLIS, VINCE (a&r/ACE/JODY REC) b. 1940-0920, NEW YORK CITY, NY WEAVER, JAMES "CURLEY" (g) d. 1962-0920, COVINGTON, GA 56 WEBSTER, BEN (awesome tsax) d. 1973-0920, AMSTERDAM, HOLLAND 64 WOODYARD, SAM (d/ELLINGTON/GAYTEN) d. 1988-0920, PARIS, FRANCE 63 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 20 Sep 1995 10:52:05 +0000 From: Pat Hertel Subject: Re: Walter Wolfman Washington On Tue, 19 Sep 1995, Garry Segal wrote: > I've heard Walter Wolfman Washington on the radio several times and > think he is great. Can anybody suggest the best of his releases? > Thanks, > For my money its "Out of the Dark" I like most of his stuff but was not a fan of "Sada" phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/9/95 6:38 AM] "Wednesday's worse..." ========================================================================= Date: Mon, 18 Sep 1995 19:35:46 -0400 From: Jinxblues Subject: Re: Just when we thought . . . I would consider it an honor of the highest order to be occasionally confused with Dick Shurman. He has earned the confidence and trust of generations of Chicago musicians, including those who squabble among themselves. When I asked Mrs. Lillie Burnett (A/K/A Mrs. Howling Wolf) for permission to reproduce a photograph of her late husband, she assured me that if it was all right with Dick Shurman, it was all right with her. High praise indeed . . . dick waterman dick waterman jinxblues@aol.com ========================================================================= Date: Tue, 19 Sep 1995 13:31:23 EST From: shannon oconnor Subject: Re: Talking During Performances LW said: That's already happened over a year ago, the first time I played solo acoustic. Everybody seemed to be talking, I almost stopped and said "%&*c it", but the applause came and it was obvious that folks liked it. I've got over the audience talking while I play. I've gotten better, last time I focused on a couple that appeared to be enjoying it. I acted like they were the only two folks and played to them. It helped a whole lot... THANKS LW You know, this talking during a performance is something that really bugs me. Especially when I pay a considerable amount of money to see a "name" performer, but also when I'm just at a neighborhood bar to see friends or locals perform. I've been to several "big" concerts lately (Jeff Beck/Santana, Lyle Lovett, Jeff Healey, etc.), and I've been infuriated by people who converse around me through the entire show. At the Lyle Lovett concert, four young women sat in front of us and talked--loudly, to be heard over the music--about their boyfriends, ex-boyfriends, potential boyfriends, aerobics classes, fat thighs, bad hair, etc., etc. Why pay $30 or more for a ticket when all you're going to do is sit there and yammer? I've also noticed in local blues clubs that quite often a herd of "young" people (twentysomethings) will jockey and position and push their way to a table or spot directly in front of the band, then proceed to drink heavily and talk loudly, and turn their backs on the musicians through most of the evening. For Pete's sake, if they want music for ambience, sit in the back somewhere and have their conversations at a reasonable and nondisruptive level. I know, I'm just crabbing and it's low blues content. But this situation bothers me when I'm there to hear the music, and it bothers me to see it bother the performers. Does anyone have any observations or possible solutions? (Valium, right?) :) Shannon ========================================================================= Date: Tue, 19 Sep 1995 14:45:47 -0400 From: Willy Evans Subject: club crowds Here's a question to musicians and blues fans alike. Are you seeing smaller crowds out at clubs? If so, what do you think that the reason is? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 20 Sep 1995 07:41:14 CDT From: L W Subject: HERRRRRRRRRE'S LENNY ! ----------------------------Original message---------------------------- > The new issue of "Living Blues" has hit the stands featuring the >hotograph of our own Blues-L guy Leonard Watkins presenting the $1,000.00 >check to Delta Blues Museum acting curator John Ruskey at the Sunflower Blues >Festival in August. Just one question: WHO AIRBRUSHED THE CIGARETTE OUT OF MY MOUTH :-) Very good picture by Dick Waterman, btw > Oh, yeah, sure, there are articles on Snooky Pryor and Aron Burton plus a >tribute to Floyd McDaniels and a couple of dozens record reviews but the GREAT picture of Snooky on the cover and great interview with Snooky. Those kind of articles/interviews is why Living Blues is my favorite BLUES magazine My only regret about the blues-l T-shirt stuff, is Marcia Grodsky did the work and I wish she would have been mentioned........ > Circle the wagons and lock up the kids . . . LW now walks among us. Don't worry about the kids, lock up your wife LW ========================================================================= Date: Wed, 20 Sep 1995 07:48:57 CDT From: L W Subject: club crowds ----------------------------Original message---------------------------- >Here's a question to musicians and blues fans alike. >Are you seeing smaller crowds out at clubs? If so, what do you think that >the reason is? I always blame a small crowd on advertising, but don't start me talking.... LW ========================================================================= Date: Wed, 20 Sep 1995 07:58:30 EWT From: "CATHI N." Subject: Primich correction H'lo all... A couple of corrections on that long Primich itinerary I plagued you with recently: October 3 -- Good Times........Eugene, OR 4 -- Key Largo.........Portland(?), OR (Bojangles has closed) Okay Tim? (smile) Cathi N. ========================================================================= Date: Wed, 20 Sep 1995 09:05:24 -0400 From: Ed Mezynski Subject: PSA for the North Carolina region Bull Durham Blues Festival September 22 & 23 6:00 - 12:00 midnight Old Durham Athletic Park 428 Morris Street Durham, NC Friday Dr John and the New Island Social and Pleasure Club Harold Melvin and the Blue Notes Deborah Coleman & the Trill Seekers "Big Boy" Henry & Lightnin' Wells Bobby Hinton and Shades of Blue Saturday Bobby "Blue" Bland The Fabulous Thunderbirds Chubby Carrier & Bayou Swamp Band Guitar Gabriel & Timothy Duffy The Misdemeanors Buy Tix @ Marshalls, select SchoolKids, Blockbuster Music and Sound Shop, TicketMaster or call 919.834.4000 Info? Call Durham Convention and Visitors Bureau 919.688.BULL or 800.772.BULL Good Blues to you all, ed mezynski ========================================================================= Date: Wed, 20 Sep 1995 09:29:15 -5 From: "P.W. Fenton" Subject: Re: Talking During Performances On 19 Sep 95, shannon oconnor had this to say... > You know, this talking during a performance is something that > really bugs me. Especially when I pay a considerable amount of > money to see a "name" performer, but also when I'm just at a > neighborhood bar to see friends or locals perform. I've been to > several "big" concerts lately (Jeff Beck/Santana, Lyle Lovett, Jeff > Healey, etc.), and I've been infuriated by people who converse > around me through the entire show. At the Lyle Lovett concert, > four young women sat in front of us and talked--loudly, to be heard > over the music--about their boyfriends, ex-boyfriends, potential > boyfriends, aerobics classes, fat thighs, bad hair, etc., etc. Why > pay $30 or more for a ticket when all you're going to do is sit > there and yammer? > I know, I'm just crabbing and it's low blues content. But this > situation bothers me when I'm there to hear the music, and it > bothers me to see it bother the performers. Does anyone have any > observations or possible solutions? (Valium, right?) :) > At a concert, my favorite is to lean over and say to them, "Hey, if this music is disturbing your conversation, I'll go see if I can get them to stop playing." If I'm performing, and they do it to me, I try to win them over with something special like walking out and sitting at their table while I'm playing, or signaling the band to play out of tune until everyone looks up at us ;^) But, for a lot of people, going to bars is a social experience, an act of sexual conquest, so you can't get too mad at them. If they didn't like your music, they'd take their date elsewhere. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 09:29:14 -5 From: "P.W. Fenton" Subject: Re: club crowds On19 Sep 95, Willy Evans had this to say... > Here's a question to musicians and blues fans alike. > > Are you seeing smaller crowds out at clubs? If so, what do you think that > the reason is? > Where I live (Tampa, Florida) it's simply called "September". It's the slowest month for clubs in this area. I have no idea why. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 08:39:02 -0500 From: Bruce Roberts Subject: Re: SRV tribute > Does anyone know the status of the SRV tribute taped for ACL? I think I > read somewhere that it was going to be merchandised. Has it aired > anywhere yet? It was filmed in the spring. I image that it will air sometime this fall. Yes there are plans for a CD, Video, etc. I don't know the status of any of this. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 20 Sep 1995 08:50:21 CDT From: L W Subject: Duolian in HERE !!!! It's here I'm pumped. It's KILLER, the Dobro is not even close....no where close...It's soooo UGlY...I love it no rattles, no buzzes...Needs heavier strings... WOW...SHUT ME UP LW ========================================================================= Date: Wed, 20 Sep 1995 10:01:02 -0400 From: "J. W. Patterson" Subject: New Band? On the way to work this a.m., I heard a reference to a new blues based band called " Government Mule." Does anyone on the list know anything about this band? Please give me any details. Thanks. jwp ========================================================================= Date: Wed, 20 Sep 1995 10:03:43 -0400 From: Rick Miller Subject: New BB on ACL Don O! Thanks for the update. ANy idea when that show might air on PBS? Definitely have to roll tape on that! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 20 Sep 1995 09:07:08 -0500 From: Bruce Roberts Subject: Re: Talking During Performances > I know, I'm just crabbing and it's low blues content. But this > situation bothers me when I'm there to hear the music, and it > bothers me to see it bother the performers. Does anyone have any > observations or possible solutions? (Valium, right?) :) I can't understand why people like to talk during a performance. I mean there are plenty of clubs with "canned" music where it doesn't matter if they talk and there's usually no cover. I find it very annoying. There aren't many solutions to this (well I don't know, now that they passed that concealed handgun law). The best is if you can move to another part of the club (I know that's not always possible). Sometimes you can ask them to keep it down. If your real polite it will work sometimes (of course they can always tell you what to do with that beer bottle). But if you've paid a lot of money to see a show you have the right to hear it. If it's a big concert hall, you can always complain to someone. Bruce Robert Austin, TX ========================================================================= Date: Wed, 20 Sep 1995 09:15:09 -0500 From: Bruce Roberts Subject: Re: club crowds > Are you seeing smaller crowds out at clubs? If so, what do you think that > the reason is? Here in Austin I would have to say the crowds are larger lately. But I think this has to do with an increase in the local population more than a national trend. A lot of it has to do with how well the show is promoted. If you don't advertise it, they won't come... Bruce Roberts Austin, TX ========================================================================= Date: Wed, 20 Sep 1995 09:13:43 EWT From: "CATHI N." Subject: Ebb & Flow Loved what P. Fenton had to say about people who talk during performances, and was very interested in Willy E's thread about smaller crowds in blues clubs, and they both got me to thinking about something that I've been mulling over for some time. I've heard musicians theorize that styles of music come and go...you know...even disco had it's shot. But you can't be in the business very long before you see something like this. One year there are a thousand clubs that want to hear blues; the next year, it's peanut butter and jelly time...they're all into folk, heavy metal, rap, whatever. The theory goes that each style goes in waves...in today, out tomorrow, back in the day after etc., and it is best to get good at catching the wave just as it's beginning to swell to make the most of it before it dies out again. What do you all think of this? Do you think the blues is about to ebb once more? I know...it will never die. It never does, but it does take vacations. Do you think this relates at all to the increasing number of clubs you see almost empty of audience(s)? People say the singer/songwriter "wave" is hitting the peak now and about to begin the decline. What say ye -- oh faithful ones? Players and listeners alike? Cathi N. ========================================================================= Date: Wed, 20 Sep 1995 08:17:43 -0600 From: Bruce Pech Subject: Re: HERRRRRRRRRE'S LENNY ! On Tue, 19 Sep 1995, Dick Waterman wrote: > The new issue of "Living Blues" has hit the stands featuring the > photograph of our own Blues-L guy Leonard Watkins presenting the $1,000.00 > check to Delta Blues Museum acting curator John Ruskey at the Sunflower Blues > Festival in August. > Oh, yeah, sure, there are articles on Snooky Pryor and Aron Burton plus a > tribute to Floyd McDaniels and a couple of dozens record reviews but the > picture of LW wearing his Blues-L shirt is well worth the price of the > magazine. > Step right up and put your money down. Only $4.50 US and you get to see > the face (and body) that lurks behind those Alabama posts. > Circle the wagons and lock up the kids . . . LW now walks among us. > All you voyeurs with web browsers are in luck. If LB isn't locally available, you can get to see a photo of LW presenting the check to John Ruskey -- as well as photos of Jim O'Neal and bluezellers Dick Waterman and Cat Bauer -- in Curtis Hewson's Delta Log at his Blues Highway web-site (lots of other excellent photos as well: where the Southern cross the Dog, the notorious crossroads [you're in for a shock], etc.). -- BP Boulder, CO ========================================================================= Date: Wed, 20 Sep 1995 10:35:06 -4 From: "P.W. Fenton" Subject: Re: Duolian in HERE !!!! On 20 Sep 95, L W had this to say... > It's here I'm pumped. It's KILLER, the Dobro is not even close....no where > close...It's soooo UGlY...I love it no rattles, no buzzes...Needs heavier > strings... > > WOW...SHUT ME UP Hush! Sounds like somebody's ready for the B'am Jam. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 15:47:52 +0100 From: Roadrunner Tour Management Subject: Re: club crowds At 14:45 19/09/95 -0400, Willy Evans wrote: >Here's a question to musicians and blues fans alike. > >Are you seeing smaller crowds out at clubs? If so, what do you think that >the reason is? If these are regular gigs it might mean that they are getting board with you! :-/ Cheers Carsten ROADRUNNER TOUR MANAGEMENT 3 Idrone Terrace Blackrock County Dublin Ireland Tel&Fax: +353 1 2834390 Mobile: +353 88 619758 ========================================================================= Date: Wed, 20 Sep 1995 15:47:49 +0100 From: Roadrunner Tour Management Subject: Re: Talking During Performances Just tell them to SHUT UP! ROADRUNNER TOUR MANAGEMENT 3 Idrone Terrace Blackrock County Dublin Ireland Tel&Fax: +353 1 2834390 Mobile: +353 88 619758 ========================================================================= Date: Wed, 20 Sep 1995 10:06:19 -0400 From: Willy Evans Subject: Re: Duolian in HERE !!!! On Wed, 20 Sep 1995, L W wrote: > It's here I'm pumped. It's KILLER, the Dobro is not even close....no where > close...It's soooo UGlY...I love it no rattles, no buzzes...Needs heavier > strings... > > WOW...SHUT ME UP > > LW > Now LW, you're way too excited. As a friend of yours, I insist you send it to me until you've calmed down. In fact, I could be there by 9:00 tonight. That way , I could flirt with your wife AND help you with that little Duolian problem! Your exceedingly selfless pal, Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 20 Sep 1995 09:55:13 CDT From: L W Subject: Re: Duolian in HERE !!!! ----------------------------Original message---------------------------- > It's here I'm pumped. It's KILLER, the Dobro is not even close....no where > close...It's soooo UGlY...I love it no rattles, no buzzes...Needs heavier > strings... > > WOW...SHUT ME UP > >Now LW, you're way too excited. As a friend of yours, I insist you send >it to me until you've calmed down. In fact, I could be there by 9:00 >tonight. That way , I could flirt with your wife AND help you with that >little Duolian problem! You welcome to flirt with my wife, but don't you touch "Louise" :-) LW ========================================================================= Date: Wed, 20 Sep 1995 10:02:59 -0600 From: Don O Subject: Willie Kent on WGN > From: Joe Lempkowski > > A few weeks back when I was in Chicago I saw a show that featured > Willie Kent & The Gents (IMHO, one of the hottest bands today) and > possibly Latimore (who is also one cool dude). I think it may have > been on WGN at about 3:00am on Saturday. WGN has an inhouse show called Blues Goin On. I think they have 5 or 6 episodes out. I believe Willie Kent was featured on at least one of those. I haven't seen a new episode in a long time. Anyone out there more familiar with this series and can tell us what is happening with it? Don O. ========================================================================= Date: Wed, 20 Sep 1995 10:02:57 CST6CDT From: Sara Oxton Subject: playlists Since there's been so much talk about playlists lately, I thought I'd share news about the radio station I work for here in Minneapolis. KFAI-fm, Fresh Air Radio, has about 30 hours per week in Blues programming. If you'd like to learn about the programs, and see the monthly playlist we send to Living Blues, you can check out our website at: http://www.mtn.org/KFAI/blues.html If you don't have a web browser, but would like our playlist, please e.mail me privately. Thanks. Sara PS We're still building links on the site. If there are any glaring omissions, please let me know. ========================================================================= Date: Wed, 20 Sep 1995 11:09:12 -0400 From: "David L. Prychitko" Subject: Re: Blues TV Shows Joe Lempkowski wrote: > A few weeks back when I was in Chicago I saw a show that featured > Willie Kent & The Gents (IMHO, one of the hottest bands today) and > possibly Latimore (who is also one cool dude). I think it may have > been on WGN at about 3:00am on Saturday. > > Does anyone know what this was or did I have one too many Miller Lites? You may indeed have had too many, Joe. But the fact is the show does exist! It's called BLUES GOIN' ON, and it's directed by my cousin, Jim Quattrocki. Aired on WGN originally a year or two ago, about every three weeks on Saturday nights (10pm). They did about 10 tapings (many from BB King's in Memphis). Guests included Denise Lasalle, Vasti Jackson, Little Howlin' Wolf, Kenny Neal, Bobby Rush. On one segment the late Buddy Ace is seen dancing in the audience. Now it's re-runned in the middle of the night, as you saw. > Naturally, my cable system doesn't have WGN in the SF Bay Area. I feel > like I'm stranded on an island. Ya, I don't have WGN on cable here in Upstate NY either. For folks who do, keep an eye out for it! Dave Prychitko ========================================================================= Date: Wed, 20 Sep 1995 10:10:49 CDT From: L W Subject: Re: Blues TV Shows ----------------------------Original message---------------------------- >Now it's re-runned in the middle of the night, as you saw. I have seen this show twice, same episode both times. Tinsley Ellis was the artist..... LW ========================================================================= Date: Wed, 20 Sep 1995 15:20:34 +0000 From: Pat Hertel Subject: Re: Duolian in HERE !!!! On Wed, 20 Sep 1995, L W wrote: > > WOW...SHUT ME UP I think that would take a silver bullet and a wooden stake :):):) Somehow BLUES-L just wouldn't be the same. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/9/95 11:18 AM] "Wednesday's worse..." ========================================================================= Date: Wed, 20 Sep 1995 10:29:56 -0500 From: Roger Struve Subject: Duolian in HERE !!!! -Reply That's just what i've been saying...Dobros, in my humblest opinion, do not measure up to a good National! Enjoy...man, make me a tape...i wanna hear! :-) regards, d.d.r. ========================================================================= Date: Wed, 20 Sep 1995 11:27:05 -0400 From: Steve Levine Subject: Time for a new Blues-l Compilation tape A couple of years ago LW put together a tape of music recorded by Blues-l members. Everyone who wanted to be on it submitted a tape of themselves or their band, plus a blank tape and the proper postage. LW made the tapes and distributed them. Blues-l has grown substantially since that first tape and a lot of musicians have joined the list. I think it's time for a new Blues-l tape. We successfully got a t-shirt made - how hard would a second tape be? -Steve ========================================================================= Date: Wed, 20 Sep 1995 10:45:01 -0400 From: Willy Evans Subject: Re: Ebb & Flow On Wed, 20 Sep 1995, CATHI N. wrote: a bunch of stuff that I deleted > > What do you all think of this? Do you think the blues is about to ebb once > more? I know...it will never die. It never does, but it does take vacations. > Do you think this relates at all to the increasing number of clubs you see > almost empty of audience(s)? > > People say the singer/songwriter "wave" is hitting the peak now and about to > begin the decline. What say ye -- oh faithful ones? Players and listeners > alike? > > Cathi N. > I hear a lot of interest in blues lately (compared to other times). People I talk to say they love blues. But, in Western NC, it is hard to get a club to hire a blues band. Blues records don't sell very well and there is one radio station that I know of that plays blues at all. So I don't know if we are behind the trend, or the trend is just lip service. Whenever I play, I hit the papers, radio, etc. The media here is real good about helping out local acts, but the people don't come out. And it's not just me, but other bands are noticing it as well. The "singer/songwriters" are working all they want, but they are a lot cheaper than a blues band. (I've been doing some solo work lately as a result) . If the crowds dont' come out the clubs aren't going to pay what it takes. I'm a little discouraged and thinking about disbanding the band in favor of a smaller acoustic act or just going solo. Are any other bands laboring under the same dilemma? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 20 Sep 1995 11:34:27 -0400 From: bob unger Subject: Re: Ebb and Flow Hey, that sounds like a good name for a duet! Not quite sure if I agree with you Cathi. I would agree with you about the blues ebb-ing and flow-ing, but not to sure about other genre's. I guess other style's dont return as they were, they 'morph' into something. Hell, I guess ALL music 'morphs'...but blues seems to pretty much stay the course. OK, blues-rock came out of blues...and we all know R&R came out of the blues...but there are STILL alot of new tradidional blues artists coming out. So, I guess what I'm saying is, while blues will ebb and flow with the other styles, it still maintains it basic roots. BU bob@sun.bnkst.edu p.s. - sure am glad disco didn't come back though!! ...although John Travolta did ;-) ========================================================================= Date: Wed, 20 Sep 1995 10:46:27 -0400 From: Willy Evans Subject: Re: New Band? On Wed, 20 Sep 1995, J. W. Patterson wrote: > On the way to work this a.m., I heard a reference to a new blues based band > called " Government Mule." Does anyone on the list know anything about > this band? Please give me any details. Thanks. jwp > If I'm not mistaken, Government Mule is a band headed by Warren Haynes who has taken over slide chores for the Allman Bros. Willy ========================================================================= Date: Wed, 20 Sep 1995 10:49:25 -0600 From: Don O Subject: GARY PRIMICH *TRAVELIN' MOOD* > From: James Carmin > Back to a more electric track, and one that Gary co-wrote, TRIPLE > TROUBLE > shows the full depth of Gary's talents: great harp, singing, and > song > writing in the best tradition of the blues: "You triple trouble > baby, you > made me your triple fool." This is a great example of a song that > has all > the elements of a traditional blues theme but still sounding > completely > contemporary and original. This is a great tune and my personal favorite on this CD. I love to play this one after Otis Rush's DOUBLE TROUBLE. > Gary is touring through our towns, and after hearing this disc, it > sounds > like you better see him if you get the chance! As someone who has been following Gary since his first album on Amazing, let me EMPHATICALLY ditto that. He puts on a great live show. Look out for his guitarist, Shorty Lenoir, too. A great player. I almost never miss these guys when they pass through DFW. Don O. ========================================================================= Date: Wed, 20 Sep 1995 11:44:54 -0400 From: "Abe W. Mathews" Subject: Re: Duolian in HERE !!!! LW says- > You welcome to flirt with my wife, but don't you touch "Louise" :-) C'mon, LW, you're wife just tied with mine for "wife of the year" by letting you get that fine instrument, and you go and say something like that. Are you doing this just so you can find some more blues to play on your new guitar? Happy for you- Abe awmathew@mtu.edu ========================================================================= Date: Wed, 20 Sep 1995 10:54:07 CDT From: L W Subject: Re: Duolian in HERE !!!! ----------------------------Original message---------------------------- > You welcome to flirt with my wife, but don't you touch "Louise" :-) >C'mon, LW, you're wife just tied with mine for "wife of the year" by >letting you get that fine instrument, and you go and say something like >that. Are you doing this just so you can find some more blues to play on >your new guitar? TIED ?? You gotta be kidding. In the last two months I've got a 1970 Gibson J-50 and 1932 National....She ain't tied with anybody, besides flirting is good for a marriage and Willy is ALWAYS welcomed at our house... LW ========================================================================= Date: Wed, 20 Sep 1995 11:21:44 -0500 From: Bruce Roberts Subject: Re: Ebb & Flow > I've heard musicians theorize that styles of music come and go...you > know...even disco had it's shot. But you can't be in the business very long > before you see something like this. One year there are a thousand clubs that > want to hear blues; the next year, it's peanut butter and jelly time...they're > all into folk, heavy metal, rap, whatever. The theory goes that each style > goes in waves...in today, out tomorrow, back in the day after etc., and it is > best to get good at catching the wave just as it's beginning to swell to make > the most of it before it dies out again. > > What do you all think of this? Do you think the blues is about to ebb once > more? I know...it will never die. It never does, but it does take vacations. > Do you think this relates at all to the increasing number of clubs you see > almost empty of audience(s)? Well I can only speak for Austin (which has never been in sync with the rest of the country - its the only way I could have survived the Reagan years). But there has been an explosion of Blues lately. When I first moved here in the early 80's there was only Antone's (only?) as a Blues club. Now there are 3 or 4 clubs that play mostly Blues and many more that have at least one Blues show a week. I've also seen an increase in the appreciation of local Blues talent, like TD Bell, Blues Boy Hubbard, WC Clark and Lavelle White (who just moved to Austin a few months ago). Even 6th street, which caters more to Frat boys and teenyboppers, has had an increase in Blues shows. And the best trend of all, for those of us that have to get up early, Happy Hour Blues shows. You can catch some great Blues between 6:00 and 11:00 on fridays. We haven't peaked yet. Bruce Roberts Austin, TX ========================================================================= Date: Wed, 20 Sep 1995 12:39:35 -0900 From: Mike Annis Subject: 9/19 Black Top releases Please contact the address(es) below for more information. Blues: Black Top BTOP 1120 Kid Ramos "Two Hands One Heart" New release. Black Top BTOP 1121 Lee Rocker's Big Blue "Atomic Boogie Hour" New release. ___________________________________________________________ ___________________________________________________________ mikea@rounder.com One Camp St. Cambridge, MA 02140 http://harp.rounder.com or gopher harp.rounder.com ___________________________________________________________ ___________________________________________________________ ========================================================================= Date: Wed, 20 Sep 1995 12:54:58 -4 From: "P.W. Fenton" Subject: Re: WGN Blues show On 20 Sep 95, L W had this to say... > ----------------------------Original message---------------------------- > >Now it's re-runned in the middle of the night, as you saw. > > I have seen this show twice, same episode both times. Tinsley Ellis was the > artist..... > > LW > I meant to answer this question yesterday. It's called "Blues Goin' On". It's delightfully "low rent", corny, and erratically scheduled. Ocassionally has great guests. Too bad LW only saw the Tinsley Ellis episode. I always scan the listings for it. It's hardly ever on at the same time, and skips whole weeks sometimes. You can't set your vcr either cause it moves around due to long ball games. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 11:56:06 -0500 From: Roger Struve Subject: Willie Kent on WGN -Reply I've only seen one episode, i think the first one, and its been shown on satellite tv about once every 6 months of so...for the last couple of years. Another one to watch for is the St. Louis Blues Festival, and also the ......damn, i knew i was goin' to forget the name... ill post you later if i think of it....it was in ......ah ha, Eureka Springs Blues Festival. Some pretty good stuff on both...especially, and i am not really much into electric bands, but this Emma Whiteside and the blues deluxe out of st. louis...they did a version of Sky is Crying, not only did it make me cry, but it sounded just like Elmore James singing, and the band was impeccable...especially the lead guitarist...man could he play electric slide....it was just outrageous! regards, delta doc roger ========================================================================= Date: Wed, 20 Sep 1995 10:01:59 CST From: William Shute Subject: Rod Piazza & Mighty Flyers (query) From: Bill Shute As I was enjoying the Rod Piazza and the Mighty Flyers "Live At BB King's" album AGAIN the other day, I wondered when this red-hot band would follow-up on the momentum caused by that album and put out a new studio album. Has anyone spoken with Rod, Honey, or the band and asked them recently? Are they presently label-less, or will BIG MO be handling a followup? To say that a new Piazza album is "eagerly awaited" in my house would be an understatement. Anyone know what we can expect? (When is One-Way or some such label going to do a reissue of the two wonderful DIRTY BLUES BAND albums on Bluesway? Of course, it would be great if Piazza's name is big enough to get MCA themselves (they own the ABC catalog, right?) to reish the material, but who knows? I'm surprised Edsel/Big Beat etc. haven't reissued these yet). Bill Shute San Antonio, TX ("Hell is just a mile and a quarter"--St. Louis Red Mike Bailey) ========================================================================= Date: Wed, 20 Sep 1995 12:45:18 +0000 From: Ian Angus Subject: Re: Talking During Performances >. Why > pay $30 or more for a ticket when all you're going to do is sit > there and yammer? IMHO television is to blame. We now have two generations of people who were raised with visual entertainment in their living room, and they talk there -- so why not in clubs. The same people talk all the way through movies. I usually ask them to stop. Then warn them to stop. Then I talk to the manager -- who usually does nothing. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 20 Sep 1995 13:07:01 -4 From: "P.W. Fenton" Subject: Re: Time for a new Blues-l Compilation tape On 20 Sep 95, Steve Levine had this to say... > A couple of years ago LW put together a tape of music recorded by > Blues-l members. Everyone who wanted to be on it submitted a tape of > themselves or their band, plus a blank tape and the proper postage. LW > made the tapes and distributed them. Blues-l has grown substantially > since that first tape and a lot of musicians have joined the list. I > think it's time for a new Blues-l tape. We successfully got a t-shirt > made - how hard would a second tape be? > > -Steve > I don't seem to have received the part of the post where you volunteer to do it ;-) That's how we got a T-Shirt. Marcia volunteered to do TONS of work. And did a real fine job of it. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 19:27:09 +0200 From: Rudi Vandermeiren Subject: Ray Stubbs Could someone give me some information on Ray Stubbs & His Amazing One Man Blues Band? Where does he come from, what style is he playing? Thanks, Rudi Vdm e-mail : Rudi.Vandermeiren@ping.be URL : http://www.ping.be/~ping0935 ========================================================================= Date: Wed, 20 Sep 1995 12:28:43 -0500 From: David Silberberg Subject: Re: Talking During Performances At 01:31 PM 9/19/95 EST, shannon oconnor wrote: > > I know, I'm just crabbing and it's low blues content. But this > situation bothers me when I'm there to hear the music, and it > bothers me to see it bother the performers. Does anyone have any > observations or possible solutions? (Valium, right?) :) > > Observation? These people are used to "arena rock" in massive outdoor stadiums (stadia?), or watching on TV at home - where, at both venues, they can basically talk as much as they want. Moviegoers have had this complaint for years - people are so used to watching a movie at home (TV or tape) that they no longer know how to act in theaters - assuming that the at-home behavior is appropriate. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 20 Sep 1995 12:28:46 -0500 From: David Silberberg Subject: Re: Ebb and Flow At 11:34 AM 9/20/95 -0400, bob unger wrote: >Hey, that sounds like a good name for a duet! > Didn't they used to be in the Turtles....? >Not quite sure if I agree with you Cathi. I would agree with you >about the blues ebb-ing and flow-ing, but not to sure about other genre's. Doesn't it seem that blues are everyone's (us'n excepted, of course) second or third favorite genre? Everyone likes the blues - particularly the crossed-over names - B B King, EC, Buddy Guy, SRV, etc. I would think this is true of R & R and country music fans in general, but also of jazz fans. This says, I think, the the blues will always have a certain level of popularity. The "ebb and flow" of the blues popularity may depend on what's going on in the other areas - if there is a hot R & R / Michael Jackson type performer, blues revenues may suffer; if nothing important is going on in country or R & R or modern R & B (as has been the case since "Thriller", I would guess), then blues revenues may swing up; same if an important non-blues icon starts plugging the blues, like EC. As far as smaller attendance at the clubs, as noted by Willie and others, don't overlook the importance of the political climate. The blues are a "radical" musical form - on the edge, at least some social commentary, music of the less fortunate in life (or, more accurately, more downtrodden). The mood of the country - especially, unfortunately, the young- says retrench, pull back from the edge, don't look like you have much sympathy for those who can't help themselves. Of course, I may be reading too much into this.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 20 Sep 1995 13:43:36 -4 From: "P.W. Fenton" Subject: Re: Ebb & Flow On 20 Sep 95, Bruce Roberts had this to say... >Well I can only speak for Austin (which has never been in sync with the >rest of the country - its the only way I could have survived the Reagan >years). But there has been an explosion of Blues lately. When I first >moved here in the early 80's there was only Antone's (only?) as a Blues >club. Now there are 3 or 4 clubs that play mostly Blues and many more >that have at least one Blues show a week. I've also seen an increase in >the appreciation of local Blues talent, like TD Bell, Blues Boy Hubbard, >WC Clark and Lavelle White (who just moved to Austin a few months ago). >Even 6th street, which caters more to Frat boys and teenyboppers, has had >an increase in Blues shows. And the best trend of all, for those of us >that have to get up early, Happy Hour Blues shows. You can catch some >great Blues between 6:00 and 11:00 on fridays. We haven't peaked yet. > > Bruce Roberts > Austin, TX Tampa is enjoying a similar boom in "live Blues". We've got about 10 clubs that feature mostly Blues, 3 or 4 of which are exclusively Blues. Many more places book Blues on occasion. There has been steady growth over the past 5 years and it doesn't seem to be waning. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 14:00:35 -0400 From: "David L. Prychitko" Subject: top ten, etc Just learned today about a death in my family... I'll be going on nomail or whatever it is for a week or two. I had that question about creating a top ten list. I think Barry was right... who needs it. And anyway, my life is too full of lists these days... why create more? These are the real blues. Sincerely, Dave P. ========================================================================= Date: Wed, 20 Sep 1995 18:04:00 +0000 From: Pat Hertel Subject: Butterfield Blues Band I came across a CD "In Your Ear" on the Bearsville label (an expensive "import"). Anyone heard it? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/9/95 14:02 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 20 Sep 1995 14:08:05 -0400 From: bob unger Subject: new blues-l tape Dont know what's wrong with me today.....dont think I should be saying this, but ...not quite sure what I'm getting myself into here..... Anyway, I might be willing to take on the job of handling the new blues-l tape. I was on the first one, wasn't on the second one, doubt if I'll be on this one...so maybe I could handle the 'logistics' of it. All I have though, is a dual cassette recorder. If anybody else with better equipment is willing to do it, then go for it, else I'm available. BU bob@sun.bnkst.edu ========================================================================= Date: Wed, 20 Sep 1995 18:06:51 +0000 From: Pat Hertel Subject: Luther Allison I came across a JSP CD. I believe the title was "A Rich Man" (or something to that effect). Anyone heard it? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [20/9/95 14:05 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 20 Sep 1995 14:40:20 -0400 From: Jacquelin Katz Subject: Re: HO$$$$ On Mon, 18 Sep 1995, T-Bone wrote: > On Sun, 17 Sep 1995, Ian Angus wrote: > > > T-Bone writes: > > > > >. But as many problems as America has, this is STILL > > > the one country that everyone else in the world wants to live in. > > > > I have the greatest respect for America and its achievements, not the > > least of which is the blues. But I live in the country that the UN ranks > > as the best place in the world to live, and I agree with the UN. > > > > So make that "everyone minus at least one." > > Okay, before everyone jumps on me (and it would be deserved if it > happened), let me put that another way: In spite of America's > problems, it's still the most popular place to emigrate to. I think > there's got to be a reason for that. One of the reasons is that many other desireable places to live in the world do not offer easy entrance to emigrants, ie, work must be obtained in a position which could not be filled by a resident, etc. This policy is found in much of Europe, n'est pas? Please correct me if I'm wrong: I've often wished I could work in another country for a while. Jackie > Thoughts? > > T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) > "Kiddies, don't try this at home. Because it hurts like buggery!" > - Sir Adrian Dangerous > ========================================================================= Date: Wed, 20 Sep 1995 14:48:40 -0700 From: Steve Roberts Subject: 30 Days and $100 Later... Just a quick line or two to thank everyone who responded to my "Spend My Money" post of a month or so ago, in which I asked y'all for help spending a few bucks on some Chicago-style, horn-'n-harp heavy, B3-backed blues. Within three days of the post, I had received about 25 suggestions from Listmembers across the country. Some took my list of requirements quite literally. Others said, "...this isn't Chicago, but, based on your description, I think you'll like it." Since I didn't work quite enough OT to cover all 25 CDs (thank God!), I had to settle for what I could find, which turned out to work pretty well. I won't bore you with a list of what I bought, but there were three CDs in the list that I haven't seen widely discussed here, CDs that I think everyone into the type of thing I described should try to hear. 1) Joe Louis Walker - "JLW" A great addition to my collection, and one that I may never have discovered on my own! Exactly why I joined the List. Thanx, Willy - a very, very classy piece of work. If this is what you sound like, I can see why everyone says such nice stuff about you... 2) Billy Branch - "The Blues Keep Following Me Around" I was so impressed when I hear this one that I accidentally deleted the name of the Listmember who recommended it. Whoever you are, I salute you: you nailed the sound I was looking for right on the head. Every time I play this one for friends, a local CD shop sells another copy (should I be demanding a cut?). An absolute must-own for harp fans! My wife tells me I'm singin' "Should Have Been Gone" in my sleep. 3) Albert Collins and the Icebreakers - "Live '92 - '93" One of my deepest regrets about not getting into the Blues earlier in my wayward life is that I never got a chance to hear "the master of the telecaster" live. This new CD chronicles - in spine-tingling fashion - exactly what I missed, and what the Blues world is having to do without. I play it loud...and, usually, knee-deep in gin. Again, I thank everyone who sent suggestions. Stop now, please. I'm outta money! S ========================================================================= Date: Wed, 20 Sep 1995 13:48:35 PDT From: rjbauman@IQUEST.NET Subject: Re: Time for a new Blues-l Compilation tape >A couple of years ago LW put together a tape of music recorded by >Blues-l members. Everyone who wanted to be on it submitted a tape of >themselves or their band, plus a blank tape and the proper postage. LW >made the tapes and distributed them. Blues-l has grown substantially >since that first tape and a lot of musicians have joined the list. I >think it's time for a new Blues-l tape. We successfully got a t-shirt >made - how hard would a second tape be? > >-Steve > I wonder how many blues-l'ers have access to a four track. A lot of us, I would bet. How about breaking ourelves all down into "groups" , selecting songs and parts, and then passing the tapes around the country/world to build up the songs. We could then bring those together and mix them down for an album with a cast of hundreds!!! It's not the ideal way to record an album, but I bet it'd be a lot of fun and would give us another way to share a fellowship in the blues. I can't think of a reason to NOT do it, unless no one shares my enthusiasm for such a project. Are most decent four tracks calibrated similarly like regular cassette decks? RJ Bauman ========================================================================= Date: Wed, 20 Sep 1995 14:01:52 -0500 From: Jeff Seale Subject: Re: Erma Whiteside was Re: Willie Kent On Wed, 20 Sep 1995, Roger Struve wrote: > Some pretty good stuff on both...especially, and i am not really much > into electric bands, but this Emma Whiteside and the blues deluxe out > of st. louis...they did a version of Sky is Crying, not only did it > make me cry, but it sounded just like Elmore James singing, and the > band was impeccable...especially the lead guitarist...man could he > play electric slide....it was just outrageous! That band is Erma Whiteside and Blues Deluxe. They are one of the most popular blues bands in St Louis (or they were when I was there). The band used to be fronted by Rondo Leewright and they smoked with him as well. They have a few self-produced cds on the Bluesberry Hill label out of St. Louis. I can get the address if anyone is interested. And yes, that boy can play that electric slide! -Jeff (a big Erma Whiteside fan) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 20 Sep 1995 14:09:23 PDT From: rjbauman@IQUEST.NET Subject: Re: Ebb and Flow ======================same if an important non-blues icon starts plugging the blues, like EC.================ Uh, oh. Everbody DUCK. RJ Bauman ========================================================================= Date: Wed, 20 Sep 1995 19:23:25 GMT From: David Goldstein Subject: Little Jimmy King I was very surprised to hear that the Norwegian posse did not like this guy. I have his first album, and I like it a lot. Also, in his interview in Living Blue, he says that he has a second album out, but I cannot find it anywhere. Is is still being mixed? Has anyone else seen him? ========================================================================= Date: Wed, 20 Sep 1995 19:21:16 GMT From: Barry Bean Subject: Re: Talking During Performances I'm probably setting myself up for being flamed, but I don't think you should go to a blues show and expect the same sort of atmosphere you'd have at a string quartet recital. The blues were born in juke joints and barrel houses, where people were talking, shouting, gambling, dancing, fighting, f*&^ing, and generally raising sand during the performance. The popularity of the steel bodied guitar and electric guitar is directly attributable to the increase in volume. Now, It'd be overkill to suggest that juke joint rules hold for ALL blues gigs. I'm not condoning, say, shouting and fighting at acoustic solo performances. But blues is party music by nature, so loosen up. If you want to hear the music in crystalline silence, buy the CD and listen at home. And by the way, if you happen to make it to hear one of my bands, go ahead and chat. Its OK with us. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Wed, 20 Sep 1995 14:27:37 CDT From: L W Subject: Little Jimmy King ----------------------------Original message---------------------------- >I was very surprised to hear that the Norwegian posse did not >like this guy. I have his first album, and I like it a lot. Also, in >his interview in Living Blue, he says that he has a second album >out, but I cannot find it anywhere. Is is still being mixed? I saw him a few years back at BB's and he was very good and I'm hard to please I think he is ONE OF the best at doing Albert King..... I liked him alot, but I think he's changed some since he started playing with he brothers..more LW ========================================================================= Date: Wed, 20 Sep 1995 14:30:04 CDT From: L W Subject: ----------------------------Original message---------------------------- >to a blues show and expect the same sort of atmosphere you'd have at a string >quartet recital. The blues were born in juke joints and barrel houses, where >people were talking, shouting, gambling, dancing, fighting, f*&^ing, and >generally raising sand during the performance. The popularity of the steel >bodied guitar and electric guitar is directly attributable to the increase in >volume. NO, but you should respect the performer. What if the listowner scrambled your mail and we couldn't really tell what it says.....Why not it's not a recital I don't get too bent out of shape, but I do recall a fellow at a packed show saying he hated the blues. I asked him to leave, I told him he is taking up space, making it harder for others to get where they need to be.....etc RESPECT THE PERFORMER. I'll not hesitate to tell someone to shut up or move. I of course do it in a polite manner LW 'IT's ALL ABOUT RESPECT FOR THR PERFORMER IMHO" ========================================================================= Date: Wed, 20 Sep 1995 14:38:48 -0500 From: T-Bone Subject: Re: Little Jimmy King On Wed, 20 Sep 1995, David Goldstein wrote: > I was very surprised to hear that the Norwegian posse did not > like this guy. I have his first album, and I like it a lot. Also, in > his interview in Living Blue, he says that he has a second album > out, but I cannot find it anywhere. Is is still being mixed? The second album is called "Something Inside of Me" and is available on Bullseye; I listened to it just last nigt. I think it's a good blues-rock album, with King backed by the drummer and bass player from Double Trouble. > Has anyone else seen him? I have. He was better live than on the record, but hell, I think that about almost everyone. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 20 Sep 1995 14:46:13 -0500 From: Richard Shurman Subject: Re: Talking During Performances I hate to say this for a ton of reasons, but let's face it, when people get together with their friends to go to what most consider a social setting (vs. a performance hall) for music, they go with two objects in mind (maybe a couple more too, depending on who and what buzz they're chasing and/or bringing): to dig the music AND to interact with their friends. The unfortunate results are that people do talk during the music, and often have to scream to hear ecah other when they're doing it. When I'm clubbing with someone I haven't seen for awhile or have a lot to discuss with them, I usually try to have dinner with them first so we can get the crucial conversations out of the way. But I think the problem is the setting as much as the people; it's pretty unrealistic to expect silence in a bar. And suggesting that the artist tell the audience to "shut up," while it's certainly the practice of Little Richard and Gatemouth Brown, is a great way for the artist to alienate most of the clubowners (and audience members who can't take a joke) I know immediately, gratifying as it may seem at the time. Many years ago, someone I know was recording Bukka White in a Seattle club for a live album. The engineer got up and asked the patrons not to clink their glasses because of the recording. You can imagine what that did for atmosphere and empathy. ========================================================================= Date: Wed, 20 Sep 1995 16:39:32 -4 From: "P.W. Fenton" Subject: Re: Respect On 20 Sep 95, L W had this to say... > NO, but you should respect the performer. What if the listowner scrambled your > mail and we couldn't really tell what it says.....Why not it's not a recital > I don't get too bent out of shape, but I do recall a fellow at a packed show > saying he hated the blues. I asked him to leave, I told him he is taking up > space, making it harder for others to get where they need to be.....etc > > RESPECT THE PERFORMER. I'll not hesitate to tell someone to shut up or move. > I of course do it in a polite manner > > LW 'IT's ALL ABOUT RESPECT FOR THR PERFORMER IMHO" I have to disagree with you on this, LW (and not very strongly because I do see your point), but I think it's all about respecting the AUDIENCE. An audience isn't there to please the performer, they are there to BE pleased BY the performer. If someone interferes with that process then the rest of the audience should want to deal with that. Pleasing the audience is the performer's *JOB*. You can quit your job if you don't like the boss (audience), but you can't dictate to the boss what to do. And you won't get to play an establishment very often by asking their customers to leave. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 20 Sep 1995 20:35:55 GMT From: Tony Burke Subject: Elder Roma Wilson Great to see Roma Wilson getting some coverage on blues-l (makes a change from you know who guys!!) Anyway another one to check out is The Deep South Musical Roots Tour issued on cass. by Globe Style featuring Wilson with his long time partner Leon Pinson on slide guitar - this is amazin' stuff and not to be missed. TB ========================================================================= Date: Wed, 20 Sep 1995 16:10:22 -0500 From: T-Bone Subject: Re: Respect On Wed, 20 Sep 1995, P.W. Fenton wrote: > On 20 Sep 95, L W had this to say... > > > NO, but you should respect the performer. What if the listowner scrambled your > > mail and we couldn't really tell what it says.....Why not it's not a recital > > I don't get too bent out of shape, but I do recall a fellow at a packed show > > saying he hated the blues. I asked him to leave, I told him he is taking up > > space, making it harder for others to get where they need to be.....etc > > > > RESPECT THE PERFORMER. I'll not hesitate to tell someone to shut up or move. > > I of course do it in a polite manner > > > > LW 'IT's ALL ABOUT RESPECT FOR THR PERFORMER IMHO" > > I have to disagree with you on this, LW (and not very strongly > because I do see your point), but I think it's all about respecting > the AUDIENCE. An audience isn't there to please the performer, they > are there to BE pleased BY the performer. If someone interferes with > that process then the rest of the audience should want to deal with > that. Pleasing the audience is the performer's *JOB*. You can quit > your job if you don't like the boss (audience), but you can't dictate > to the boss what to do. And you won't get to play an establishment > very often by asking their customers to leave. Actually, I think you're both right. It is the performer's job to help the audience have a good time, but the audience ought to give the guy a chance to do his job. (Boy it must be a cold day in hell if I've become the voice of reason.) T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 20 Sep 1995 17:08:56 -0400 From: Steve Levine Subject: *RESPECT THE PERFORMER. I'll not hesitate to tell someone to shut up or move. *I of course do it in a polite manner * *LW 'IT's ALL ABOUT RESPECT FOR THR PERFORMER IMHO" But, as a performer you have to respect the audience too. After all, they are the ones paying money to see you and (hopefully) keeping the club in business. They are the ones buying food and drink. You are there to make money for the club by getting the audience to stay and spend money. If you are rude to them and they leave, you are not doing your job. I know it can be frustrating when people are loud and obnoxius during gigs (especially acoustic ones - I once played in an acoustic duo at an Irish bar on St. Patrick's Day. Not fun.), but you have to learn to live with it. At a lot of places I've played it seemed like nobody was listening but people ended up applauding the band and talkting to us during breaks. At some places you play people are not there for the music at all. If they want to talk it's their right to talk. If you demand attention of everyone at all of your gigs you should only be playing in blues clubs and at festivals. .02 -Steve ========================================================================= Date: Wed, 20 Sep 1995 14:22:18 PST From: Chuck Schrier Subject: Future of Chicago Blues Venues An editorial type post. DELETE now if you don't want to read an opinion. ************************************************************************ Interesting! Someone posts a list of Chicago blues clubs and then someone informs us of HOB's new Chicago mega-club plans. This was followed by someone asking the same question that came into my mind, "what effect will the new HOB have on current Chicago blues venues?" Only time will tell for sure. But, looking for some relative event, I remember back to the late '60s. Prior to that time, villages and small cities in the US had their business areas with independently owned hardware, clothing, grocery, jewlery, and other stores (let's relate them to the current small Chicago blues clubs.) Then 'strip malls' came into existance; usally a large grocery, department and drug store combo built for the new "chain store" corporations (that's right... House of Blues). These chain stores now dominate the country's consumer market. (Oooo... There's a nasty thought. A House of Blues next to each K Mart in the US.) The early '70s found most independent stores closing and the surviors heavily affected as the strip malls diverted the consumer away from the old buisness district. And, as I suspect a Chicago HOB will cater to the Chicago visitor, I assume the local clubs will definately be affected as these people find HOB conveniently located, in a "good" neghborhood, well marketed, flashy and the "in place" to go. I guess chain stores and HOB must be considered as progress. People are being employed, products/services are being sold, the economy is affected by +/- profits of these chain stores. But, when it comes to chain stores, I personally drive miles out of my way to return to the independent stores. I find chain stores normally offer inferior products and good service is near nonexistant. Customer satisfaction is an "item of discussion" employees hear during mandatory training seminars, but not an issue of accountability. Parking is a pain, crowds are a pain, people providing service are a pain... well, you get the picture. Conversely, I know an independent hardware store employee will greet me with a smile, offer assistance, escort me directly to the item I need, prevent me from buying the wrong thing, provide me quality products, and probably offer me a cup of coffee and some conversation after the sale. Should HOB go through with their Chicago plans, I wish them well. But, the next time I land in the Windy City, I'll head for the indie venues. There I know that I'll be greeted with a smile, the beer will be handed to me at the time I ask for it, I'll be treated as a human vs a 'herded' animal, and I'll probably be able to see, meet and converse with some of the best musicians in the world. And most importantly, I'll hear live blues the way I believe it should to be heard -- in an atmosphere that generates heartfelt emotion by both the musician(s) and audience. A type of emotion that I don't believe the chain store's atmosphere can support. There are still independent hardware stores, cause people like me support them. I predict there will remain traditional Chicago blues venues, cause people like us will support them. That's Chuck's blue opinion for today. For everyone's sake, if you want to respond to this, please don't press reply key and send this mass of bytes back into everyones mail!! Later... ========================================================================= Date: Wed, 20 Sep 1995 17:33:57 +0000 From: Ian Angus Subject: Ann Rabson Interview Last night I interviewed Ann Rabson of Saffire. Two pieces of good news for Saffire fans: --They are working on a new album -- expect to go into the studio in January, and ope for Spring release. --Ann will be doing a solo album (with guests) for Alligator some time in 1996. The interview will be broadcast next Wed (Sept 27) on Blue Soul (CKLN-FM 88.1 Toronto). T Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Wed, 20 Sep 1995 18:10:34 -0400 From: Dick Waterman Subject: Got to Get Me Some 'Hook' With John Lee Hooker playing fewer and fewer dates these days, I'm grabbing my cameras and heading for San Francisco because I got to get me some Hook this weekend. If any Blues-L citizens are going to be in the Bay Area this weekend, drop me a note and let's get together somewhere. How about the Blind Pig Review at Slim's on Friday night? Boom Boom Boom Boom I'm gonna shoot you right down dick waterman ========================================================================= Date: Wed, 20 Sep 1995 18:30:00 CDT From: Bonnie Kalmbach Subject: Distractions/was:Talking And here's another thing...why do clubs turn up very loud recorded music the minute the performer or the band takes a break? People might want to discuss the set, order drinks, talk to the musicians or their friends without screaming ... and constant loud music - no matter if I love it - for several hours just wears me out. I wish club owners would give us a break. -Bonnie ========================================================================= Date: Wed, 20 Sep 1995 23:28:20 GMT From: Dave Gotwisner Subject: Re: SF Blues Radio: was SF Blues Calendar In article <9508198115.AA811534599@ccgate.acuson.com>, Mike McCourt wrote: > Thanks to Msbeale for the great calendar information. > Does anyone have schedule information about blues on Bay Area radio? Are > there any regularly scheduled blues shows on locally? KJAZ used to have a > regular Friday evening blues show on before they changed owners, but I > don't know about any others. > > I caught a great show from the Monterey Jazz Festival on KCSM (91.1 FM.) > Sat. night. There was a blues band that sounded similar to Robert Cray > but were out of SF/Oakland, excellent music. Did any one else hear it and > remember the name of the group? I think it was a live feed, about 8:30pm, > the band was and the Blues ? (sorry for the > sketchy info. > > Thanks, > Mike > mmccourt@acuson.com I listen to KPOO which is in the high 80's on the FM dial has a blues show Monday mornings. I think it starts around 8 or 9 AM, and goes till 11 or noon. Unfortunately, KPOO is almost impossible to get anywhere outside of San Francisco (I called once to make a request in the 70's from UC Berkeley, and the DJ though I was on drugs or something since he felt there was no way in hell that the signal could be picked up there). If the weather is right, I have gotten the station as far south in the East bay as Union City. I cannot get it from Santa Clara, and I used to occasionally get it when I lived in Sunnyvale. Also, at midnight, KRQR plays what they call "Midnight Blues" monday nights through friday nights. The reason I quote the title, is that although some of it is blues, most isn't. KRQR is a rock station, and most of the blues that they play is ZZ-Top, the Allman Brothers, SRV, Thurgood, etc. Not a great blues show. The good news is, that I have also heard them play some Elmore James, Muddy, B.B., Albert King, Albert Collins, and even some Robert Jr. Lockwood and Charlie Patton, but mostly it is the first set. KFJC (Foothill College) used to have a blues show Mondays from 10 am to 2 pm, but the DJ left and they have since changed what they play. They may have moved the show to another time and day. KPFA has also had a show for years (Tom Mazzollini's show), but I don't know what time/day, and for that matter, if it is still on. If it isn't Tom probably has a show on another station. There are also a few blues shows which are broadcast from the north bay, but they are also on small stations (which I cannot pick up in Hayward, so I never bothered noting them. I hope this helps, Dave -- "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids -- and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination -- indeed, everything and anything except me." -- Ralph Ellison (from the Invisible Man) ========================================================================= Date: Wed, 20 Sep 1995 19:46:39 -0400 From: Maria Wegscheid Subject: Re: New Band? On Wed, 20 Sep 1995, Willy Evans wrote: > On Wed, 20 Sep 1995, J. W. Patterson wrote: > > > On the way to work this a.m., I heard a reference to a new blues based band > > called " Government Mule." Does anyone on the list know anything about > > this band? Please give me any details. Thanks. jwp > > > If I'm not mistaken, Government Mule is a band headed by Warren Haynes > who has taken over slide chores for the Allman Bros. > > Willy > > Allen Woody, the ABB's bass player, is in Gov't Mule as well, if I'm not mistaken. Maria ========================================================================= Date: Wed, 20 Sep 1995 19:06:42 -0500 From: "Henry Busse Jr." Subject: BIRTHDAYS 9/21/95 HAHN, JERRY (DONALD ) Born:1940 ALMA, NE Occupation: GUITAR / TEACHER AT WICHITA STATE 1972 Worked With:JOHN HANDY / GARY BURTON Style: JAZZ HAMILTON, CHICO ( FORESTSTORN ) Born:1921 LOS ANGELES, CA Occupation:DRUMMER / LEADER Worked With:BUDDY COLLETTE / DEXTER GORDON / ILLINOISE JACQUET / CHARLIE MINGUS LIONEL HAMPTON / GERRY MULLIGAN Style:JAZZ / BIG BAND Laine, Papa Jack (George Vital Born:1873 NEW ORLEANS, LA Died:06 01 1966 NEW ORLEANS, LA Age:93 Occupation:DRUMMER / ALTO HORN / LEADER Worked With RELIANCE BRASS BAND IN NEW ORLEANS Style:JAZZ / DIXIE LOUIS, JOE HILL ( LESLIE HILL ) Born:1921 RAINES, TN Died:08 05 1957 MEMPHIS, TN Age: 55 ONE MAN BAND MURRAY, SUNNY ( JAMES MARCELLUS ARTHUR ) Born:1937 IDABEL, OK Occupation: DRUMMER Worked With:HENRY RED ALLEN / WILLIE THE LION SMITH / JACKIE MCLEAN / CECIL TAYLOR Style:JAZZ POTTER, TOMMY ( CHARLES THOMAS ) Born:1918 PHILADELPHIA, PA Died:03 10 1988 NEW YORK, NY Age:70 Occupation:BASS Worked With:BILLY ECKSTINE / CHARLIE PARKER Style:JAZZ / BIG BAND PRESTON, DON Born:1932 FLINT, MI Occupation:SYNTHESIZER Worked With:FRANK ZAPPA / CARLA BLEY / CHARLIE HAYDEN / GIL EVANS Style:JAZ SHEARER, DICK (RICHARD BRUCE ) Born:1940 INDIANOPLIS, IN Occupation:TROMBONE Worked With:TEX BENEKE / RIGHTEOUS BROTHERS / LOUIE BELLSON / STAN KENTON Style:JAZZ / BIG BAND STEWART, SLAM (LEROY) Born:1914 ENGLEWOOD, NJ Died:12 10 1987 BINGHAMTON, NY Age:73 Occupation:BASS Worked With:RED.NORVO / BENNY GOODMAN / ART TATUM / HALF OF SLIM AND SLAM Style:JAZZ / BIG BAND SWINGLE, WARD ( LAMAR ) Born:1927 MOBILE, AL Occupation: SINGER / LEADER Worked With:SWINGLE SINGERS Style:JAZZ ========================================================================= Date: Wed, 20 Sep 1995 16:57:00 -0400 From: "J.E. Downey" Subject: "Don't you touch Louise!" You goofheads! I hope you are mindful that your mischievious little patter is being electronically zipped clear around the blasted world! Your concerned friend and bluezeller, Joe Downey (your man in Russia) J.E._Downey@bakermck.com ========================================================================= Date: Wed, 20 Sep 1995 21:15:27 EDT From: "William R. Tschanz" Subject: In Cold Blood I might be streching it here a little but please bear with me. Back in the 60's there was a New York club band that made some succes called Cold Blood ; valdez in the country etc,. They had a female singer that still brings a tear when I here her do that thing. Does anyone have an Idea what happened to this band. Cause some of their numbers were so low....down.....deep. When she sang the blues. I was down there with her. Wily lost in thought trien to find some old shoes. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Wed, 20 Sep 1995 21:14:32 -0500 From: William A Morgan Subject: Re: In Cold Blood Yeah, I had forgotten all about that band and have no idea what happened to them. As I recall, the singer's name was Lydia Pense. This is where things really get fuzzy. Did they do a song called "Down So Low" or was that Tracey Nelson? *********** Bill Morgan On Wed, 20 Sep 1995, William R. Tschanz wrote: > I might be streching it here a little but please bear with me. > Back in the 60's there was a New York club band > that made some succes called Cold Blood ; valdez in the country etc,. > They had a female singer that still brings a tear when I here her > do that thing. Does anyone have an Idea what happened to this band. > Cause some of their numbers were so low....down.....deep. > When she sang the blues. I was down there with her. > Wily lost in thought > trien to find some old shoes. > > ____________________________________________________ > | > > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > > | TEMPLE UNIVERSITY ----------- > > |___________________________________________________> > ========================================================================= Date: Wed, 20 Sep 1995 23:28:18 -0400 From: Jinxblues Subject: Re: In Cold Blood Her name is Linda Tillary and she works in the Bay Area . . . dick waterman jinxblues@aol.com ========================================================================= Date: Thu, 21 Sep 1995 03:50:59 GMT From: "Linda L." Subject: Re: Rod Piazza & Mighty Flyers (query) Bill: Regarding your question on Rod Piazza "status." I posted this Rod Piazza query to the other blues newsgroup, but have not gotten an answer yet. Will let you know if I find anything out. >Our local blues society just published its periodic news update, and it is >advertising a Halloween Blues party. This is an annual event that has, in >the past, included Rod Piazza and the Mighty Flyers. This year, they're >advertising "Alex Schulz and the Mighty Flyers". >Does anybody know what the story is? What happened to Rod? And isn't his >wife, Honey, the keyboardist for the Mighty Flyers? >-- >Linda L. >sac62628@saclink.csus.edu In article <19950920.130511.486261.NETNEWS@AUVM.AMERICAN.EDU>, William Shute wrote: > From: Bill Shute > > As I was enjoying the Rod Piazza and the Mighty Flyers "Live At > BB King's" album AGAIN the other day, I wondered when this red-hot > band would follow-up on the momentum caused by that album and put > out a new studio album. Has anyone spoken with Rod, Honey, or the > band and asked them recently? Are they presently label-less, or > will BIG MO be handling a followup? > Bill Shute > San Antonio, TX > > ("Hell is just a mile and a quarter"--St. Louis Red Mike Bailey) -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Wed, 20 Sep 1995 22:59:27 -0500 From: William A Morgan Subject: High Water Records and the Fieldstones I have a couple of records on the High Water label, a blues label affiliated with Memphis State University (now University of Memphis). I know that David Evans was a driving force behind the label and was actively involved in the recordings (he played on some of the recordings and even hawked some of the records at music festivals in Memphis). I'm wondering if High Water is still around (and if so, do they make CDs?) I also would be interested to know if any Blues-lers have any High Water recordings. I have Hammie Nixon _Tappin' That Thing_ and The Fieldstones _Memphis Blues Today_. The Fieldstones, by the way, were one of my favorite Memphis area bands when I lived in and around Memphis. Are they still around, and do they have any recordings in addition to the one I already have? I have the jones for the 'stones. In David Evans' liner notes for The Fieldstones album, he talks about the influence of Leroy Hodges on the Fieldstones, calling him a "leading figure in the underground Memphis blues scene." Any information about Hodges -- recordings, etc.? And just what is this underground Memphis blues scene? It certainly seemed that the Fieldstones were underground in that they didn't seem to make a lot of public appearances, or perhaps their appearances weren't well-publicized. Thanks in advance for any information. ********************** Bill Morgan ========================================================================= Date: Tue, 19 Sep 1995 08:42:32 -0500 From: T-Bone Subject: Re: Piedmont Blues On Fri, 15 Sep 1995, Chris Adams wrote: > There is a great Archie Edwards CD called "Blues and Bones" on the > Mapleshade label. It features, obviously, a bones player, as well as Mark > Wenner from the DC Nighthawks on harp. I'll second Chris' recommendation of this disc. I bought this at Tower this weekend. Great album! Archie's repertoire is not strictly 100% blues (he's rather colorblind when it comes to his musical influences), but boy can he play. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 20 Sep 1995 23:28:24 -0600 From: Don O Subject: JLV/SRV The Dallas Hard Rock Cafe inducted Jimmie Vaughan and SRV into their "walk of fame" yesterday. Basically that's a bunch of brass stars in the sidewalk outside the club. Jimmie and his mom Martha came out to accept the honor and drew some excellent press coverage. The local ABC, NBC, and CBS stations had coverage on the local evening news. Originally, the honor had been planned for the tour promoting Jimmie and Stevie's joint album, but of course, that never took place. Jimmie played the Dallas Hard Rock that evening (at $22.50 a head) and it was packed. They took out all the tables and chairs downstairs so it was SRO. Jimmie did a solid 1 1/2 hour set drawing mainly from his "Strange Pleasure" album. He also did DFW, Texas Flood, and a couple of amazing instrumentals-one sort of in the style of Freddie King, another in the style of B.B. King-that sent chills down my spine. It's been a long, long time since I've had that happen in any live show. Otis Rush was the last to do that to me. JLV can sure enough play them blues. Bill Willis, his B3 player was grinning from ear to ear for the whole show (probably from the lady in the front row who was removing underwear and laying it on the stage). There was a good fight in the crowd during Just Like Putty. Yes, even the wholesome Hard Rock Cafe can be pretty fun in Big D. I feel like I got my money's worth, even if it was a bit pricey. It was very strange to see Jimmie up there on a stage that has a large collection of SRV memorabilia on the wall. I think it brought out a little something extra. In fact, Jimmie had them take down an old guitar of his (Jimmie's) that was displayed on the opposing wall and that's what he played all night. I'm not sure if he gave it back or not. Don O. ========================================================================= Date: Wed, 20 Sep 1995 23:55:31 -0500 From: Denny Griffin Subject: Re: Distractions/was:Talking Bonnie wrote: And here's another thing...why do clubs turn up very loud recorded >music the minute the performer or the band takes a break? People >might want to discuss the set, order drinks, talk to the musicians or >their friends without screaming ... and constant loud music - no matter >if I love it - for several hours just wears me out. I wish club owners >would give us a break. > > -Bonnie Delurking:) I would also like to know what the deal is there, also why do clubs that don't even have live music have to blast the jukebox louder than it would be if they had a live bank playing. Hey can anyone let me know how one keeps up with the Blues scene in Madison, Wi. it's like when we here that someone good is going to be in town it's after they have allready played their concert and left town:( Private E-Mail on this is fine. Back to lurk mode Madison Metro. Denny Griffin (S_HAWK) School Dist. Pool Playing Fanatic Work (608) 266-6132 Dealer in used pool cues Pager (608) 282-0789 Kawi Rider E-mail: Crew chief R.J. Racing dgriffin@madison.k12.wi.us The one only Super Force ========================================================================= Date: Wed, 20 Sep 1995 22:11:31 -0700 From: Chris Adams Subject: Re: In Cold Blood The woman's name is Lydia Pense and the band (with mostly new members, but still in the horn mode) plays up and down the west coast. Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Wed, 20 Sep 1995, William R. Tschanz wrote: > I might be streching it here a little but please bear with me. > Back in the 60's there was a New York club band > that made some succes called Cold Blood ; valdez in the country etc,. > They had a female singer that still brings a tear when I here her > do that thing. Does anyone have an Idea what happened to this band. > Cause some of their numbers were so low....down.....deep. > When she sang the blues. I was down there with her. > Wily lost in thought > trien to find some old shoes. > > ____________________________________________________ > | > > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > > | TEMPLE UNIVERSITY ----------- > > |___________________________________________________> > ========================================================================= Date: Wed, 20 Sep 1995 22:16:03 -0700 From: Chris Adams Subject: Re: High Water Records and the Fieldstones Leroy is one of the Hodges brothers who played on many of the HI records hits and non-hits. Teenie hodges is one of the unsung heroes of subtle, groove guitar playing- a soul master. As far as the underground Memphis scene, I'm not sure what exactly he is talking about, but there is a good book on an underground Memphis scene in the 60's and 70's called "It Came >From Memphis". Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Wed, 20 Sep 1995, William A Morgan wrote: > I have a couple of records on the High Water label, a blues label > affiliated with Memphis State University (now University of Memphis). I > know that David Evans was a driving force behind the label and was > actively involved in the recordings (he played on some of the recordings and > even hawked some of the records at music festivals in Memphis). > I'm wondering if High Water is still around (and if so, do they make > CDs?) I also would be interested to know if any Blues-lers have any > High Water recordings. I have Hammie Nixon _Tappin' That Thing_ and The > Fieldstones _Memphis Blues Today_. The Fieldstones, by the way, were one > of my favorite Memphis area bands when I lived in and around Memphis. > Are they still around, and do they have any recordings in addition to > the one I already have? I have the jones for the 'stones. > In David Evans' liner notes for The Fieldstones album, he talks > about the influence of Leroy Hodges on the Fieldstones, calling him a > "leading figure in the underground Memphis blues scene." Any information > about Hodges -- recordings, etc.? And just what is this underground Memphis > blues scene? It certainly seemed that the Fieldstones were underground in > that they didn't seem to make a lot of public appearances, or perhaps > their appearances weren't well-publicized. > Thanks in advance for any information. > ********************** > Bill Morgan > ========================================================================= Date: Tue, 19 Sep 1995 08:15:53 -0500 From: T-Bone Subject: Re: your choice The best non-blues show I've ever seen was back when I was going to Indiana University. A couple friends and I went to see a local roots-rock band, The Ragin' Texans. After the first couple songs, I noticed that the drummer was Kenny Aranoff (John Mellencamp's drummer), not the usual drummer for The Texans. After half an hour, the Texans invite their friend "John", ("Some local guy") to come on stage, and sure enough, Mellencamp comes up for a few songs. Then he invites his friend John to come out, and John Prine plays a few numbers. Then they invite their friend Lou, and out comes Lou Reed. It turns out that Reed, Prine, and Mellencamp were leaving the next morning to play at one of the Farm Aids in Illinois, where Prine and Reed would play with Mellencamp's band. So they decided to go out the night before they left and have some fun at The Bluebird. Not bad for a $2 cover. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Thu, 21 Sep 1995 07:07:07 GMT From: Geir OEien Subject: Re: JACK OWENS FOR LEVI's Hi, > Okay, maybe I was hallucinating, but a few nights ago I swear I was > watching TV and on came the DISTINCTIVE sounds of Bentonia bluesman Jack > Owens, complete with moving images of him playing on the porch of a rural > house, undoubtably near his home in the hills of Mississippi. It turns out > to be an ad for Levi's jeans...this was very surreal as I'm sure 99.9% of > the population of the US has never heard of Jack Owens and this commerical > did nothing to improve that condition. Yep, very strange...did I really > see this? I really think you did! When we stopped by in Bentonia this summer (see travel report), we were told by Randy at Ms. T's Cafe that there were quite a lot of people coming through there - including a busload of Japanese tourists, and "some jeans company shooting an ad"! I am looking forward to seeing Jack (and, I hope Bud Spires) at my local cinema - though it is of course a SHAME if they are not identified and honored as the great bluesmen they are. Cheers, Geir Oien (oien@hsr.no). ========================================================================= Date: Thu, 21 Sep 1995 04:28:20 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 21st Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ATWOOD, HUBBARD M.(songw/arr/PLAS JOHNSON)d. 1988-0921, LUMBERTON, MS 70 BARRON, BILL (tsax) d. 1989-0921, MIDDLETOWN, CT 62 BATEMAN, CHARLES(p/MILLINDER/GENE AMMONS) b. 1921-0921, YOUNGSTOWN, OH CARTER, BO [ARMENTER CHATMON] (g) d. 1964-0921, MEMPHIS, TN 71 DAVIS, JESSE ED (g/TAJ MAHAL) b. 1944-0921, OK HAMILTON, CHICO (d) b. 1921-0921, LOS ANGELES, CA HOOVER, ODIE M. JR. REV (v gospel) b. 1921-0921, NASHVILLE, TN LUSK, EDDIE "PROFESSOR" (keybds) b. 1948-0921, CHICAGO, IL PASTORIUS, JOHN "JACO" (el. b) d. 1987-0921, FORT LAUDERDALE, FL 35 PORTER, CURTIS (sax/GRIFFIN BROS) b. 1929-0921, PHILADEPHIA, PA POTTER, TOMMY (b/CHARLIE PARKER) b. 1918-0921, PHILADELPHIA, PA SMITH, TRIXIE (v) d. 1943-0921, NEW YORK CITY, NY 48 STEWART, LEROY "SLAM" (b/SLIM & SLAM) b. 1914-0921, ENGLEWOOD, NJ STOVALL, JEWELL "BABE" (g) d. 1974-0921, NEW ORLEANS, LA 66 SYMPHONY SID (SIDNEY TARNOPOL) (dj) d. 1984-0921, MIAMI, FL 75 TONEY, JAY STONE (of THE SOUTHERNAIRES) b. 1896-0921, COLUMBIA, TN WILSON, ERNESTRO ANDRE (p/sax) d. 1991-0921, DETROIT, MI 35 ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 21 Sep 1995 03:41:51 -0500 From: "K. Kelly" Subject: Jr. Kimbrough's Place I fell the need to see this place pronto. Judging by some of the (paranoid?) posts around here lately, it may be a House of Blues by next spring. Anyone know where I can get a list of upcoming shows so I can hop in my '78 Impala (blue) and hurry down before I'm knee deep in snow? TIA!! ========================================================================= Date: Thu, 21 Sep 1995 08:43:52 -0400 From: "Abe W. Mathews" Subject: Diaz Amps - What blues content? Here's a question for all my fellow guitar-heads- I've got a chance to pick up a couple of Diaz amps, both combos, one with a 12, one with a 15. The interesting thing about them is the fact that they are the *prototypes* for Ceasar's line. Before the flames start flying, yes, old Mr. "Don't need tubes to sound good" is looking to buy a tube amp. So sue me. I just don't feel like lugging a ton of gear to every nickel-and-dime gig that comes my way. I'm hoping to be able to get by on smaller gigs with one guitar, a small combo and possible a OD pedal. I'm hoping that this amp could fill that role. So, I'm looking for opinions. Have you played any of Diaz's amps? Did you like them? What do you think they're worth? Any help would be appreciated. Abe awmathew@mtu.edu ========================================================================= Date: Thu, 21 Sep 1995 12:46:43 GMT From: Lucy Dueck private account Subject: Ronnie Earl's schedule - again Hi all! I'm still looking for a schedule of Ronnie Earl's tour dates since I'll be heading to the NE within the next 2 weeks. Can anyone help? I only got that he's playing near Boston on Sept. 30. Thanks! "sole to soul" ========================================================================= Date: Thu, 21 Sep 1995 05:52:11 -0700 From: Garry Segal Subject: Bar/Crowd distractions Sometimes when we are on stage and there seems to be a din of talking, we start babbling quietly into the mics creating our own little stage din. Its actually pretty funny and people realize what we are doing and usually settle down a bit. I expect a reasonable amount of crowd chatter in bars and ignore them and play to those who want to listen and clap and generally the clapping/cheering eventually takes over. Many posts suggested that people are insensitive to live bands due to too much TV, MTV, videos etc. So true. I always make it a point to turn off any bar TVs anywhwere near the band. Give a crowd the choice to watch a Lassie rerun or look at a band and that charismatic dog just pulls them in ! :-) I think there is also a deep childhood fear in some audience members that they might be "called on" and will be unprepared with an answer, therefore they try to ignore instead of risk getting into the show. ( Bob Newhart move over:-)) Sometimes when a big yummy plate of nachos is brought to a table I'll say " Hey ,I hope you plan on sharing that with the whole class" :-) The whole point is too get a good repore going with as many audience members as possible and ignore the joiks. Garry Moodswingerpage http://www.island.net/~blue/BlueSngr.html ========================================================================= Date: Thu, 21 Sep 1995 07:53:24 -0600 From: James Foster Subject: PERCY SLEDGE The GREAT Percy Sledge will make his way to Austin for a show on Spetember 29 at the historic Scholtz Garden, the oldest beer garden/gathering spot in Austin, part of the Capitol culture for over a hundred years (this garden is immortilized in William Brammer's fine novel "The Gay Place"). Though not known as a music venue, Scholtz has had numerous shows over the years. Percy's latest domestic release, BLUE NIGHT, is easily one of the finest albums of the year, with Percy in great voice and an excellent supporting cast of musicians, both well-known (i.e. Steve Cropper, Bobby Womack) and more anonymous. The album was recorded in France and came out in the US a few months ago. Do yourself a favor and listen to it. BTW, if anyone knows the current make-up of Percy's band, his other tour dates, or other information please let me know. Thanks. James Foster (who will be hanging out at the Lou Ann Barton show at Antone's tonight, just waiting for Jimmie Vaughan to drop by after his show with B.B. King :-) ) ========================================================================= Date: Thu, 21 Sep 1995 08:14:18 -0400 From: Willy Evans Subject: Behaviour at a show On the subject of how to act at a blues show, there are a lot of perspectives. The patrons all want to have a good time (some to party, some to listen), the band would like for everyone to hang on every note and really dig what THEY'RE doing, The club wants everybody to drink a lot and stay all night. As a performer, I've got a certain amount of ego wrapped up in what I'm doing, but what I have decided is this: When I play a club, I don't expect everybody to listen to what I'm doing. If the music is good, people realize it on some level and it fuels what they're doing. I just try to loosen up and enjoy the party as well. That is what bars are for. If everybody just sat at their tables and listened, they wouldn't drink near as much and the club won't have you back. BUT at a "concert" type of deal, I do expect people to be respectful of the performer and those around them. Norman Blake, who is one of my idols, has a terrible time with that. He will book into a bar and expect people to listen breathlessly to every note. He has even asked bars to not serve drinks except during his breaks. He don't get hired into bars much any more. Remember that as a performer, you are hired to entertain the crowd. At a bar where people are drinking and dancing, most people want to party. Since this is America, you got to go with the majority. Somewhere we changed blues from dance music to "concert" music. The same thing happend with Jazz. Audiences changed from wild jukin' crowds that mostly listened with their loins to rows of people listening intently for form and content. If we are to preserve the blues heritage, maybe we should loosen up a little and spend all night trying to get our date drunk! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 21 Sep 1995 09:24:28 -0400 From: Bob vanArsdall Subject: Re: Cold Blood William R. Tschanz asked: >I might be streching it here a little but please bear with me. >Back in the 60's there was a New York club band >that made some succes called Cold Blood ; valdez in the country etc,. >They had a female singer that still brings a tear when I here her >do that thing. Her name was Lydia Pense. But I've got no idea what happened to her. Unless my synapses crossed somewhere (always a possibility with remembrances of things in that era) I seem to remember Cold Blood was one of the successors to Stoneground, which had Sal Valentino of the Beau Brummels as well. Yes? No? Geez, that was a long time ago.... Bob ========================================================================= Date: Thu, 21 Sep 1995 08:36:42 CDT From: L W Subject: Rod and The Flyers Rod and The MF's will be in Hunstville at the end of this month and they are billed as "Rod Piazza and the Mighty Flyers".....No Alex Shultz, but I wish he was still playing with them.. LW ========================================================================= Date: Thu, 21 Sep 1995 09:48:13 -0400 From: Barry Silverberg Subject: Re: Behaviour at a show Willy Evans (willy@LIGHTNIN.BREVARD.EDU) wrote: : When I play a club, I don't expect everybody to listen to what I'm doing. : If the music is good, people realize it on some level and it fuels what : they're doing. I just try to loosen up and enjoy the party as well. That : is what bars are for. If everybody just sat at their tables and : listened, they wouldn't drink near as much and the club won't have you : back. Being a fan and not a performer I've noticed the following. Not only does the music being good get people into it but a certain amount of showmanship as well. All that popping off the stage and various guitar antics etc really go quite far to stopping people from the chatter and the drinks and make them stand up and listen (and watch). BTW a good show brings them back to the club and so it also wins in the end - more customers, more times there and more drinks sold. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Thu, 21 Sep 1995 13:39:47 GMT From: marc borms Subject: Re: The Blue Highway Delta Log Curtis Hewston (curtis@MAGICNET.NET) wrote: : Okay, y'all. It's up: my account of August's trip to the Delta and the : Sunflower Festival. It includes more than 60 jpeg images for your viewing : pleasure. Highlights: : New Orleans; gravesites and memorials to Charley Patton, Robert Johnson, : Mississippi John Hurt, Sonny Boy 2; where the Southern cross the dog; : Dockery Farms; Parchman Farm; the Delta Blues Museum; LW's check : presentation; those Norwegian guys; a few cameo appearances; and a lot more : of Clarksdale and the festival. Great ! I already knew, the Blue Highway is the best place to stay online, but Curtis' Delta Log gives an excellent view of the cradle of my passion. I hope that once I'll be able to cross the ocean and come to the Deep South.... embee. ========================================================================= Date: Thu, 21 Sep 1995 10:06:01 -0400 From: Tom Freeland Subject: Re: Jr. Kimbrough's Place In a message dated 95-09-21 07:40:13 EDT, kmkelly@BLUE.WEEG.UIOWA.EDU (K. Kelly) writes: > I fell the need to see this place pronto. Judging by some of the >(paranoid?) posts around here lately, it may be a House of Blues by next >spring. While the posts aren't paraniod, its never going to be the HOB. >Anyone know where I can get a list of upcoming shows so I can >hop in my '78 Impala (blue) and hurry down before I'm knee deep in snow? Upcoming shows? If you're in town on a weekend, particularly on a Sunday night, and you're lucky, and if Junior is in town and feels like playing, you'll hear Junior and whatever members of the Kimbrough and Burnside families feel like playing. There is no schedule other than that. Sunday nights are the most reliable. This question implies a relatively complete misunderstanding of what goes on in Junior's (or a juke joint). You should realize that this is one notch removed from a house party-- 'informal' is not a strong enough word. They don't have a menu, either (recenlty I discovered that you *can* get a cup of water there, so that you don't have to rely strictly on beer to deal with the incredible heat there in the summer time. Oh, no air conditioning, and they heat the place from a wood-burning 50-gal-drum-type stove. They do have a pool table, though, and a limited number of chairs. They do ask that you refrain from sitting on the tables). Tom Freeland ========================================================================= Date: Thu, 21 Sep 1995 13:52:43 GMT From: Stuart Ehrlich Subject: Re: Ronnie Earl's schedule - again Ronnie Earl and The Broadcasters: Friday Sept. 29 at Iron Horse, Northampton, MA Satday Sept. 30 at Johnny D's Upton Cafe, Sommerville, MA ========================================================================= Date: Thu, 21 Sep 1995 07:19:40 -0700 From: Mary Katherine Aldin Subject: Re: High Water Records and the Fieldstones William A. Morgan wrote: > > I have a couple of records on the High Water label, a blues label affiliated with Memphis State University (now University of Memphis). I know that David Evans was a driving force behind the label and was actively involved in the recordings (he played on some of the recordings and even hawked some of the records at music festivals in Memphis). I'm wondering if High Water is still around (and if so, do they make CDs?) I also would be interested to know if any Blues-lers have any High Water recordings. I have Hammie Nixon _Tappin' That Thing_ and The Fieldstones _Memphis Blues Today_. In addition to the High Water records you mention I have the following High Water 45s: R.L. Burnside & the Sound Machine: Bad Luck City/Jumper Hanging Out on the Line (HW 410) Ranie Burnette: Coal Black Mattie/Hungry Spell (HW 411) The Fieldstones: Looking For a Fox/Blues at Nightfall (HW 412) The Fieldstones: Please Don't Put Me Outdoors/The Thing(HW 413) Junior Kimbrough & the Soul Blues Boys: Keep Your Hands Off Her/I Feel Good, Little Girl (HW 418) And I think I have a couple of others. However my 45s are filed in alpha order by artist, not by label, so unless I *remember* the label, it's hard to find anything that way. I have never seen any High Water CDs, but will ask David Evans when next we speak and post that info to the list. Mary Katherine ========================================================================= Date: Thu, 21 Sep 1995 10:32:38 -0400 From: bob unger Subject: Blues-l Tape #3 OK, I've been thinking about this and talking with experienced people and I think the best way to do this is through a commercial duplicator if there are a lot of requests. The cost of the duplication, cassette and mailing would not be very much. This is a BALLPARK figure....between $5 and $10 per cassette. I have not checked with any companies yet, so dont quote me on that price. Their is even the possibility of transfering the master tape to cd (Pat H., I know I told you I wasn't going to look into that, but if I'm going commercial, might as well check it out) Of course if the requestd are minimal, I can always make copies on my home deck. Now, all this dont mean a damn thing if we dont have anything to put on the tape. I already have 2 songs from one blueseller. Who else want's to go down in Blues-l history as a contributing musician. Always to be remembered in the Blues-l Hall of Fame. Show off to your gran chillun'! HEY! Maybe we can get Curtis H. to put sound bites from the tape at his web site! Your voice and music will be accessable to millions of people world-wide! So, all who are interested, contact me by private e-mail and let's get the ball rolling...... BU bob@sun.bnkst.edu ========================================================================= Date: Thu, 21 Sep 1995 09:52:01 -0500 From: Jeff Seale Subject: Re: cd length (fwd) Uncle eRIC sheds an interesting light that I haven't seen yet. -Jeff (I still think it sucks) ---------- Forwarded message ---------- Date: Wed, 20 Sep 1995 13:47:17 -0700 From: Eric LeBlanc-CISTI Subject: Re: cd length Hi Jeff, Just got back. The reason has to do with royalities. The rate is based on 20 cuts &/or 60 minute CDs. If the label owns the rights, you usually get more cuts. THis only applies to North American releases., that's why the same set in Europe contains more cuts. The new ACE CD are being compiled with 20 cuts so that VIRGIN can reissue them in North America. ARHOOLIE owns the rights through their TRADITION publishing company. eRIC ========================================================================= Date: Thu, 21 Sep 1995 07:58:30 -0800 From: James Carmin Subject: Re: Distractions/was:Talking > Bonnie wrote: > >And here's another thing...why do clubs turn up very loud recorded >>music the minute the performer or the band takes a break? People >>might want to discuss the set, order drinks, talk to the musicians or >>their friends without screaming ... and constant loud music - no matter >>if I love it - for several hours just wears me out. I wish club owners >>would give us a break. >> >> -Bonnie This reminds me of when I saw Kenny Neal at a small club in Aspen, CO in 1989. I had just seen him along with Raful and Henry Gray and Lazy Lester at the Chicago Blues Fest where of course the crowds loved what was going on up there on the Front Porch; then I went to Aspen and learned that Kenny and the band were performing. So we went to this small club and Kenny and his brothers just cooked and played their hearts out. They were great! There wasn't a lot of talking going on in the audience but the crowd just seemed to be ignoring them; very little applause and generally dull and very bored looks on their faces. Then when the band took their set breaks, disco music started pounding through the PA and the crowd went wild and started dancing. This was weird. A couple of days later Kenny and the band arrived in Eugene OR where I lived at the time and we caught 'em again and there in Blueugene, everything was back to normal and the crowd RESPECTED Kenny and Kenny had reason to respect the crowd. James C. jcarmin@teleport.com ========================================================================= Date: Thu, 21 Sep 1995 11:15:03 -0400 From: mc@CNOTES.COM Subject: Excello Blues Reissues - Web Site Here are just a few of the MANY releases featured on the AVI/Excello/Nashboro Web site (http://www.cnotes.com/cnotes.soul.html): Arthur Gunter "Baby Let's Play House" (May 23) Jerry McCain "That's What They Want" (May 23) Warren Smith "Sun Masters" Anyone who would like to receive the complete list of Excello/Nashboro reissues from AVI via email, please send email to avi@cnotes.com with subject "AVI LIST REQUEST." We'd be more than happy to send you one. You can also call (310) 556-1144 to request a free copy of the "Atomic Beat" catalog. Mike Corso ========================================================================= Date: Thu, 21 Sep 1995 14:01:24 GMT From: Barry Bean Subject: Re: Distractions/was:Talking In <25092018302330@vms2.macc.wisc.edu>, Bonnie Kalmbach writes: >And here's another thing...why do clubs turn up very loud recorded >music the minute the performer or the band takes a break? People >might want to discuss the set, order drinks, talk to the musicians or >their friends without screaming ... and constant loud music - no matter >if I love it - for several hours just wears me out. I wish club owners >would give us a break. > > -Bonnie Its a real pet peeve of mine when I'm playing a gig, and the music between sets is louder than the band and a completely different genre. I recently took my 10 pc. horn band to a little roadhouse and the crowd ate it up. But between sets, instead of either giving everybody a rest, or at least playing some soul/R&B/blues they hit the house with top 40 country. Yech. At least they really appreciated us when we started the next set. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Thu, 21 Sep 1995 10:50:51 -0600 From: Ranko Vujosevic Subject: Ahura Mazda Records Can anyone tell me more info on Ahura Mazda Records, I think down from New Orleans, which released an LP from Robert Pete Williams in 1970, an LP from Scott Dunbar, and an RPW single with "Goodby Slip Harpo/Vien Nam Blues" on it? Did they release anuthing else? I guess no plans to re-issue these albums on CD exist. Ranko ========================================================================= Date: Thu, 21 Sep 1995 11:51:51 -0400 From: Rick Miller Subject: Club crowds I'm with LW on this one. I blame it on advertising and the lack thereof. Last week we played at one of our favorite clubs to a small group of appreciative fans who pointed out to us that our name was NOT on the large, bright marquis out front (we came in the back so didn't notice). This pissed us off most royally. Then later that same night, some local musicians came in and were really diggin' our stuff, and we talked to them between sets and they told us that our (target) club, The Planatation across town was packed full of people who were listening to a popular band (Wilbur & The Dukes) who sounded terrible that night, and they swore if any of those folks KNEW we were across town and rockin' the joint, they would have all come over here. My experience is club owners advertize minimally, and expect the bands to attract their own crowd with their own advertising, mailing lists, etc. ....so we can make THEIR bar money? Hmmmmm! Like LW said..don't start me talkin'.... Riffin Rick (((( oo-) /- You can shout and make no sound- or whisper up a storm. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Thu, 21 Sep 1995 16:05:09 GMT From: william higdon Subject: Re: Distractions/was:Talking Barry Bean wrote: >In <25092018302330@vms2.macc.wisc.edu>, Bonnie Kalmbach > writes: >>And here's another thing...why do clubs turn up very loud recorded >>music the minute the performer or the band takes a break? Based upon my experience with one bar owner, the answer lies in the fact that most people can't talk and drink at the same time (and that the bar owner makes more money when you drink). MY REAL PET PEEVE about this (pardon my screaming), is the callous disregard this shows for MY hearing! I don't resent a businessperson trying to make a few dollars, but it pains me to know that hurting my ears in the process is an acceptable cost of doing business. ".. gotta keep moving, gotta keep moving.. blues comin' down like hail" Bill Higdon. ========================================================================= Date: Thu, 21 Sep 1995 09:01:00 -0700 From: Ned Kraft Subject: Re: Little Jimmy King Item Subject: Little Jimmy I also liked his first album. Then I saw him at the Oakland Heritage Festival and was unimpressed. He spent much of his time screaming at the sound man (and the audience) to turn the monitors up. I won't pay to see him again unless several people see him and convince me otherwise. At least he didn't spend any time tuning up at full volume.;| Dirty Ned ========================================================================= Date: Thu, 21 Sep 1995 09:11:00 -0700 From: Ned Kraft Subject: talking In many cases people go to shows to see other folks, not just the band. If people are willing to spend their money and bring their friends to my shows I've got no problem with them talking. The entertainment is a combination of the music and the company. How many of us prefer to see a show alone? I certainly have respect for performers, but don't sit silently (shame on me?). How about a better analagy for the audience LW? I'm smiling now, but flame if you must. I'd say that if the listowner (soundman?) scrambled messages we'd have something to bitch about - and someone who is interested in what we say (most times). Everyone else on the list (audience) scrambles our messages, returns them, and sometimes forwards them outside the list (advertising). Dirty Ned who would prefer an energetic, noisy club over a silent, empty one as long as I've got amplification. ========================================================================= Date: Thu, 21 Sep 1995 09:39:11 -0700 From: Rob Frantz Subject: Want to resubscribe. Lost listserv address I lost the listserv address and hope someone can send it to me. I want to resubscribe to BLUES-L. Rob Frantz ========================================================================= Date: Thu, 21 Sep 1995 12:19:07 -0400 From: Willy Evans Subject: Re: Blues-l Tape #3 On Thu, 21 Sep 1995, bob unger wrote: > OK, I've been thinking about this and talking with experienced people and > I think the best way to do this is through a commercial duplicator if there > are a lot of requests. The cost of the duplication, cassette and mailing > would not be very much. This is a BALLPARK figure....between $5 and $10 per > cassette. I have not checked with any companies yet, so dont quote me on > that price. Their is even the possibility of transfering the master tape > to cd (Pat H., I know I told you I wasn't going to look into that, but if > I'm going commercial, might as well check it out) > When I made my tape. I had 500 copies made with a full color j-card. The cost was a little over $2 per tape. I was able to rent a dat recorder for $50 per day and mixed my master in a days time. (They prefer dat masters) So if we're talking just taking tracks off of cassette and cd's and putting them on a DAT master, This would not be a very expensive (per tape) project. If anyone has a DAT machine along with a cassette deck and a cd player. It would be a cinch to make the master. Somebody design a j-card (they like it in MAC formats) give em about $990 and there ya go! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 21 Sep 1995 12:16:47 CDT From: L W Subject: talking ----------------------------Original message---------------------------- >a combination of the music and the company. How many of >us prefer to see a show alone? I certainly have respect >for performers, but don't sit silently (shame on me?). I'd much rather have John Hammond sitting on my swing at home and playing just FOR ME , than a club full of others....Shit Charles Brown and ME in my living room.....Yeah I can handle being alone....... I come off as a snob, cause I'm there for the perofrmance, not to talk to somebody during the show. After the show, during the break I'll talk your ears off. LW 'I'm never, ever rude about it" ========================================================================= Date: Thu, 21 Sep 1995 17:43:20 GMT From: Art Schuna Subject: Slam Stewart (was Re: Eric LeBlanc's Blues Dates - September 21st In article <199509210831.EAA40690@tequesta.gate.net>, "P.W. Fenton" says: >STEWART, LEROY "SLAM" (b/SLIM & SLAM) b. 1914-0921, ENGLEWOOD, NJ Now here's an artiste that needs some attention. Slim & Slam did some great collaborative work in the 40s. There big hit was "Flat Foot Floozie with the Floy Floy" which, I was told, is a song about a prostitute with venereal disease but it's a great tune. They had a number of similar style recordings. I own a CD box set of their recordings that came out on the Affinity label (I think). This would be a set the William Shute would probably recommend to you. Bill, if you don't own this, you don't know what your missing. Slam went on to doing recordings that were more in the jazz vein after splitting with Slim Gaillard. Art Schuna ========================================================================= Date: Thu, 21 Sep 1995 14:01:53 -0400 From: Marcia Grodsky Subject: T Shirts, etc. To anybody who may have sent me mail that I didn't respond to while I was away --- my apologies. I took a laptop with me, but I couldn't get it to work at my first hotel and wound up going over my mail quota. I know I lost some messages. I've been receiving a lot of inquiries about whether or not I'm still doing "the t-shirt thing". Here's where things stand right now. For all practical purposes, the t-shirt sale is over. The only thing left is one 2X sweatshirt. I have a number of things to catch up on here, but at the first possible opportunity I'll sit down and do the final tally. There will be some more money for the museum, but I haven't figured out the amount yet. Right now I couldn't even put my hands on the file. I haven't decided yet whether or not I'll do another round. Right now I have too much on my plate, but I'll make a decision in a few weeks. ---Marcia ========================================================================= Date: Thu, 21 Sep 1995 14:48:46 -0400 From: Lee Hopkins Subject: Re: B.B. on ACL B.B. at the Austin City Limits taping was nothing out of the ordinary, for B.B. Of course, ordinary for B.B. makes every other performer want to give up. B.B. played an hour and a half set (I assume they will give him the entire 60-minute show when it airs). There were a few songs which had technical glitches (feedback, etc) which will probably be deleted, which is a shame. The entire set was simply incredible. ========================================================================= Date: Thu, 21 Sep 1995 13:58:04 -0500 From: Bruce Roberts Subject: Munich Records According to the Austin-American Statesman (9/21) the Dutch indie label Munich Record has set up shop here in Austin. "The roots-oriented label will begin selling albums from its 7,600 title catalog Oct. 3 with a live recording of Albert Collins from 1970, a Rory Block albumn recorded for the label in 1989, plus a compilation of performances on the Amsterdam radio show 'Sunday Morning Coming Down' featuring Butch Hancock, John Gorka, Calvin Russell, Loose Diamonds and Jimmy Lafave." Bruce Roberts Austin, TX ========================================================================= Date: Thu, 21 Sep 1995 13:38:52 -0700 From: Ron Wack Subject: John Hammond Hi folks, There's been quite a bit of talk about John Hammond lately. Can anyone offer some disc recommendations? Thanks in advance. RW ========================================================================= Date: Thu, 21 Sep 1995 14:36:08 CDT From: L W Subject: Little Walter & Chromatics I have a question, that is mainly geared toward the harp folks: Am I right that Little Walter played a chromatic harp most/a lot/some of the time...? Why is it that most harp players I talk to say that Little Walter is their favorite harp player, but they NEVER play chromatic harps. I have only seen a couple of people play them... I know one of my friends who plays good harp and has done so for many,many years, finally bougth a chormatic and he said no way. A totally different instrument than regular (diatonic ?) harps. It would stand to reason that if you wanted to sound & play like Walter you would become proficent on a chromatc I'm just curious..... LW ========================================================================= Date: Thu, 21 Sep 1995 19:57:07 GMT From: todd sandel Subject: Re: Little Jimmy King dave, i'm very pleased to hear someone else in bluesville has picked this guy up. his second album has been out for a while, but usually it must been special ordered from ROUNDER RECORDS. it is a stark transition from his first offering, but that should not dissuade you at all from purchasing it. it is a gem; it shows how he has truely MASTERED the wah-pedal. and here's the kicker: double trouble(yes, that's tommy the slut and chris whipper) backed him on the whole ablum. it will blow you AWAY..... todd ========================================================================= Date: Thu, 21 Sep 1995 15:02:59 EWT From: "CATHI N." Subject: Robinson Interview (long) Hi y'all...here's an interview of harper/singer Tad Robinson. Hope you like. SING IT WITH SOME HAIR ON IT By Cathi Norton Well, blues fans, I've been promising you I'd get off this harmonica-player kick soon, and I tried. I really tried. But they're everywhere! This time, however, I ran up on a excellent harper who thinks of himself primarily as a singer. This surprised me, frankly, for although I've always admired his singing work, his harp playing struck me hard. I'm talkin' 'bout Tad Robinson. Tad, a native New Yorker whose work I first heard in Bloomington, Indiana in the late '70s, might be better known for his work with guitarist Dave Spector on the latter's album "Blueplicity" (a Delmark recording), than for his early work in the '70s. But since then he has been a big part the Chicago blues scene, both with his "Tad Robinson Blues Band" and as a very active jingle and studio session player/singer. He also released his own CD on Delmark, called "One, Two, Infinity" in 1995. The 39-year-old Robinson recently moved back to Indiana with his family and hopes to become a lot more familiar with our own blossoming blues scene. Cathi: It's been awhile Tad, let's start with some biographical information. ` What originally brought you to Indiana? Tad: I went to Bloomington in the late '70s to go to the Indiana University School of music. I wanted to major in voice...to get a background in music. I didn't know what I was doing...or what a C-triad was you know? Cathi: You graduated from there? Tad: Yeah, and I ended up getting what I came for: learned a lot of theory, and I try to apply that to R & B -- writing tunes, doing a little piano, and stuff like that. Cathi: Then you moved to Chicago? Tad: Yes, I did some free-lance around Indy for awhile and met my wife; moving to Chicago was heavily influenced by her. She thought I needed a bigger city. Cathi: What's the scene like up there? Is it as "headcutter" as I've sometimes heard it is in the clubs? Tad: Actually, you know, I've always enjoyed the clubs. The trick for me with Chicago is to choose a few clubs that you like to play and make those your home. And my home bases have been Buddy Guy's Legends, Rose's Lounge on the West Side, and a place called Shaw's Crab House. I work there about three times a month. Cathi: Really? That's a lot in a month. Tad: Yeah, well, it's a restaurant and they have blues. When you choose a few clubs that you do well at, the people know you're a regular there and they come out to hear you. There's a burn-out factor in trying to play too many clubs in one city. It makes people take you for granted -- they just start thinking "Oh, I'll see him next time he's around." So you have to limit yourself. Cathi: Was blues always your first love? Tad: Not really. I came up like most children of the '60s with the British Invasion and Motown. I came into blues from listing to artists like Ray Charles and then people pointed me in the direction of blues. I was actually at Columbia University in New York when I heard James Cotton for the first time. That's when I really got the blues itch; that's when I said "Boy, I really want to do that." Cathi: Was harp difficult to pick up? Tad: Well, I always had one when I was a kid -- it wasn't something I really thought about that much. I always had one in my pocket...strolling around Central Park, blowing harp. The learning curve was a very long process (laughs) because I've been blowing harp for years and years and years! But I never really advertised myself as a harp player. For instance, when Delmark Records signed me, they signed me as a singer. Cathi: How did that happen? Was that when you worked with Dave Spector? Tad: Dave and I worked for many years together in Chicago. He's a guitar player who doesn't sing. So he always has a front man singer working with him. He worked with Barkin' Bill Smith on his first record and Jesse Fortune, a great singer, on his second. On his third album for Delmark, he invited me in. The first day I was in the studio recording with Dave, Bob Koester of Delmark Records heard me and signed me to my own record contract. So I have a two-record deal with them. My first record's been out about a year. I don't think they had ever hired a white singer before on that label. Cathi: You sound pretty black sometimes. Tad: I just try to be myself. Cathi: Tell us how someone gets to be a session singer in Chicago. Do people hear you in clubs? Tad: Well, yeah...but in about '87 there was a strike of the Screen Actor's Guild and they needed people who weren't union, so they went to the nightclubs. When they heard me, I ended up getting a lot of work, and when the strike was settled, I became a member of the Actor's Guild. Cathi: Do you find sessions more taxing than club work? Tad: Well, there are different demands for each. If you're a session singer, you have please a lot of people, quickly. You have to figure out what the producer wants you to sound like for the particular piece of music and you have to do it in a quick amount of time. In clubs, people come in because they like that style of music...and nightclub work is more demanding on the voice, since you have to sing for longer durations. I don't know...there are just lots of different demands. Cathi: And nightclubs have a lot of "environmental" challenges! Tad: You SAID it! (Laughter) Cathi: I imagine reading music is necessary? Do you find producers sometimes give you projects that are inexecutable? Tad: Yes, reading really helps, especially in situations where they just throw sheet music at you. And most of the time when I get called to do session work, it's because they know my voice well enough to know it's me they want. They might just tell me they want gravel, some hair on it... Cathi: (laughs) Tad: Yeah...you know -- whatever they ask for. Cathi: Well, I know you've done a lot of McDonald's commercials! How about touring? Tad: More (McDonald's) than I can remember! Actually, I never did much touring until I got on with Dave Spector. He was always the guitar player I'd hire on my gigs and then I became the singer he would often hire on his. Cathi: Who is in your band now? Tad: Ken Sajdak on keyboards, Harlan Terson on bass, Jon Hiller on drums and the guitar player -- well, guitar chores are handled by various people in my group...like Dave Spector, Alex Schultz, Steve Freund and so on. Cathi: Wow. That's some line-up. Great players. You're working on a new CD? Tad: Yeah, Dave's a Chicago native with a very unique approach to his music...very controlled, very jazz-influences and very thematic in solos. He was a member of the Legendary Blues Band, worked with Son Seals and has really earned a solid reputation. Alex is a good friend who was featured on my first record. We're teaming up on this new CD. I've written some stuff for it already. Alex has been with Rod Piazza and the Mighty Flyers (Blacktop) and then William Clarke (Alligator)...I'm really looking forward to writing with Alex. Cathi: Gotta ask you about your harp rig (laughs). Tad: Well I play through an astatic mic -- JT30 and right now I'm blowing through a Fender Bassman reissue, pretty standard -- no effects. With harmonica I believe the most important thing to remember is that the harmonica has a beautiful sound in itself acoustically. To me, an amp's job and a mic's job, is to get the true sound of the harp to fill the club. It's supposed to sound like harmonica, but in your ear. I think the guys getting the best tone right now are Kim Wilson, William Clarke and Gary Primich. Cathi: Well, I know Gary's doing that "straight" sound thing too. He told me he once took lessons from you! Tad: Yeah...well, after six months he didn't need lessons from ANYBODY (laughs). He's another of those thematic players...his compositions make sense. His last album was...well, scary..he's so good. Cathi: How 'bout chromatic? Do you play it? Tad: Love chromatic. My biggest influence there is Carey Bell Harrington; he's wonderful. Cathi: How have your harp and vocal styles developed, do you think? I mean what changes have you noticed as you mature? Tad: I think "less is more" you know? Cathi: (laughing) I love it. Tad: I'm not a big person for taping myself, but it's almost something a musician HAS to do so you know what people are hearing. Maybe sometimes there were five "right" notes and I sang ten. When you're younger you think you can "wow" people with power and a lot of chops, but as you grow older you realize all people want to hear is the melody and a story... Cathi: Yes, and I think they can hear the soul in it. Tad: Exactly..they can hear the soul even without the fancy notes and riffs. Another thing...in order to last over the years and sing power but over many dates in a year, you have to know your limits. Cathi: Well, I told you I've been talking to people everywhere on computer and I heard some great remarks about your last trip to Europe. Tad: That's right! Somebody mentioned to me that they were hearing stuff from the Bloomington scene and it was Cathi Norton! In Europe! Cathi: Guilty. Tad: That's the greatest thing about the music business...it makes the world seem like a smaller place. It's really one of the few places, in American society in particular, where racial lines are crossed and people have more of a feeling of brotherhood -- and sisterhood if you will. It's one of the only places in society that's not segregated. The rest of the time, this society has a lot of problems, but in the music business, people are more color blind. That's been really good. By the way, I've been really looking forward to hearing YOUR new CD Cathi. Even back in the '70s you were doing stuff that was ahead of it's time. Cathi: Marry me. ========================================================================= Date: Thu, 21 Sep 1995 20:00:04 GMT From: Jef Jaisun Subject: Re: JACK OWENS FOR LEVI's Cliff Warnken (WARNC@SNYCORVA.CORTLAND.EDU) wrote: : Yes, I saw this TV spot last month, also found it quite amazing. It's a national ad, running in the Seattle market, too. Thanks for ID'ing the artist. I didn't know who he was, but I saw and heard enough to make me think he was legit. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Thu, 21 Sep 1995 13:12:05 PDT From: Carol Ayres Subject: Re: Cold Blood >William R. Tschanz asked: > >>I might be streching it here a little but please bear with me. >>Back in the 60's there was a New York club band >>that made some succes called Cold Blood ; valdez in the country etc,. >>They had a female singer that still brings a tear when I here her >>do that thing. > >Her name was Lydia Pense. But I've got no idea what happened to her. Unless >my synapses crossed somewhere (always a possibility with remembrances of >things in that era) I seem to remember Cold Blood was one of the successors >to Stoneground, which had Sal Valentino of the Beau Brummels as well. Yes? >No? Geez, that was a long time ago.... > >Bob > Lydia Pense and Cold Blood are still playing, at least in the Northern California Area. She plays at Sutter Street Saloon in Folsom (just east of Sacramento) about twice a year ... and she's still sounding and looking good! Carol ========================================================================= Date: Thu, 21 Sep 1995 13:13:31 -0700 From: Anthony Difrancia Subject: Re: Want to resubscribe. Lost listserv address >I lost the listserv address and hope someone can send it to me. >I want to resubscribe to BLUES-L. > >Rob Frantz I've sent Rob the address. -- Anthony Difrancia instpub@ix.netcom.com ========================================================================= Date: Thu, 21 Sep 1995 13:27:54 +0000 From: Rich Del Grosso Subject: Re: Little Walter & Chromatics LW My harp friends believe that Walter played diatonic and chromatic. Most of the time he played diatonic, and that he used the third position most often. I have some harmonica experience, mostly in the first and second position. Perhaps another harp player out there can help us to understand the third position. Rich ========================================================================= Date: Thu, 21 Sep 1995 13:41:12 -0700 From: Chris Adams Subject: Re: Munich Records I wonder if that means Ted Hawkins' "Munich Tapes" will resurface again Christopher Adams Automated Systems Oregon State Library chris@sparkie.osl.state.or.us On Thu, 21 Sep 1995, Bruce Roberts wrote: > According to the Austin-American Statesman (9/21) the Dutch indie label > Munich Record has set up shop here in Austin. "The roots-oriented label > will begin selling albums from its 7,600 title catalog Oct. 3 with a live > recording of Albert Collins from 1970, a Rory Block albumn recorded for > the label in 1989, plus a compilation of performances on the Amsterdam > radio show 'Sunday Morning Coming Down' featuring Butch Hancock, John Gorka, > Calvin Russell, Loose Diamonds and Jimmy Lafave." > > Bruce Roberts > Austin, TX > ========================================================================= Date: Thu, 21 Sep 1995 20:41:37 GMT From: Jef Jaisun Subject: Re: In Cold Blood Chris Adams (chris@SPARKIE.OSL.STATE.OR.US) wrote: : The woman's name is Lydia Pense and the band (with mostly new members, : but still in the horn mode) plays up and down the west coast. : On Wed, 20 Sep 1995, William R. Tschanz wrote: : > Back in the 60's there was a New York club band Yes to number one, no to number two. Cold Blood was a Bay Area band. I submitted a tune to Lydia in 1969 or so. Mother Earth/Tracy Nelson did "down So Low." As I recall, Cold Blood's big hit was "You Got Me Hummin'". Linda Tillery was the lead singer of Loading Zone, a Berkeley-based band. She later went on to a career as a fairly well regarded singer of "women's music." Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Thu, 21 Sep 1995 20:33:16 GMT From: Jef Jaisun Subject: Re: Eric LeBlanc's Blues Dates - September 20th >From Eric's list for Sept. 20: : GOODMAN, STEVE (g/songw) d. 1984-0920, SEATTLE, WA 36 Here's a guy who was a musician's musician. You name it, he could play it...blues, bluegrass, folk, pop, or any combination thereof. As many of you know, Steve suffered from leukemia, a disease which eventually claimed him. It's hard for me to believe it was 11 years ago. He was being treated at University of Washington Medical Center, about a mile from my house. I tried to see him, but they were only letting family past the waiting room. In the waiting room was Goodman's best friend, John Prine, literally camping out. He was curled up on the couch, partially covered by a blanket and surrounded by bags of food, so he'd be there if Steve needed him. Goodman was a diehard Chicago Cubs fan ("A Dying Cub Fan's Last Request"), and ironically the Cubs were in contention for the first time in years as Steve lay dying. That same year, Steve issued a "vanity" baseball card of himself. I have one that sits encased in a hard plastic display case on top of my stereo shelf. It's my most prized "baseball" card, just ahead of my 1957 Hank Aaron and my 1953 Jackie Robinson. Here's how the back of the card reads: STEVE GOODMAN Singer/Songwriter Height: 5'3" Weight: 130 Birthdate: 7-25-48 Hometown: Chicago, Illinois RED PAJAMAS (his label) Shows played 1011; Shows stolen - all but one; Strings broken 14,638; Records released 9; Records broken - all; Records stolen - N.A.; Played for Buddah records 1971-74; Asylum Records 1975-81; Red Pajamas 1983-84. (Spent half of 1982 on disabled list.) **** **** Steve's Red Pajamas recordings have been released on a variety of CDs. The label now operates out of the Oh Boy! Music offices on Music Row in Nashville (Prine's office). ============================================================================= Jef Jaisun eljefe@netcom.com "Babe, you left me here with the Chicken Cordon Blues." -Steve Goodman ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Thu, 21 Sep 1995 16:51:56 -0400 From: Steve Levine Subject: Re: Little Walter & Chromatics *I have a question, that is mainly geared toward the harp folks: * *Am I right that Little Walter played a chromatic harp most/a lot/some of *the time...? Some - most of his playing was done on the "short harp." A few I can think of are: Crazy Mixed Up World, I'm Ready, I just Want to Make Love to You, Teenage Beat. He mostly played in what is called "third position" (C harp in the key of D), using the slide very little or not at all. *Why is it that most harp players I talk to say that Little Walter is their *favorite harp player, but they NEVER play chromatic harps. I have only seen *a couple of people play them... Most players are intimidated by the chromatic since it is more complicated than the diatonic the notes are set up different. What a lot of players don't realize is that third position is fairly easy to learn and that is the style that most blues players use. There are some blues players who have gone beyond the simple third position style. Paul deLay is one of the best at using the chromatic for blues. William Clarke is good with it too, but deLay is my favorite. *I know one of my friends who plays good harp and has done so for many,many *years, finally bougth a chormatic and he said no way. A totally different *instrument than regular (diatonic ?) harps. It would stand to reason that if *you wanted to sound & play like Walter you would become proficent on a chromatc Tell him to learn third position (if he doesn't already know it) and jam to some blues in D with his chromatic. He can also push the slide in, keep it in and play in Eb. ========================================================================= Date: Thu, 21 Sep 1995 15:57:32 -0500 From: Richard Shurman Subject: Re: Little Walter & Chromatics Dave Myers made an interesting comment to me about Little Walter last year. Walter's Louisiana background was no secret; Louis Myers told me that Walter loved Louisiana cooking to the end. Dave's point was that a lot of Walter's sound was influenced by accordion. Something to think about when you listen to some of those old Clifton Chenier sides... ========================================================================= Date: Thu, 21 Sep 1995 16:43:53 PDT From: rjbauman@IQUEST.NET Subject: Re: Little Walter & Chromatics =========================Most players are intimidated by the chromatic since it is more complicated than the diatonic the notes are set up different. What a lot of players don't realize is that third position is fairly easy to learn and that is the style that most blues players use. There are some blues players who have gone beyond the simple third position style. Paul deLay is one of the best at using the chromatic for blues. William Clarke is good with it too, but deLay is my favorite.============ The best reason I can give that chromatic harps aren't that popular among BLUES players is because it is a much less expressive instrument than the diatonic. Bends are much much harder and the "slide" atomatically sharps a note when used. "Blue notes are reached in this manner. This eliminates the many degrees of pitch between tones we are familiar with in the 12 note scale. One could liken the relationship between guitar and cross harp to the one between the piano and the chromatic harp. Bends are extremely important for blues players. I'm not at all familiar with "3rd position" playing as I play cross harp and bend to the blue notes. I'm surprised to hear 3rd position is the style most blues players use. I kind of doubt it, actually. I've been wrong before...... RJ Bauman ========================================================================= Date: Thu, 21 Sep 1995 18:47:46 -0400 From: Mike Evans Subject: Re: In Cold Blood William Morgan replied to the post **Yeah, I had forgotten all about that band and have no idea what happened to them. As I recall, the singer's name was Lydia Pense. This is where things really get fuzzy. Did they do a song called "Down So Low" or was that Tracey Nelson?** Don't know if Cold Blood did it, but Tracy Nelson and Mother Earth recorded Down So Low on the "Living With the Animals" album ========================================================================= Date: Thu, 21 Sep 1995 18:19:06 GMT-6 From: Eliot Williams Subject: Re: Little Walter & Chromatics > My harp friends believe that Walter played diatonic and chromatic. Most of the time he played > diatonic, and that he used the third position most often. > > I have some harmonica experience, mostly in the first and second > position. Perhaps another harp player out there can help us to understand > the third position. Third position is a good one for minor key blues. An example would be a song in the key of D, played on a C harp. (On a C harp first position would be the key of C and second position would be the key of G). Third position gives you the flatted third (F in the key of D) needed for minor key blues, something that can be obtained only by bending a note in second position and is very hard to play in first position. It also allows you to play the tonic note (D in this case) on a draw hole which allows more bending and "wailing". The advantages of third position are most noticeable on a chromatic harp, where bending notes is much more difficult. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Thu, 21 Sep 1995 23:30:52 GMT From: Alistair Poore Subject: Snooks Eaglin (was NORWEGIAN BLUES TRIP...) In article <43m3m3$6ni@marton.hsr.no>, Geir OEien wrote: and the hard but unavoidable choice between JOHNNY ADAMS at Mid-City Lanes and SNOOKS EAGLIN at the new club BUGSY'S. Well, Snooks won - and we were glad he did. This was THE musical experience of the whole trip - a 3-hour virtuosic performance (in front of about 20-30 people) of boundless and exuberant enthusiasm, energy and humor; the greatest guitar playing we have EVER heard (what you might think are overdubs on his records are NOT); superb, tough and soulful Ray Charles-like vocals; a rhythm section as tight, funky and energetic as can be imagined; and a set list of such eclecticism, spontaneity, and richness that it can only be found in the head of a human jukebox like Snooks. Upon learning that we were Why isn't this man more well known? I have several recordings which are superb - wonderful guitar playing, always varied song choices and infectious New Orleans rhythms. I would dearly love to see him live, any chance of him coming to Sydney? Does anyone know of any live recordings? Alistair Poore a.poore@unsw.edu.au ========================================================================= Date: Thu, 21 Sep 1995 19:32:07 -0400 From: Rosebud Agency Subject: Luther Allison Itinerary FYI - Luther Allison's tour begins tomorrow. Scheduled dates are as follows: 09/22/95 House of Blues West Hollywood,CA USA 09/23/95 Orange County Blues Fest. Dana Point,CA USA 09/24/95 San Francisco Blues Festival San Francisco,CA USA 09/26/95 Town Pump Vancouver,BC CANADA 09/27/95 Backstage Seattle,WA USA 09/29/95 The Zephyr Salt Lake City,UT USA 09/30/95 Herman's Hideaway Denver,CO USA 10/02/95 Zoo Bar Lincoln,NE USA 10/03/95 Grand Emporium Kansas City,MO USA 10/04/95 Cain's Ballroom Tulsa,OK USA 10/05/95 Coney Island Beer Garden Ft. Smith,AR USA 10/06/95 King Biscuit Blues Fest. Helena,AR USA 10/07/95 B.B. King's Blues Memphis,TN USA 10/08/95 Birmingham Jam Birmingham,AL USA 10/11/95 Fatso's Arlington,TX USA 10/12/95 Billy Blues Houston,TX USA 10/13/95 Antone's Austin,TX USA 10/14/95 Baton Rouge Blues Festival Baton Rouge,LA USA 10/14/95 Varsity Theater Baton Rouge,LA USA 10/15/95 House of Blues New Orleans,LA USA 10/17/95 The Moon Tallahassee,FL USA 10/18/95 Blind Willies Atlanta,GA USA 10/19/95 Ace of Clubs Nashville,TN USA 10/20/95 Be Here Now Asheville,NC USA 10/21/95 Double Door Charlotte,NC USA 10/22/95 Ziggy's Winston Salem,NC USA 10/24/95 Toad's Place New Haven,CT USA 10/25/95 House of Blues Cambridge,MA USA 10/26/95 The Bottom Line New York,NY USA 10/27/95 8 X 10 Club Baltimore,MD USA 10/28/95 Tornado Alley Wheaton,MD USA 10/29/95 Mountain Stage Charleston,WV USA 10/31/95 Lafayette Tap Room Buffalo,NY USA 11/01/95 El Mocambo Toronto,ONT CANADA 11/02/95 Main Event Toledo,OH USA 11/03/95 The Blind Pig Ann Arbor,MI USA 11/04/95 Legends Chicago,IL USA 01/10/96 Melusina Luxembourg,LUXEMBOURG 01/11/96 Weberei Gutersloh,GERMANY 01/12/96 Capitol Hannover,GERMANY 01/13/96 Linde Affalter,GERMANY 01/14/96 Passionskirche Berlin,GERMANY 01/16/96 Bahnhof Langendreer Bochum,GERMANY 01/17/96 Outpost Gottingen,GERMANY 01/18/96 Gr. Freiheit 36 Hamburg,GERMANY 01/19/96 Pumpwerk Wilhelmshaven,GERMANY 01/20/96 Ford Garage Saarbrucken,GERMANY 01/21/96 Bluesfestival Bonn,GERMANY 01/23/96 Musikgalerie Uelzen,GERMANY 01/24/96 Pumpe Kiel,GERMANY 01/25/96 Stadthalle Babenhausen,GERMANY 01/26/96 Kammgarn Kaiserslautern,GERMANY 01/27/96 Subway Karlsruhe,GERMANY 01/28/96 Longhorn Stuttgart,GERMANY 01/30/96 Subway Karlsruhe,GERMANY 01/31/96 Jazzhaus Freiburg,GERMANY 02/01/96 TBA Oberrankweil,AUSTRIA 02/02/96 Posthof Linz,AUSTRIA 02/03/96 TBA Budapest,HUNGARY 02/04/96 Rockhaus Wien,AUSTRIA 02/06/96 Rockhaus Salzburg,AUSTRIA 02/07/96 Stadtkeller Luzern,SWITZERLAND 02/08/96 Stadtkeller Luzern,SWITZERLAND 02/09/96 Muhle Huntzigen,SWITZERLAND 02/10/96 Muhle Huntzigen,SWITZERLAND 02/11/96 Lowensaal Nurnberg,GERMANY 02/13/96 Alte Malzerei Regensburg,GERMANY 02/14/96 Treibhaus Innsbruck,AUSTRIA 02/15/96 Schlachthof Munchen,GERMANY 02/16/96 Z 7 Basel,SWITZERLAND 02/17/96 Bikinitest La Chaux de Fonds,SWITZ. 02/28/96 TBA Istanbul,TURKEY 03/01/96 TBA Bayonne,FRANCE 03/16/96 TBA Coutances,FRANCE 03/19/96 TBA Cully,FRANCE 03/23/96 Festival Bantienes Bleues Paris,FRANCE 03/29/96 TBA Lyon,FRANCE ========================================================================= Date: Thu, 21 Sep 1995 15:23:55 PST From: Chuck Schrier Subject: Talkin' bout talkin' So there I was, sitting among hundreds of people at the 1995 Sonoma County Blues Festival in Santa Rosa, Calif. Fruteland Jackson had just finished his set and was helping Honeyboy Edwards to the stage. Honeyboy sat down and Fruteland handed him his guitar. Honeyboy hit the first chord and a chill ran right down my backbone. I thought, "MAN!! Here is one of the originals! Here sits an 80 year old man, who was there!! I can see him sitting as a child on the cabin porch somewhere around 1925, listening to Uncle Someone play his guitar like Granpa Someboby had taught him. And now Honeyboy is sharing that experience with me!! AND, this old man knew and played with Robert Johnson!!!!! This is one of the greatest HONORS I have ever had bestowed upon me. But what is distrubing me!?!" I turn to look over my left shoulder and see five yuppie type individuals behind me. They're eating green grapes, goat cheese and drinking a $20 bottle of wine. It seems that Honeyboy is not an interest to them. They are talking and laughing fairly loud. Now, things are still cool. Many times I've been involved in some- thing I found boring. It just wasn't my thing. But, I always try to respect those whose thing it is. So, obviously these people are not aware I want to hear Honeyboy. "Excuse me." :-) "I would very much like to hear Honeyboy and I can't over your talking." :-) If these people had been cats, I'm sure hair would have raised on their backs. Their eyes showed a 'Who the hell do you think you are entering our space without permission' glare. I turned back towards the stage, but the talking continued (being louder was probably my imagination). It didn't matter, cause I then noticed at least half the crowd was talking. It totally ruined Honeyboy's performance for me. This bothered in the manner being discussed on Blues-L the last couple of days. Trying to analyze it, I've come to this conclusion: People, in general, have little respect for other people anymore. Not just blues events, but everywhere! Other than teaching our children what respect is and maintaining it ourselves, there ain't a damn thing we can do about it. 'nough said -- it gives me a bad case o' blues to think about it. ========================================================================= Date: Thu, 21 Sep 1995 19:59:00 EDT From: William Pollak Subject: GIG ANNOUNCEMENT: Billy Price, Tornado Alley (DC Area) For soul/blues fans in the Washington, DC area, I'll be at Tornado Alley in Wheaton, MD with my 7-piece band on September 29 and 30. We play a mix of my songs and covers of songs by Bobby Bland, Z.Z. Hill, Otis Clay, Al Green, O.V. Wright, and others. Send me email if you'd like more details. Bill P. Bill Pollak, aka Billy Price email: wp@sei.cmu.edu Software Engineering Institute, Carnegie Mellon University, Pgh, PA 15213 ========================================================================= Date: Fri, 22 Sep 1995 00:31:09 GMT From: karen b katz Subject: Re: HO$$$$ T-Bone (tbone1@IO.COM) wrote: : On Sun, 17 Sep 1995, Ian Angus wrote: : > T-Bone writes: : > : > >. But as many problems as America has, this is STILL : > > the one country that everyone else in the world wants to live in. : > : > I have the greatest respect for America and its achievements, not the : > least of which is the blues. But I live in the country that the UN ranks : > as the best place in the world to live, and I agree with the UN. : > : > So make that "everyone minus at least one." : Okay, before everyone jumps on me (and it would be deserved if it : happened), let me put that another way: In spite of America's : problems, it's still the most popular place to emigrate to. I think : there's got to be a reason for that. : Now, this may get me branded as a wild rebel, but I'd like to talk about : the blues for a bit. : This weekend, I went down to some of my favorite record stores with the : intent of buying some music by Piedmont artists that y'all were kind : enough to tell me about. One of the discs I picked up was an import which : had the complete recordings of Carolina Slim. After listening to this, I : was struck by a thought: though he played quite a bit in the East : Coast/Piedmont style, Slim was also influenced by the records of Lightnin' : Hopkins. (He even recorded for Federal under a different name while under : contract with Savoy.) Now, Slim was in his early thirties when he died of : a heart attack during surgery. His records sold fairly well, in spite of : sounding "old-fashioned", and he was starting to use the electric guitar : by his last sessions. : Now, when you think about it, Muddy's records for Chess, great as they : are, were probably a bit "old-fashioned" when they were recorded: his : references to, say, mules kicking in a stall weren't exactly an image : born by living in Chicago in the 1950s. So Muddy's electric blues were, : in their own way, "old-fashioned" but quite successful commercially and : artistically. : Now, one of the things I've read about Piedmont blues was that it can't be : translated to electric guitar. However, in Carolina Slim's last : recordings, it sounds (to me) like he may have been on to something, that : he might have been ready to make his own "Rolling Stone". So, let's say : Muddy never moved north to Chicago and never exerted a great influence on : 50s (and later) blues, while we assume that Carolina Slim had not died and : continued to be popular while developing an electric blues that was : partPiedmont, part Lightnin' Hopkins. His success could have spurred other : record companies on the East Coast to look for more "primitive" bluesmen : in their own neighborhoods, thus leading to bigger blues scenes around : Newark, Philadelphia, and so on. Not that the blues scene in Chicago would : have withered on the vine without Muddy, far from it. Chicago already had : Willie Dixon working for Chess and a lot of great blues artists in the : city. But maybe Carolina Slim could have been the catalyst for a : different postwar blues style to flourish on the East Coast. : Thoughts? does anyone know who recorded "Dead Presidents" ? : T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) : "Kiddies, don't try this at home. Because it hurts like buggery!" : - Sir Adrian Dangerous ========================================================================= Date: Thu, 21 Sep 1995 20:19:43 -29900 From: Michael Kaloyanides Subject: Re: Down So Low On Wed, 20 Sep 1995, William A Morgan wrote: > Yeah, I had forgotten all about that band and have no idea what happened > to them. As I recall, the singer's name was Lydia Pense. > > This is where things really get fuzzy. Did they do a song called "Down So > Low" or was that Tracey Nelson? > Tracy Nelson recorded "Down So Low" with her group Mother Earth in the late '60's. This great song appears on the LIVING WITH THE ANIMALS album. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Thu, 21 Sep 1995 20:42:03 -0400 From: Ca.92102@SEAS.GWU.EDU Subject: blues Hey I like blues let's chat. Kevin ========================================================================= Date: Thu, 21 Sep 1995 18:20:22 -0800 From: Don Cicchetti Subject: gear stuff - guitar speakers Hi Everybody! I was considering buying a Marshall or Boogie 4x12 with vintage 30's in it. Just about had decided on the Boogie when a friend told me to check out the Matchless 4x12. They take the vintage 30's and modify them (no they wouldn't give me specifics) and it is just amazing. Best speaker I have ever heard by far. If you all have a chance you should check these boxes out... just amazing; clarity, bells on top, no harshness, lots O' bottom etc.... Like all Matchless stuff, it ain't cheap, (999.00 list c. 850 disc) but Simple Minds had decided they wanted a combo amp after having it for one week, and consigned it, so I got it for 650.00! and it has this wonderful covering material they call "shower curtain grey" very cool. I'm stoked, no doubt about it. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Thu, 21 Sep 1995 20:30:42 -0500 From: "Pat Seger (Pat Seger)" Subject: POB tape?? Does anyone have a copy of the second POB tape? Seems there is a black hole somewhere between Mike Baseflug's mailbox and mine ;) If so, would you be willing to dupe me a copy, I will gladly provide a blank. Private replys please. Thanxs Red seger001@gold.tc.umn.edu ========================================================================= Date: Thu, 21 Sep 1995 22:44:29 -0400 From: Bob vanArsdall Subject: Re: Down So Low Michael K. and a couple others correctly identified this one, but a teaser for the synapses - Mike Bloomfield did the very tasty guitar work on the song "Mother Earth" (Memphis Slim) on the album. Biy do I wish THAT one would come out of the vaults on CD... >Tracy Nelson recorded "Down So Low" with her group Mother Earth in the >late '60's. This great song appears on the LIVING WITH THE ANIMALS album. Bob ========================================================================= Date: Thu, 21 Sep 1995 22:43:18 EDT From: Joseph Leichter Subject: Re: B.B. on ACL Can't wait to see it! ========================================================================= Date: Thu, 21 Sep 1995 23:12:48 -0400 From: Brenda Bogert Subject: Re: HO$$$$ On Fri, 22 Sep 1995, karen b katz wrote: (after reposting a rather long message from T-Bone) > does anyone know who recorded "Dead Presidents" ? Yeah, the subject of much discussion on Blues-L today -- Little Walter. It was co-written by Willie Dixon & Billy Emerson and is a classic! Pen & Brenda Bogert Louisville KY ========================================================================= Date: Fri, 22 Sep 1995 10:02:29 EZT From: Jean-Pierre Urbain Subject: Re: High Water - Fieldstaones For those interested I could send a list next week of the complete High Water catalog. In addition to the albums mentioned in previous posts it contains some nice albums by Hezekiah and the Houserockers and by Jessi mae Hamphill. Their 45's are also really worth looking for (by Jessie Mae, Hollywod All Stars, Little Appelwhite, Hezekiah,...). I'm almost sure that everything is still available from David Evans. As far as I'm informed there were no immediat plans (but my info may be outdated ... something like two years ago :-) ) for Cd reissues which is really regrettable given the great quality of the HW products among which the Fieldstones album is one of my prefered (I reallly like their version of Saddle My POny). Hope MKA will provide us with some good news. Jean-Pierre Urbain ========================================================================= Date: Fri, 22 Sep 1995 08:31:42 GMT From: marc borms Subject: Re: Little Jimmy King Ned Kraft (NED_KRAFT@HP0000.DESK.HP.COM) wrote: : Item Subject: Little Jimmy : I also liked his first album. Then I saw him at the : Oakland Heritage Festival and was unimpressed. He : spent much of his time screaming at the sound man : (and the audience) to turn the monitors up. : I won't pay to see him again unless several people : see him and convince me otherwise. At least he : didn't spend any time tuning up at full volume.;| Two years ago, a saw LJK at the Belgium R&B Festival. He was real good. But last summer, LJK was top-of-the-bill on the "More-Bluesfestival" in Belgium. The organizer had to stop him playing because he was so angry and he was screaming at the soundman AND the audience and because he kept on playing out of tune. The audience gave the organizer a big hand after the incident. embee. ========================================================================= Date: Sat, 23 Sep 1995 00:40:32 GMT From: copytiam@SINGNET.COM.SG Subject: Re: Deep Blues in Boston Oded Maron wrote: >According to the Globe, the movie Deep Blues will be playing at the >ICA in Boston from Sunday through Friday at 7:30pm. The movie was >made by Robert Palmer (the music critic, not the musician) and has >Dave Stewart (the musician, not the music critic) wandering around the >Delta, listening to the blues. The soundtrack is one of the best >collections of what's going on in the cradle of the blues today. >Oded Absolutely. If anyone knows how I can get a copy ( preferably on PAL system video) I'd be MOST grateful. If you haven't seen the movei, NIKE. pp ========================================================================= Date: Fri, 22 Sep 1995 05:44:51 -0500 From: Roger Struve Subject: John Hammond -Reply SOLO on Vanguard is JH in 1976, live at the Vanguard in NYC. LIVE on Rounder is JH in 1982(?) at McCabe's in California. LP's are Can't Beat the Kid, and Footwork (Footloose, (?) i always forget). ========================================================================= Date: Thu, 21 Sep 1995 12:30:14 -0400 From: DeniseTapp Subject: Re: Distractions/was:Talking "And here's another thing...why do clubs turn up very loud recorded music the minute the performer or the band takes a break? People might want to discuss the set, order drinks, talk to the musicians or their friends without screaming ... and constant loud music - no matter if I love it - for several hours just wears me out. I wish club owners would give us a break. -Bonnie" Amen, BK. Amen. Denise Or as we say in the South, You're preaching to the choir, Sister. ========================================================================= Date: Fri, 22 Sep 1995 13:08:46 EZT From: Jean-Pierre Urbain Subject: Brief Review: New MAGIC SLIM "Alone and Unplugged" It was announed since a while and is finally out. As there are quite a number of MAgic Slim fan out there here is a brief review MAGIC SLIM ALONE AND UNPLUGGED WOLF RECORDS 120.822 CD If you are on Blues-L since a while you probably know that I'm a Magic Slim fan so clearly don't expect me to be totally objective. here are almost 54 minutes presenting Magic Slim alone -like the title of the albums says- with his guitar and simply his voice. Magic Slim is certainly one of the most important figure of today's scene and I was very pleased to this album published. Some of you -those who own the acoustic Wolf album with Honeyboy, Johnny Be Moore, Eddie C campbell...- might have some ideas of what kind of material you could expect. Some standard material perfomed in a very relaxed and honest way by our Slim and well recoded by Phil Hammer (fro the Zoo BAr ?). It also reminds us that Magic Slim has such a simple, natural, strong and GREAT voice (IMHO) which provides sufficient pleasure to recommend this set. His guitar is nice but obvioulsy we should all remember that Magic Slim is an electric guitar player which is very clear when you listen to the different songs included here. There's an enjoyable down-home feeling (often a la Jimmy Reed), some nice shuffles/boogies (like an acoustic Hound Dog Taylor) which make your feets move (even if you're seriously doing some computer simulation programming like I did this morning) and as always with him, the fact that many covers are more or less standards (as often with Wolf records it's a kind of game to correct the titles they propose :-) and they might have included credits!!) it doesn't matter, Magic Slim is a "Walking Juke Box" (like Lum Guffin was a walking Victrolia) and just makes them sound his own! The album closes on a interview where you'll hear -somethinbg you already knew if you already had the opportunity to interview him- through his voice and the way he answers the question how nice and modest a man he is. According to the sleeves notes, Slim really wanted to do such an album and include a couple of songs he learned while he was a kid in Mississipi. It's well done and will certainly please all the Magic Slim fans out there who will here have the opportunity to hear/discover another side of one of the hardest working bluesmen still preforming. Jean-Pierre ========================================================================= Date: Thu, 21 Sep 1995 12:30:14 -0400 From: DeniseTapp Subject: Re: Respect Okay, I have to put my two cents in on this. I recently saw George Thoroughgood at B.B. King's in Memphis. By the time George made it to the stage, the tattooed audience (for the most part) was so drunk and pumped up that they blew my eardrums out. I hurt for two days. But this was what George cultivated with his fans. I was severely outnumbered and kept my mouth shut. Then last week, I saw the B.B. King review at the (outdoor) Mud Island Amphitheater. J. Geils first, Etta James second, Jimmie Vaughan third and B.B. fourth was the roster. By the time B.B. hit the stage, a large portion of the audience was drunk, but most people were respectful. A few people were obnoxiously loud, shrieking and singing along with the songs. I took care of them individually. "Excuse me, I paid to hear the performer, not you." There is conversation and there is drunken, obnoxious behavior. Maybe you performers need to hire a couple of friendly shills to sit in the audience and scold the drunks who start whistling and screaming the lyrics with you. But, much of what people do is unconscious; they're just not thinking. And reminding them often works. At lunch today, one of my companions mentioned an incident in a bar where the acoustic blues musicians were about ten feet away from the bar, where the bartender was smashing beer bottles into the trash can. Someone could have, diplomatically, said to the bartender, "I bet you don't realize that the mikes are picking up your clean-up noise." The world will not be a better place unless we make it so. We also have to realize that no one is riveting enough to overcome the effects of alcohol on stupid people, but we shouldn't allow them to spoil our enjoyment. Denise ========================================================================= Date: Fri, 22 Sep 1995 08:00:28 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 22nd Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BERLIN, IRVING (awesome songw) d. 1989-0922, NEW YORK CITY, NY 101 BIG TWIST [LARRY NOLAN] (v/ALLIGATOR REC) b. 1937-0922, TERRE HAUTE, IN BROWN, HASH (g/hca/PARSIFAL REC) b. 1955-0922, TX BUCKNER, TEDDY (tpt/T-BONE WALKER) d. 1994-0922, LOS ANGELES, CA 85 FEATHER, LEONARD G. (p/author/songw) d. 1994-0922, ENCINO, CA 80 JENNINGS, BILL (g) b. 1919-0922, INDIANAPOLIS, IN RADCLIFF, BOBBY (g/BLACK TOP REC) b. 1951-0922, WASHINGTON, DC RUSHEN, TOM (song/CHARLEY PATTON) d. 1990-0922, CLEVELAND, MS 92 SANE, DAN (g/FRANK STOKES) b. 1896-0922, TN SILVERMAN, SIME (founder: VARIETY) d. 1933-0922, HOLLYWOOD, CA 60 WASSERMAN, MORRIS (owner : FLAME SHOWBAR) d. 1962-0922, SAN DIEGO, CA 61 WATTS, LEROY JR. (manager/ARTHUR PRYSOCK) d. 1990-0922, NORTHFIELD, NJ 72 ------------------------------------------------------------------------------- ========================================================================= Date: Fri, 22 Sep 1995 13:40:39 EZT From: Jean-Pierre Urbain Subject: Very Brief review: FRED McDOWELL (Rounder) Well, I really wanted to say a few words after having listen quite rapidly this morning to this CD I bought one hour ago. MISSISSIPPI FRED McDOWELL Rounder CD2138 I'm usually relunctant to buy a CD when I already have almost all the material on LP but in this case I could not resist. Some 13 years ago, Bruce Bastin (again him!) published on his great Heritage label a truely great LP containing some of the first recordings that were made after McDowell's redicovery (in 1962) by Dick Spottswood at McDowell's home. It has always been one of my prefered McDowell's album and had been played so many times played on the air when I was doing a weekly 2h bluesshow here in Belgium (1981-1991) that the LP was, let say, a bit used. If I remember well the material was reissued on a Flyright CD some years ago but I did not at that time -don't ask me why- bought it (but had a taped copy of it .. shame on me). I was therefore very happy to see Rounder reissuing all this material (65 minutes) which is so -correct me if I'm wrong- for the first time widely avaible in the US on a US label. I will be very short in my comments, like the Flyright/Heritage version, this is an ESSENTIAL album, a FLY, DON't even RUN or WALK album which contains some wonderfull versions of Kokomo Blues, Milk Cow Blues, I Rolled and I Tumbled, Highway 61, Somedy Baby, .... Really one of the very best McDowell. Jean-Pierre Urbain P.S. I think eRic and Tony Burke already mentionned it, but let me take this opportunity to again recommend to all bluezellers the recent ARHOOLIE CD 429 ELDER ROMA WILSON AND HIS HARMONICA "This Train is a Clean Train". Almost 70 minutes of wonderfull first deep and real class stuff that is, I think, really one of THE best folk spiritual -and most moving- album published since a while. Even if you're a blues-rock fan, an EC fan or I- dont-know-who fan... (fill in)... (no-one is perfect ... no flame please ...:-)), give a listen, we're talking about REAL STUFF here!! ========================================================================= Date: Fri, 22 Sep 1995 08:32:15 -0400 From: Steve Levine Subject: Re: Little Walter & Chromatics *I'm not at all familiar with "3rd position" playing as I play cross harp and *bend to the blue notes. I'm surprised to hear 3rd position is the style most *blues players use. I kind of doubt it, actually. I've been wrong before...... Most blues players use second position (cross harp). This is the most effective position for blues harp playing. I know first, second and third and I use second most of the time. But there are some exceptions - I saw Willie Cobbs last week and it sounded like all of his harp playing was in first. Junior Wells uses third a lot, especially on Hoodoo Man Blues. ========================================================================= Date: Fri, 22 Sep 1995 08:33:52 +0000 From: "P.W. Fenton" Subject: Re: Distractions/was:Talking On 20 Sep 95, Bonnie Kalmbach had this to say: > And here's another thing...why do clubs turn up very loud recorded > music the minute the performer or the band takes a break? People > might want to discuss the set, order drinks, talk to the musicians or > their friends without screaming ... and constant loud music - no matter > if I love it - for several hours just wears me out. I wish club owners > would give us a break. > > -Bonnie As a performer I wish the same thing. When you sing for 4 hours in a smokey club it can be a little hard on the throat. When you have to yell in between sets in order to talk to someone it's ten times worse. You never get relief. I frequently spend my breaks in the alley, or the parking lot, etc. just to get away from the din, and give my voice a rest. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 22 Sep 1995 08:34:01 +0000 From: Ian Angus Subject: Re: Eric LeBlanc's Blues Dates - September 20th > From Eric's list for Sept. 20: > > : GOODMAN, STEVE (g/songw) d. 1984-0920, SEATTLE, WA 36 > Linking two threads -- Steve Goodman was the performer at one of the best concerts I ever attended. Just him, alone on the stage for two hours, kept about 1000 people utterly enthralled. A brilliant songwriter and superb guitarist. And he wrote one of my favorite very short blues songs: "My baby came to me this morning "She said babe I'm kind of confused "If me and BB KIng was both drowning "Which one would you choose? "I said baby. "I said ba-a-a-a-by "I said bay-ay-ay-ay-ay-by ... "I ain't never heard you play no blues." Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 22 Sep 1995 09:03:32 EDT From: Roland Mandler Subject: Behaviour at a show I am rarely reluctant to tell someone who is talking through a performance to take it elsewhere. However, recently I faced another problem which was equally frustrating. After having shelled out $30 for tickets to one of my favorite performers, I ended up sitting behind an over-enthusiastic fan who spent the whole concert "singing along", so loud that the performer himself was unintelligible. I was reluctant to discourage this guy from enjoying the show, since he clearly was, but he was obviously spoiling things for everybody within 5 rows. As it turns out, 2 less reluctant individuals aided the cause by escorting him to the lobby, so I didn't have to do anything. So, where do we draw the line here? - Roland ========================================================================= Date: Fri, 22 Sep 1995 14:14:38 +0100 From: Marcus Delaney Subject: Mayall references ... I'm a relatively young British blues fan particularly interested the music of John Mayall. Does anybody know of any biography on Mayall whether recent or not. The only stuff I've found so far is where he gets several mentions in other musicians bios such as Clapton. I went to see Mayall in London a few months back with his latest guiturist Buddy Whittington. I thought that the show was excellent. Any information would be greatly appreciated. -- Cheers, Marcus (Marcus Delaney: marcus@praxis.co.uk) ========================================================================= Date: Fri, 22 Sep 1995 09:17:47 -0400 From: Bob vanArsdall Subject: Re: Down So Low (how can they do that?) Rob Barclay wrote me (hope you don't mind the forwarding)- >> >>>Tracy Nelson recorded "Down So Low" with her group Mother Earth in the >>>late '60's. This great song appears on the LIVING WITH THE ANIMALS album. >> >>Bob >> >It's 1:30 am. and I'm sitting here listening to MISSISSIPPI JOHN HURT while >I'm catching up on my mail and I see a mention of TRACY NELSON singing 'DOWN >SO LOW' and it took me back to 1969 lying on the floor in my attic apartment >and listening to TN singing "DOWN SO LOW" with shivers running up my back. I >still have that album, it's a bit scratchy but a keeper. thanks for the blue >memory. RB Which brings up a question: I saw Tracy Nelson in San Francisco back in 1972 at a great club of the era called the Boarding House. We had tickets for the second show, and were standing in the lobby listening to her sing. As her encore she sang "Down So Low" with great passion - could have heard a pin drop in the audience. Second set went on, great as always, and toward the end she sat down at the piano and sang "DSL" AGAIN, with just as much passion. When it came time for an encore, the audience was screaming and yelling, and she said "What do you want to hear?" Of course, everyone said "Down So Low". She said, "You all have already heard that twice now", but then good-naturedly did it again. The third time was as good as any of the previous two, and completely floored me. Some of you performers: how can anybody summon up the emotion to sing a song three times an evening, and each time make it sound like it was the first time you've ever done it? How do you escape from singing a song and not thinking about the mortgage, or what you had for dinner, or whether your fly is down? (Somebody's going to say that is what's called being a professional...) Thinks about how many times Tracy Nelson has done that song for the last 25 years! Think about somebody like James Taylor and all the stuff he's done; then to sing the same songs, night after night, sometimes twice a night, forever.... Bob ========================================================================= Date: Fri, 22 Sep 1995 13:15:58 GMT From: Barry Bean Subject: Re: Behaviour at a show In , Roland Mandler writes: >I am rarely reluctant to tell someone who is talking through a performance to >take it elsewhere. However, recently I faced another problem which was >equally frustrating. After having shelled out $30 for tickets to one of my >favorite performers, I ended up sitting behind an over-enthusiastic fan who >spent the whole concert "singing along", so loud that the performer himself >was unintelligible. I was reluctant to discourage this guy from enjoying the >show, since he clearly was, but he was obviously spoiling things for everybody >within 5 rows. As it turns out, 2 less reluctant individuals aided the cause by >escorting him to the lobby, so I didn't have to do anything. So, where do we >draw the line here? >- Roland Well, I personally draw the line at singing and playing. I'd much rather sit next to a table of drunks having a good time loudly than sit next to someone who fancies themselves to be part of the show and is either singing along, or even worse, strumming a guitar or blowing a harp. I find that audience players and singers are uniformly awful, and it can really mess you up on stage. I play harp and sax, and you'd think that with all the amplification around me I wouldn't notice, but one guy in the back playing a worn out harmonica can really destroy the mood. BBB ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 22 Sep 1995 13:26:05 GMT From: marc borms Subject: Acoustic bluesartists October 6,7 and 8 we, Belgians, have the chance to enjoy a "Blues-unplugged" gig featuring : Doug McLeod Nat Reese & Howard Armstrong John Cephas & Phil Wiggins John Mooney. Is there anybody who can gimme some more info ( Style/instruments) ========================================================================= Date: Fri, 22 Sep 1995 08:25:35 PDT From: rjbauman@IQUEST.NET Subject: Re: Respect Thanks , Denise for this pearl of wisdom. RJ Bauman ================We also have to realize that no one is riveting enough to overcome the effects of alcohol on stupid people, but we shouldn't allow them to spoil our enjoyment. Denise================== ========================================================================= Date: Fri, 22 Sep 1995 15:34:52 --100 From: Vincent Vialard Subject: loud music/talking I've been playing in pubs quite often last year with my band. Being aware people do not come here only to see us perform, we tried to keep our volume down, so they could order/chat/whatever without shouting... It turned out people didn't speak more, and seemed to enjoy it better that way, besides the fact that their ears didn't ring for hours after we stopped playing. Blues doesn't need much of (acoustic) power to get through... Vincent. ========================================================================= Date: Fri, 22 Sep 1995 08:29:56 CDT From: L W Subject: >Well, I personally draw the line at singing and playing. I'd much rather sit >fancies themselves to be part of the show and is either singing along, or even >worse, strumming a guitar or blowing a harp. It depends: One thing that blew me away in Clarksdale was John Weston was playing on stage and I started hearing some nice harp. John wasn't playing harp. My wife pointed out the harp player, it was alittle kid with a bag of harps and he was PLAYIN' that thang. I thought his harp playing helped out. (I assume he was one of Mr Johnnie's "students") Just last weekend the VA brought some of the "Blind Bats" (it's ok they have hats that say Blind Bats). One of them was a black man with a harp in his pocket. A friend told me you got to meet this guy he can sing, so I was excited I need a singer. Anyway he was behind us singing along and he was tons better than the singer with the band. The good & bad his rehad is over first week in Oct....I usually hate the sing along folks, but in the above cases it was great LW ========================================================================= Date: Fri, 22 Sep 1995 08:39:07 CDT From: L W Subject: Acoustic bluesartists ----------------------------Original message---------------------------- >October 6,7 and 8 we, Belgians, have the chance to >enjoy a "Blues-unplugged" gig featuring : > Doug McLeod I'm envious Doug's on my gotta see list. PLEASE do me a favor and tell him Brenda and Leonard Watkins said "Get your butt to Alabama". I would like to know if he's wearing his POB shirt also....We got have a review LW ========================================================================= Date: Fri, 22 Sep 1995 09:47:56 EDT From: Toby Levy Subject: SITTING & THINKING: RL Burnside - Too Bad Jim R.L. BURNSIDE / TOO BAD JIM (FAT POSSUM 42082-2) FAT POSSUM RECORDS LTD. PO BOX 1923 OXFORD MS 38655 The Mississippi Delta is justly famous for all the great country blues players that emerged from its fertile soil. But the hill country of Northern Mississippi has produced some great blues as well, and that's where R.L. Burnside hails from. R.L. is old enough to remember seeing Muddy Waters perform at house parties down in Mississippi. As soon as he was able, he began playing juke joints all around the hill country and was a local favorite. It wasn't until blues historian Robert Palmer was making the movie "Deep Blues" in 1991 that Burnside rose to national prominence. Many people feel that Burnside's scenes are the highlight of movie. This CD was partially recorded in a juke joint in Chulahoma, Mississippi, giving it a very authentic sound. SHAKE 'EM ON DOWN / WHEN MY FIRST WIFE LEFT ME / SHORT-HAIRED WOMAN / OLD BLACK MATTIE / FIREMAN RING THE BELL / PEACHES / MISS GLORY B. / 44 PISTOL / DEATH BELL BLUES / GOIN' DOWN SOUTH NY CD-Takes SHAKE 'EM ON DOWN: The CD kicks off with an infectious John Lee Hooker style boogie beat. Burnside is almost daring you to try and keep from tapping your feet or dancing to his twanging guitar. The incredible Burnside beat is generated by the way the drummer, Calvin Jackson, underscores every chord strummed by Burnside. The third member of the trio, Kenny Brown, intensifies the beat with his guitar, which is not a bass guitar as you might expect from the third member of a trio. WHEN MY FIRST WIFE LEFT ME: This ballad strongly evokes the memory of Lightnin' Hopkins. Like Hopkins, Burnside is a master story teller. Although his plaintive story is as old as mankind, he does not fail to pull at your heartstrings. SHORT-HAIRED WOMAN: R.L. plays alone on this blues classic which declares that the woman whose hair is no longer than her man's is nothing but trouble. This is the first of several examples of RL's solo triumphs on the CD. The plaintive guitar so perfectly compliments his emotion charged voice. OLD BLACK MATTIE: This is a medium tempo boogie guaranteed to put you in a trance, transporting you to a shaking, seething Mississippi juke joint. Poor Mattie! She had no change of clothes, got drunk and went out in the cold outdoors. FIREMAN RING THE BELL: This is what Robert Johnson would have sounded like if he was ever recorded with a rhythm guitar and drum accompaniment. The song starts with both guitars wailing away with similar but different statements. After a few seconds, RL defines the beat and the drums kick in. Calvin Jackson has been justly praised for "making the drums talk." PEACHES: Here's where this CD get's its title from. R.L. has got his ladder ready to climb up and sample his baby's sweet and mellow peaches, and all she keeps saying is "Too bad Jim." There is exceptionally sweet rhythmic guitar playing from Burnside here. MISS GLORY B.: This is another sad slow blues played by R.L. without his backup band. R.L. plays his hill country blues most effectively on this cut. Ever so slowly the notes emerge from his guitar evoking the image of a lifetime of pain and suffering more effectively than any lyric could. 44 PISTOL: Here R.L. Burnside raises the spirit of Howling Wolf in a tasty mid tempo boogie. RL's son joins the trio on this cut to add an effective bassline. RL's guitar solo toward the end of the song is a real stinger. Since the idea of the song is going after a departing lover with a pistol, the notes evoke the image of bullets being fired into the distance. DEATH BELL BLUES: R.L. is worrying about the kind of chariot that's going to take him away. He's committed plenty of sins but is still hopeful for forgiveness at the moment of judgement. Here again he plays alone, and the effect is simply haunting. GOIN' DOWN SOUTH: The closing number is so hot you can almost see the steam rising from the CD player. This is probably the most original music on the album. The hypnotic boogie beat is used to its greatest effect here, the longest cut on the CD. RL's going down where the chilly winds don't blow, and you feel as if you are riding on the train with RL as it bumps and sways its way down from Chicago to the hills of northern Mississippi. Reviewed by Toby Levy Copyright NY CD Blues - 1995 NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 22 Sep 1995 15:59:55 --100 From: Vincent Vialard Subject: How can we do that ? Bob vanArsdall wonders how performers can play the same piece again and again like if it was the first time... A performer doesn't see/feel/hear/leave a performance the way the audience does, even a very aware and knowledgeable audience. When you play you are aware of lots of details the others won't notice, what makes the performance different (and perfectible) each time. There are songs my band has been playing over and over which always seemed to have a special energy, even on the bad days (black fridays, as the singer calls them). Maybe because they are songs in which everyone in the band finds what he's lookin' for in music ? It's playing these songs I got my biggest blisters, getting too hot on my bass... Moreover, when you really believe in what you're playin', the audience does feel it, and you can feel they do, getting you further into the music, etc... Vincent. ========================================================================= Date: Fri, 22 Sep 1995 14:08:26 GMT From: Barry Bean Subject: Re: Little Walter & Chromatics In <9509212024.AA24258@thalia>, Rich Del Grosso writes: >I have some harmonica experience, mostly in the first and second >position. Perhaps another harp player out there can help us to understand >the third position. > >Rich Simply put, the various harp positions (1st - straight; 2nd -cross or blues; 3rd - minor; 4th - minor and alternate voicings; and 5th - Something that only Musslewhite understands or uses) are simply using different scales on teh same harp. I pretty regularly use 3rd and 4th positions in jazz material, and in minor key or modal blues. The best way to understand it is to simply try it. A simple tune in 3rd that most harp players are familiar with is Musselwhite's signature tune Christo Redempto. Play the song in C using a Bb harp. In third position, use a harp a second below the key of the song. To play in 4th, use a G# to play in C ( or a 4th below the key). Confused? Just try it and it will begin to make sense. ///////////////////////////////////////////////////////////// B.B. Bean bbbean@cris.com Team OS/2 strictlow@aol.com Bean & Bean Cotton/Bean Farms 75474.2654@compuserve.com \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ ========================================================================= Date: Fri, 22 Sep 1995 07:23:53 +0000 From: Rich Del Grosso Subject: Re: Little Walter & Chromatics Steve Third position harp is similar to cross harp, but it is in the minor key. You play a harp tuned a step down from the key you are playing in. Most players probably don't use it, but the ones that do capture that Chicago harp sound. I'll try to get a harp player friend to explain it better to me, perhaps put together an example. I've only tried it a few times but I know it has sounds that you would recognize that are unique to this position. Rich ========================================================================= Date: Fri, 22 Sep 1995 07:27:05 +0000 From: Rich Del Grosso Subject: Re: Little Walter & Chromatics Steve As I read my list I found an explanation for third postion that Eliot wrote. It's a good one. I have to read my list backwards from now on!! I hope his writing helped. Rich ========================================================================= Date: Fri, 22 Sep 1995 10:30:54 -0400 From: Steve Levine Subject: Re: Little Walter & Chromatics *Third position harp is similar to cross harp, but it is in the minor *key. You play a harp tuned a step down from the key you are playing *in. Most players probably don't use it, but the ones that do capture that *Chicago harp sound. I'll try to get a harp player friend to explain it *better to me, perhaps put together an example. I've only tried it a *few times but I know it has sounds that you would recognize that are *unique to this position. Third can also be used for major keys. It sounds better for minor stuff but a lot of players use it for major keys. Listen to Little Walter's chromatic third position work on "I'm Ready" - that's not minor. ========================================================================= Date: Fri, 22 Sep 1995 09:32:21 -0500 From: Baseflug Michael Subject: HEY! I'M STILL HERE! (POB TAPES) Hey, everybody! Despite rumors around here, I am still alive and am still crankin' out POB II tapes. So to everyone who hasn't gotten their cassettes, hang in there! Not to make any excuses, but I was WAY overwhelmed at the number of requests. I got over 100 requests. I was expecting maybe 20 or 30 max. Its good that this many are interested, but bad in that I only have 1 dual cassette deck to do it. Between a 55 hour work week, guitar, hockey, basketball, and my so-called social life, I ain't crankin' 20 copies a week. More like 5 a week. So, my whole point is that if you haven't received your copies yet, hang in there. You will get it. :) Later today, I will post who I have as still to receive one (sorry to the rest of the list, but there's really no better way to handle it). If you aren't on the list, yet still don't have your copy, let me know and we'll get you back on. I'm sure the mail guys may have lost a couple. This reminds me of something that kinda irks me. I've sent a bunch of copies out now, all free of charge. All I asked for in return is honest opinions of what they thought of the music (this doesn't really apply to those who were there, I know they had a great time and liked the music). I haven't heard one remark form y'all out there. It can be short, but just tell me or the list what your impressions were. It's kinda like an internet blues bar, and everyone's talkin and partyin' over the music and doesn't listen and give the musician feedback... (just kiddin' y'all ;) ;) Well, back to the rat race... BTW, saw an absolutely incredible show by someone I never heard of... Percy Strothers (I may have the last name wrong). I was so floored by him, I bought a CD from him, which cost $15, but I gave him a $20, which he didn't have change for at the time, but I told him to keep it. Anyway, I am still tinglin' from the show, that I am gonna take some time out from work this afternoon and write a mini-review/opinion to the list, cuz you just gotta hear 'bout this guy. alrighty then, peace, love, and understanding, folks, michael B -- i will light the match this morning, so i won't be alone watch as she lies silent, 'cause soon light will be gone oh i will stand, arms outstretched, pretend i'm free to roam. oh, i will make my way through one more day ========================================================================= Date: Fri, 22 Sep 1995 10:38:46 -0400 From: Rick Miller Subject: Blues-L tape #3 Hey, I would love to do something for this tape, but I have no access to any serious recording equipment, nor does anyone in my band ( I think ). :( Anyone have any suggestions on how to do a decent recording with home equipment or if it can be done at all? For instance, can the band's mike-mixing board be hooked into a cassette player or something? I have no experience with such stuff, but would love to learn. Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 22 Sep 1995 09:48:42 -0500 From: T-Bone Subject: Leroy Carr My page on Leroy Carr is now available for public consumption at http://www.io.com/~tbone1/blues/carr.html Be forewarned that I get rather opinionated in one or two places (shocking, I know), and that there aren't tons of details about Carr's life on my page, partly because those details simply aren't available. And as soon as I can find that picture I had, I'll scan it and put it on the page. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Fri, 22 Sep 1995 10:58:07 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Acoustic bluesartists >October 6,7 and 8 we, Belgians, have the chance to >enjoy a "Blues-unplugged" gig featuring : > > Doug McLeod > Nat Reese & Howard Armstrong > John Cephas & Phil Wiggins John Cephas plays Piedmont-style guitar and Phil Wiggins plays harp. I'd compare their style to Brownie McGhee and Sonny Terry. > John Mooney. John plays a lot of great slide. He was a student of Son House and plays in that percussive style. I'v seen him many times with his band but have not had the pleasure of seeing him at a solo acoustic show. I've heard he smokes. > >Is there anybody who can gimme some more info ( Style/instruments) > ========================================================================= Date: Fri, 22 Sep 1995 10:59:31 -0400 From: Rick Miller Subject: LW's Little Walter/chromatic query The harp player in my band, who is AWESOME btw, is also a Little Walter fan and does not play a chromatic either. However...he IS saving up to get a good one (somewhere between $100-200 I gather) and has no fear of learning what is, as LW's friend says, a completely different instrument. My analogy in guitar-ese is maybe the difference between playing standard tuning and trying to learn open tunings and slide. As far as fingerings go, you can throw out most of what you know. Many great guitar players readily confess to not knowing how to play a lick of slide. Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 22 Sep 1995 10:10:02 CDT From: L W Subject: Blues-L tape #3 ----------------------------Original message---------------------------- >Hey, I would love to do something for this tape, but I have no access to any >serious recording equipment, nor does anyone in my band ( I think ). :( I just use a boombox, a guitar & a socket I've had about 3 or 4 multi trackers and they are too much trouble for me. LW ========================================================================= Date: Fri, 22 Sep 1995 10:39:31 -0600 From: Ranko Vujosevic Subject: Acoustic bluesartists > John Cephas plays Piedmont-style guitar and Phil Wiggins plays > harp. I'd compare their style to Brownie McGhee and Sonny Terry. > > > John Mooney. I nthe latest "Alligator Artists' Tour Itineraries: that I received this morning, Cephas and Wiggins are listed as Alligator Artists. I guess they signed them recently. Also Katie Webster is touring again. Ranko ========================================================================= Date: Fri, 22 Sep 1995 11:41:40 +0000 From: "P.W. Fenton" Subject: Re: Blues-L tape #3 On 22 Sep 95, Rick Miller had this to say: > Hey, I would love to do something for this tape, but I have no access to any > serious recording equipment, nor does anyone in my band ( I think ). :( > Anyone have any suggestions on how to do a decent recording with home equipment > or if it can be done at all? For instance, can the band's mike-mixing board > be hooked into a cassette player or something? I have no experience with > such stuff, but would love to learn. The best way to do a live recording (aside from having a pro do it for you) is to stick a stereo boom box with those built in mikes several rows (or tables) back from the band, and record it like that. Trying to tape off the PA board usually yields miserable results. The mix you make in order to sound balanced in the room is most often severely unbalanced. For instance, the guitar player's amp might be plenty loud enough for the room, so very little of it (if any) goes into the board mix. It sounds correct in the room, but a recording of that mix will have almost no guitar. If you have a real good boom box, the results can be excellent, particularly if you listen to the results with headphones. It sounds like you are there. The only thing missing is the feeling of the bass in your chest. They don't sound as good over speakers because you are playing the sound of a room, into another room, which doesn't always work. They also usually sound great in a car. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 22 Sep 1995 11:01:55 -0400 From: Willy Evans Subject: Re: Blues-L tape #3 On Fri, 22 Sep 1995, Rick Miller wrote: > Hey, I would love to do something for this tape, but I have no access to any > serious recording equipment, nor does anyone in my band ( I think ). :( > Anyone have any suggestions on how to do a decent recording with home equipment > or if it can be done at all? For instance, can the band's mike-mixing board > be hooked into a cassette player or something? I have no experience with > such stuff, but would love to learn. > If I understand, what we are going to do is a compilation of already recorded music (from cd's and cassettes). If we are going to have it done commercially (which is not too expensive but will be around $2.50 per tape) we will need access to a DAT machine. The ideal setup would be to have a DAT, a good cassette and a CD player so that everyone could send a copy of what they wanted on the tape. The DAT master could be made (no mixing, just put it on as the artist recorded it, this leaves each individual mix up to the artist) send the DAT to a duplication house and there you go. So if anyone has a DAT, they would be the ideal volounteer. Everybody could send them a recording (and return postage if they wanted it back). Their expenses should be added to the total cost of the tape. (purchasing a DAT blank, etc.) If nobody has a DAT, I would volounteer to do it (assuming that there was enough interest to recover costs) and rent a DAT. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 22 Sep 1995 12:56:27 -0400 From: Mari Ann Shake Subject: Colorado Blues Society Newsletter Hello, Blues Lovers: The Colorado Blues Society was created about six months ago. As with most societies, we have a solid core group and have now put out two issues of a great-looking, interesting newsletter called the HOLLER. If any of you would like to receive the newsletter (I have seen a number of blues newsletters and this one is good--even the forever DJ from the King Biscuit Hour called to praise us!) just E-Mail me about membership or call the Blues Line at 303-823-9272. Our mailing address is CBS P.O. Box 130 Lyons, CO 80540 We are just trying to help keep the blues alive. Mari Ann Shake Shake_M@wizard.colorado.edu ========================================================================= Date: Fri, 22 Sep 1995 11:56:30 CDT From: Dave Kneifl Subject: Distractions at Concerts Concert or Jam Session ?? A couple of months ago at a Fabulous Thunderbirds concert I started hearing a strange whining during the songs. It sounded like someone had brought a small dog to the show or something. After a song or two of this, I glanced to my left and realized it was the woman seated on the lawn next to me. She was playing harp (or attempting to anyway) along with the band. DK "Windows - Just another pane in the glass" ========================================================================= Date: Fri, 22 Sep 1995 11:57:09 -0500 From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - September 20th At 08:34 AM 9/22/95 +0000, Ian Angus wrote: >> From Eric's list for Sept. 20: >> >> : GOODMAN, STEVE (g/songw) d. 1984-0920, SEATTLE, WA 36 >> >Linking two threads -- Steve Goodman was the performer at one of the >best concerts I ever attended. Just him, alone on the stage for two >hours, kept about 1000 people utterly enthralled. A brilliant >songwriter and superb guitarist. > Just thinking back on the terrific Chicago folk scene of the sixties: Old Town, the Earl, Judy Collins and Gibson and Camp at the Gate, Goodman, Prine, Koloc - - even to Butterfield and Bloomfield starting up in Hyde Park - - and the national commercial acts that would play Ravinia each summer - PPM, Kingston Trio, Chad Mitchell .... I wasn't into the blues scene then - but what I was into was outstanding. Where'd it all go, Blanch? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 22 Sep 1995 12:28:15 -0400 From: Willy Evans Subject: Re: Down So Low (how can they do that?) On Fri, 22 Sep 1995, Bob vanArsdall wrote: (some stuff that I deleted) and > > Some of you performers: how can anybody summon up the emotion to sing a > song three times an evening, and each time make it sound like it was the > first time you've ever done it? How do you escape from singing a song and > not thinking about the mortgage, or what you had for dinner, or whether > your fly is down? (Somebody's going to say that is what's called being a > professional...) Thinks about how many times Tracy Nelson has done that > song for the last 25 years! Think about somebody like James Taylor and all > the stuff he's done; then to sing the same songs, night after night, > sometimes twice a night, forever.... > > Bob > For me, I just love to sing (plus .. I'm a big ham!) I could sing a song 5 times in a row and sing it differently every time. I get tired of hearing some songs, but I never get tired of performing them!!! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 22 Sep 1995 12:54:52 -0500 From: "Nuri A. Nuri" Subject: Re: Mayall references ... I have interviewd John Mayall a few months back and might be publishing the interview in a blues magazine. Depending on the outcome, I may be able to send you a script of it. He is coming to Houston in a month or so..should be a great show! Nuri Nuri, Host/Producer Off the Clock blues show, KPFT 90.1FM radio >I'm a relatively young British blues fan particularly interested the >music of John Mayall. Does anybody know of any biography on Mayall >whether recent or not. The only stuff I've found so far is where he gets >several mentions in other musicians bios such as Clapton. > >I went to see Mayall in London a few months back with his latest >guiturist Buddy Whittington. I thought that the show was excellent. > >Any information would be greatly appreciated. > >-- >Cheers, Marcus > >(Marcus Delaney: marcus@praxis.co.uk) > > ========================================================================= Date: Fri, 22 Sep 1995 12:40:56 -0500 From: "Nuri A. Nuri" Subject: Re: Munich Records Hi Bruce, Can you give me a confirmation on this with an address, tel., fax, or email addreess? Joe Guitar Hughes (from Houston), The Solid Senders, and Guy Forsyth are also on the label. I have many listeners who have asked for copies of these CDs. I am also interested in obtaining stuff from them especially Albert Collins. Nuri Nuri, Host/Producer Off the Clock blues show, KPFT 90.1FM-Houston >According to the Austin-American Statesman (9/21) the Dutch indie label >Munich Record has set up shop here in Austin. "The roots-oriented label >will begin selling albums from its 7,600 title catalog Oct. 3 with a live >recording of Albert Collins from 1970, a Rory Block albumn recorded for >the label in 1989, plus a compilation of performances on the Amsterdam >radio show 'Sunday Morning Coming Down' featuring Butch Hancock, John Gorka, >Calvin Russell, Loose Diamonds and Jimmy Lafave." > >Bruce Roberts >Austin, TX > > ========================================================================= Date: Fri, 22 Sep 1995 17:49:06 GMT From: Tony Burke Subject: MORE ON ROMA WILSON For those wo have made enquires about the tape of Wilson with Rev. Leon Pinson here's where to get it: The Deep South Musical Roots Tour GLOBAL VILLAGE (not Globe Style as I originally put, got mixed up with a UK world music label there boys...) C228, Global Village Music, 245 West 29th St., NYC, NY 1000! It also includes great sides by the Birmngham Sunlights and Lynn August. Global Village have put out some great stuff over the years including a great set of 1950's South African Rock and Roll called Flying Rock, wait till you hear Ready Teddy - like nothin' you heard before!!! TB ========================================================================= Date: Fri, 22 Sep 1995 12:33:11 -0500 From: "Nuri A. Nuri" Subject: Austin blues scene Hands up for the Austin (blues) music scene. I am Nuri Nuri also known as "The Big Bossman, and I host/produce a blues show on KPFT 90.1FM radio here in Houston. The blues scene in Houston is quite big, more than 8 clubs that play blues with many acts that are huge in blues. Ausin, however, is a great place to be for blues, to say the least. I have many friends that play there all the time (The Solid Senders at Headliners East, Marcia Ball, Doyle Bramhall, Lavelle White.. If anyone decides to move to Texas, Austin is opne of the places (the women are great too..>!!!) >On 20 Sep 95, Bruce Roberts had this to say... > >>Well I can only speak for Austin (which has never been in sync with the >>rest of the country - its the only way I could have survived the Reagan >>years). But there has been an explosion of Blues lately. When I first >>moved here in the early 80's there was only Antone's (only?) as a Blues >>club. Now there are 3 or 4 clubs that play mostly Blues and many more >>that have at least one Blues show a week. I've also seen an increase in >>the appreciation of local Blues talent, like TD Bell, Blues Boy Hubbard, >>WC Clark and Lavelle White (who just moved to Austin a few months ago). >>Even 6th street, which caters more to Frat boys and teenyboppers, has had >>an increase in Blues shows. And the best trend of all, for those of us >>that have to get up early, Happy Hour Blues shows. You can catch some >>great Blues between 6:00 and 11:00 on fridays. We haven't peaked yet. >> >> Bruce Roberts >> Austin, TX > >Tampa is enjoying a similar boom in "live Blues". We've got about 10 >clubs that feature mostly Blues, 3 or 4 of which are exclusively >Blues. Many more places book Blues on occasion. There has been >steady growth over the past 5 years and it doesn't seem to be waning. > > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton > > ========================================================================= Date: Fri, 22 Sep 1995 17:53:04 GMT From: Tony Burke Subject: MERCURY 7 CD SET Right, here's the news from our man in Japan little Simon Evans. The Mercury 7 Cd box set is NOT out as yet but the sampler is... The box contains the following: 42 sides by Albert Ammons 20 sides by Helen Humes 27 sides by Jay McShann 36 sides by Eddie Vinson 13 sides by Cootie Williams 8 sides by Prof. Longhair 4 sides by Julia Lee 4 sides by Myra Taylor 4 sides by Rex Stewert 12 sides by Buddy Rich!!!!! Lotsa alternate takes, false starts etc. Cost 12,6oo Yen Start saving - any price on import copies as yet?? ========================================================================= Date: Fri, 22 Sep 1995 19:53:06 +0000 From: "Tony.OConnor" Subject: Little Jimmy King I saw LJK recently and was not impressed at all. The guy can definitely play guitar but his attitude was just too annoying. It looked as if he was just going through the motions of one long boring chore. He spent much of the time complaining about the sound,which seemed OK (IMHO of course), and most of his efforts went into 'gimmicky' showmanship. He might love his music but it was my impression that he loved himself a lot more. A pity ! --------------------------------------------------------------- _/_/_/ Tony O'Connor, | tony.oconnor@ucg.ie \_\_\_ _/_/_/ Dept Biochemistry, | \_\_\_ _/_/_/ University College,| Fax:+353-91-25700/35391 \_\_\_ _/_/_/ Galway, Ireland. | Phone:+353-91-24411 Ext:2431 \_\_\_ --------------------------------------------------------------- ========================================================================= Date: Fri, 22 Sep 1995 18:11:25 GMT From: Tony Burke Subject: BIG AL DUPREE - You heard it here first! Just to let ya all know about a fine new CD from the Dallas Blues Society. Called "Swings The Blues" this an excellent set of mellow, very mellow blues from Dallas R&B and jazz veteran Big Al Dupree, who sings, plays pianner and saxes. Backed by The Sevilles and also Hash Brown, Big Al runs through a set of blues standards inc. T Bone Blues, Sent For You Yesterday, Wee Baby Blues, Cherry Red, Juice Head Baby. (heavy Vinson/Rushing influences huh?) This is one relaxed set, kinda like Spoon on good form twenty five years ago before he found Eric Burdon! and some fine guitar too from Teddy Morgan. Those with a taste for this sorta stuff will need to check this out. Call Dallas Blues Soc. 214 521 2583 tell 'em who sent ya! Another winner from Chuck Nevitt and his one man band outfit. ========================================================================= Date: Fri, 22 Sep 1995 18:18:48 GMT From: Tony Burke Subject: Re: Leroy Carr Nice job on the Carr page. Leroy was addicted to Slop (as in Sloppy Drunk) this was the nastiest form of bootleg booze that caused blindness and burnt your guts up. All of Carr's rescordings HAVE been issued on Document (6 volumes) also check out the Magpie Piano Blues Series Volume on Carr - it is really wonderful, taken from a clean as poss. 78's. TB ========================================================================= Date: Fri, 22 Sep 1995 15:35:53 +0000 From: "P.W. Fenton" Subject: "Clean" 78s On 22 Sep 95, Tony Burke had this to say in a post about Leroy Carr: > All of Carr's rescordings HAVE been issued on Document (6 volumes) also > check out the Magpie Piano Blues Series Volume on Carr - it is really > wonderful, taken from a clean as poss. 78's. As someone who had 78s as a kid, I don't remember them EVER sounding clean. I remember them as having clicks and pops straight from the store. As a result of that (and also because of my youth) I never really took care of them. I actually had Elvis Presley SUN 78s. Threw 'em all away eventually. What a crime. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 22 Sep 1995 14:14:50 +0000 From: Rich Del Grosso Subject: Re: Little Walter & Chromatics Steve Absolutely. The minor scale superimposed on the major creates that pentatonic sound, the blues sound. Rich ========================================================================= Date: Fri, 22 Sep 1995 17:40:54 PDT From: rjbauman@IQUEST.NET Subject: Re: Little Walter & Chromatics >Steve > >Absolutely. The minor scale superimposed on the major creates that >pentatonic sound, the blues sound. > >Rich > Well, sort of. Being that Pent = 5, you mean that the blues sound comes from 5 parts of the minor scale, namely the 1st, flat 3rd, 4th, 5th and flat 7th, plus the flat 5 to round out what has come to be known as the blues scale. RJ Bauman (see what trouble chromatics can get you into?) ========================================================================= Date: Fri, 22 Sep 1995 23:32:03 GMT From: toulouse Subject: Re: Here we go w/ Blues Mag. again In article <42neke$p1d@Owl.nstn.ca>, harvey@fox.nstn.ca says... > >Tell me Jim, while reading that rag [Living Blues], did you notice anything missing? Like ahhhh, I don't know, maybe... >WHITE PEOPLE!!! Good god, how can you support a racist blues mag? The ONLY white people in Living Blues are the >ones who pay for advertising, but just try and find an article on one of them. >Sorry to all for bringing this up again. > >Thanx >Bye >DMH > I must admit Darrin, you've got a point. What in the hell are you guys talking about? It may be news to you, but the Blues is a BLACK form of music. White folks just take up the teachings and styles to incorporate their own skills and talent into it. I guess you would be looking for that 10 page intervie w with Eric Clapton on the Blues, huh? Spare me. Are you a white supremist or something? The fact of the matter is, there are very f ew "living blues" left. If you were a real fan, you would know. What the world needs is another white boy, or woman, playing dobro a nd blowin harp. Yeah. Don't get me wrong, I do appreciate the preservation and respect aspect of what the white folks bring to the t able, but quite frankly, most of it lacks the real deal, SOUL. Another funny point, Livng Blues is published by the University of Mississippi. How ironic that you feel that it is biased against w hite people.If you want Eric Clapton, Bonnie Raitt, and Jeff Healey, read Rolling Stone, they never write about the real blues guys. Having seen a lot of the true blues guys die in the past 20 years, it is a pleasure to seem some exposure of what is left and what little bit there is coming up of what is traditionally a black form of music.Get you head out of your B***. Peace. ========================================================================= Date: Fri, 22 Sep 1995 16:48:54 -0700 From: Karen Johnson Subject: This weekend in SF Greetings, As has been reported the San Francisco Blues Festival is this weekend. Regrettably it is unlikely that I will be there (My husband thinks we are too old and dignified for porta-potties and he's half right). I know about Slim's tonight, but what about Saturday or Sunday night? Are any of the Festival performers going to be at any clubs-- especially Little Milton or Luther Allison? My birthday is Monday, I'm rattling my cage vigorously and I'd really like to celebrate appropriately. Please send recommendations soon. Private e-mail is fine. Thanks, KJ in SF ========================================================================= Date: Fri, 22 Sep 1995 19:44:42 -0400 From: mc@CNOTES.COM Subject: AVI/Excello/Nashboro/Sun - Web Site Hello! The AVI/Excello web site has undergone some major changes over the past several weeks. Please take a look and let us know what you think (your input will be reflected in future changes). You'll find information about some outstanding blues, gospel, funk, rockabilly, and country artists--artists who helped make the Excello label what it was. Peace, Mike Corso <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> C NOTES INTERACTIVE ----------------------> http://www.cnotes.com Online Music Marketing Web Page Design Independent Communications Consultant <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ========================================================================= Date: Fri, 22 Sep 1995 23:59:27 GMT From: Rennie Selkirk Subject: Re: Blues TV Shows In article <199509191957.MAA14521@bluesman.incog.com> Joe Lempkowski writes: >A few weeks back when I was in Chicago I saw a show that featured >Willie Kent & The Gents (IMHO, one of the hottest bands today) and >possibly Latimore (who is also one cool dude). I think it may have >been on WGN at about 3:00am on Saturday. > I saw a very round fellow by the name of Sugar Bear in Boulder in July. Played a PRS through a Rivera Knucklehead. Fancy, flowing duds. Is this the same guy? HJBoogie ========================================================================= Date: Fri, 22 Sep 1995 19:59:09 -0400 From: Barry Silverberg Subject: Re: AVI/Excello/Nashboro/Sun - Web Site Thanks for the note - but what's the http for the site. I'd very much like to visit. On Fri, 22 Sep 1995 mc@cnotes.com wrote: > Hello! > > The AVI/Excello web site has undergone some major changes over the past > several weeks. Please take a look and let us know what you think (your > input will be reflected in future changes). You'll find information about > some outstanding blues, gospel, funk, rockabilly, and country > artists--artists who helped make the Excello label what it was. > > Peace, > > Mike Corso > > <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> > C NOTES INTERACTIVE ----------------------> http://www.cnotes.com > Online Music Marketing > Web Page Design > Independent Communications Consultant > <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> > > > > NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 22 Sep 1995 18:17:55 -0600 From: Watterworth Jay Subject: Re: Down So Low (how can they do that?) On Fri, 22 Sep 1995, Bob vanArsdall wrote: > Rob Barclay wrote me (hope you don't mind the forwarding)- > >> > >>>Tracy Nelson recorded "Down So Low" with her group Mother Earth in the > >>>late '60's. This great song appears on the LIVING WITH THE ANIMALS album. > >> > >>Bob > >> > >It's 1:30 am. and I'm sitting here listening to MISSISSIPPI JOHN HURT while > >I'm catching up on my mail and I see a mention of TRACY NELSON singing 'DOWN > >SO LOW' and it took me back to 1969 lying on the floor in my attic apartment > >and listening to TN singing "DOWN SO LOW" with shivers running up my back. I > >still have that album, it's a bit scratchy but a keeper. thanks for the blue > >memory. RB > > > Which brings up a question: I saw Tracy Nelson in San Francisco back in > 1972 at a great club of the era called the Boarding House. We had tickets > for the second show, and were standing in the lobby listening to her sing. > As her encore she sang "Down So Low" with great passion - could have heard > a pin drop in the audience. > > Second set went on, great as always, and toward the end she sat down at the > piano and sang "DSL" AGAIN, with just as much passion. When it came time > for an encore, the audience was screaming and yelling, and she said "What > do you want to hear?" Of course, everyone said "Down So Low". She said, > "You all have already heard that twice now", but then good-naturedly did it > again. > > The third time was as good as any of the previous two, and completely > floored me. > > Some of you performers: how can anybody summon up the emotion to sing a > song three times an evening, and each time make it sound like it was the > first time you've ever done it? How do you escape from singing a song and > not thinking about the mortgage, or what you had for dinner, or whether > your fly is down? (Somebody's going to say that is what's called being a > professional...) Thinks about how many times Tracy Nelson has done that > song for the last 25 years! Think about somebody like James Taylor and all > the stuff he's done; then to sing the same songs, night after night, > sometimes twice a night, forever.... > > Bob > I saw Tracy play in Denver this summer at the outdoor part of the Performing Arts Center. She opened for Leo Kottke. Her version of "Down So Low" was every bit as vibrant and vital as you describe. I don't know how they do it time after time, but I am sure glad they do! Jay Watterworth CU Boulder ========================================================================= Date: Fri, 22 Sep 1995 21:23:16 -4 From: "P.W. Fenton" Subject: Here we DON'T go again A few questions - Why are you posting an answer on Blues-l to a post that originated on rec.music.bluenote.blues? Neither 42neke$p1d@Owl.nstn.ca, nor harvey@fox.nstn.ca are members of Blues-l Why do you think that we want to "overhear" this conversation? Why do you follow a phrase like "Get you head out of your B***." with "Peace" as a salutation? Seems to me you are just out to provoke. On 22 Sep 95, toulouse had this to say... > In article <42neke$p1d@Owl.nstn.ca>, harvey@fox.nstn.ca says... > > > > > >Tell me Jim, while reading that rag [Living Blues], did you notice > anything missing? Like ahhhh, I don't know, maybe... > >WHITE PEOPLE!!! Good god, how can you support a racist blues mag? The > ONLY white people in Living Blues are the > >ones who pay for advertising, but just try and find an article on one of > them. > >Sorry to all for bringing this up again. > > > >Thanx > >Bye > >DMH > > I must admit Darrin, you've got a point. > > > What in the hell are you guys talking about? It may be news to you, but the Blues is a BLACK form of music. White folks just take up > the teachings and styles to incorporate their own skills and talent into it. I guess you would be looking for that 10 page intervie > w with Eric Clapton on the Blues, huh? Spare me. Are you a white supremist or something? The fact of the matter is, there are very f > ew "living blues" left. If you were a real fan, you would know. What the world needs is another white boy, or woman, playing dobro a > nd blowin harp. Yeah. Don't get me wrong, I do appreciate the preservation and respect aspect of what the white folks bring to the t > able, but quite frankly, most of it lacks the real deal, SOUL. > > > Another funny point, Livng Blues is published by the University of > Mississippi. How ironic that you feel that it is biased against w > hite people.If you want Eric Clapton, Bonnie Raitt, and Jeff > Healey, read Rolling Stone, they never write about the real blues > guys. Having seen a lot of the true blues guys die in the past 20 > years, it is a pleasure to seem some exposure of what is left and > what little bit there is coming up of what is traditionally a black > form of music.Get you head out of your B***. > > > Peace. > > ========================================================================= Date: Fri, 22 Sep 1995 21:47:44 -0400 From: Robert Rubino Subject: Kenny Wayne Shephard??? I don't know if I spelled his name correctly... Anyhow, does anyone know anything about this guy. Supposedly he's some 17 yr. old phenom. I've only heard one song on the radio (103.9 WRCN New York). They've been playing it frequently. It's pretty good, VERY Stevie Ray -ish. Any info on him would be greatly appreciated. Rob. -rubino@li.net- ========================================================================= Date: Sat, 23 Sep 1995 01:23:59 -0400 From: Beverly Howell Subject: Robben Ford & Other BLUES CHAT Guests..... "BLUES CHAT" and STRETCH RECORDS are proud to present ROBBEN FORD AND THE BLUE LINE in CenterStage, on AMERICA ONLINE, this coming Monday night, September 25th, at 10:00 PM ET! I scheduled Robben and co. on very short notice, so I'd appreciate it if you can help spread the word. :) We will be giving away two autographed copies of Robben's latest CD, "Houseful of Blues" during the show. Regards, Beverly Howell, Producer/Host "Blues Chat" P.S. Other upcoming guests I have scheduled include: 9/27: BULLSEYE Recording Artist SMOKEY WILSON 10/1: ALLIGATOR Recording Artist LUTHER ALLISON 10/11: RED HOUSE Recording Artists KOERNER, RAY & GLOVER 10/25: BLACKTOP Recording Artist ANSON FUNDERBURGH (all at 10:00 PM ET, all at either keyword: CenterStage or Auditoriums, America Online) Watch for future announcements for Oct, or send me an email and I'll be happy to add you to the BLUES CHAT NEWS mailing list...HippieLady@aol.com. ========================================================================= Date: Sat, 23 Sep 1995 04:48:44 -0400 From: Stew Crossen Subject: New Robben Ford (IMHO) Sitting here listening to new Robben Ford and I'm not impressed. Pitiful cover of a pitiful song, "Don't Let Me Be Misunderstood." Advice: Robben should get someone else to handle vocals. Oh, well. Still got new ones from Ray Charles and Candye Kane to go. Beef Stew - WHUS Radio http://www.ucc.uconn.edu/~whusfm ========================================================================= Date: Sat, 23 Sep 1995 02:00:05 -0700 From: Eric LeBlanc-CISTI Subject: SONY SONY/LEGACY 66913 : FROM PHILLY WITH LOVE SONY LEGACY 66913 : VARIOUS - FROM PHILLY WITH LOVE ============================================================================= KENNY GAMBLE b. 1943/AUG/11, KINGSTON, JAMAICA LEON ALEXANDER HUFF b. 1942/APR/08, CAMDEN, NJ "Your Body Won't Move If You Can't Feel The Groove" ~ Leon A. Huff, sonqwriter/producer Music to me has always been a collective collaboration between arrangers, engineers, musicians, producers, singers and writers. Of all the 70s soul music, no one label had better sound than Gamble & Huff's PHILDELPHIA INTERNATIONAL RECORDS, and now with CD technology, you can hear it for yourself. They were all recorded by sound engineer Joe Tarsia, at his Sigma Sound Studio. Gamble & Huff first met Joe Tarsia when they were involved with Kal Mann-Bernie Lowe's Cameo-Parkways Records, the primo Philadelphia label of the early 60s. Today is Joseph D. Tarsia 61st birthdate (he was born September 23, 1934, Philadelphia, PA.), and before joining Cameo-Parkway Records in 1962, he had worked at Philco Corporation (1952-1962) as a senior researcher. He left Cameo-Parkway in 1968, renamed his studio Sigma Sound, and started working for Gamble & Huff. This CD is a good sampler of the PIR sound & will have to do until the promised PIR boxset becomes a reality. My favorites include Little Sonny Brown's lead on The Intruders' "I Wanna Know Your Name", Teddy Pendergrass' long rap intro to "Be For Real" (which was not included on LEGACY 66338) and the incrediable duet on The Ebonys' "It's Forever". Like Frankie Brunson (of The People's Choice) once said, "When you hear it [funk], you wanna shake your stick or whatever you do ... but you just can't sit still". A must CD for a Philly Soul fans. Contents : 1. THE INTRUDERS - I WANNA KNOW YOUR NAME (5:50) 2. BILLY PAUL - ME AND MRS. JONES (4:45) 3. JOHNNY WILLIAMS - SLOW MOTION (2:58) 4. BUNNNY SIGLER - REGINA (3:08) 5. THE EBONYS - IT'S FOREVER (7:17) 6. THE JACKSONS - FIND ME A GIRL (4:33) 7. THE FUTURES - STAY WITH ME (3:56) 8. LOU RAWLS - LADY LOVE (3:40) (live) 9. DEE DEE SHARP GAMBLE - I'M NOT IN LOVE (5:16) 10. PEOPLE'S CHOICE - DON'T SEND ME AWAY (3:37) 11. HAROLD MELVIN & THE BLUE NOTES - BE FOR REAL (7:30) 12. THE O'JAYS - SUNSHINE (10:06) (live) 13. THREE DEGREES - WHEN WILL I SEE YOU AGAIN (2:58) 14. DEE DEE SHARP GAMBLE - OOH CHILD (5:09) other PHILLY SOUL CDs in the SONY/LEGACY'S RHYTHM & SOUL SERIES : =============================================================== 66112 : THE O'JAYS - GIVE THE PEOPLE WHAT THEY WANT 95/02 66114 : The O'JAYS - LOVE TRAIN : THE BEST OF 94/08 66115 : The O'JAYS - IN PHILADEPHIA 94/08 66116 : THE O'JAYS - LET ME MAKE LOVE TO YOU 95/01 66179 : VARIOUS ARTISTS - LOST SOUL 94/08 66338 : HAROLD MELVIN & THE BLUENOTES - BEST OF,FEATURING T.PENDERGRASS 95/02 66912 : VARIOUS - RHYTHM & SOUL REVUE 95/02 soon : THE INTRUDERS - COWBOYS TO GIRLS, THE BEST OF soon soon : MFSB - LOVE IS THE MESSAGE, THE BEST OF soon ========================================================================= Date: Sat, 23 Sep 1995 12:38:31 +0200 From: Peter Gallagher Subject: Back from vacation I'm back from vacation. Looking forward to my bluesy mail! :-) regards, PeterG -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Sat, 23 Sep 1995 09:19:34 -0600 From: Don O Subject: Rev. Robert Ealey Robert's guitarist tells me that on a recent European tour, an ad for the show in Hannover listed him as "Rev. Robert Ealey". Apparantly, the name has stuck. No, Robert has not "found religion", though he may start passing a collection plate anyway! Don O. ========================================================================= Date: Sat, 23 Sep 1995 09:19:36 -0600 From: Don O Subject: more dfw fests I just got the word on two more small blues fests here in DFW. Sorry to post to the whole list, but there are about 20-25 folks on here that might be interested. If you live in Kookamonga delete now! September 30 Sundance Square, Fort Worth 6 pm, $8 in advance, $10 at door Curly Barefoot Miller Robert Ealey (CD release party) Ray Sharpe Fort Worth Guitar Army U.P. Wilson October 28 UT Dallas Campus Tutu Jones Tyrone Starks Ad Jam Allstars plus 3 other bands FREE-- Noon to 6 Don O. shamelessly plugging the DFW blues scene, yet again P.S. Al "TNT" Braggs is playing at Dallas Alley through Sept 27, another Do Not Miss event. ========================================================================= Date: Sat, 23 Sep 1995 09:29:32 -0600 From: Don O Subject: percy strother in FW I had the EXTREME pleasure of seeing Percy last night (9-21) at J&J Blues Bar in Fort Worth. What a great show! I got there just as the show started at 10 pm and the club was empty. By 10:40 there was a total of 13 paying customers in the joint, but 10 were dancing! A few more straggled in later, probably 50 or so in all. What a shame more people didn't come out to see his show. This is very much a "groove" band. Kind of like Magic Slim. They start playing and get into this great groove that is just impossible to resist. Even old standards, that usually bore me, like Stormy Monday, The Thrill is Gone, The Blues are Alright, etc. took on a whole new life. They didn't just do old standards, though. Percy did a bunch of his tunes from his Blue Moon/Loon Cd that had me grinning. That's a great CD, BTW, "A Good Woman is Hard to Find", with Teddy "Kid" Morgan on guitar. He also told me he has one out on Black Magic but was sold out. I must have missed this somehow. Has someone reviewed that one here and if so could you send me a copy of the review?? I'll check my blues mag back issues, too. Gotta get that one. At the end of the evening there were still only about 25 people in the club, but 20 of them were dancing. Even with such a small crowd, they were called back for two encores because those 20 people wouldn't let them get off the stage! I think Percy had a good time, too, because he went around and got everyone's home address for his mailing list. I'll have you Minnesota folks know that at the end of the evening I spent some time trying to convince Percy to move down here! I even promised to show him my secret fishing spots and THAT got him interested. Don O. who will drive to Minneapolis to help him move! ========================================================================= Date: Sat, 23 Sep 1995 15:08:35 GMT From: aciccone@ICSI.NET Subject: Don Crawford I am looking for any information about blues singer Don Crawford. Any and all information would be great. If you know anything about Crawford I would be very thankfull. Tony ========================================================================= Date: Sat, 23 Sep 1995 11:24:53 -0400 From: WJEFKIN Subject: Re: John Hammond Hi folks, John Hammond is playing up here in Grand Forks, ND next Saturday (Sept. 30). He's one of the greats and there's lots of us blues fans looking forward to seeing him! Jeff ========================================================================= Date: Sat, 23 Sep 1995 11:16:00 EDT From: Robert Page Subject: Munich Records Bruce Let me echo others on this list' interest in the releases you noted as being planned by Munich Records. I don't know if its the recent, wonderful live release by Albert Collins (thank you Dick Shurman...great performance selection with Albert and the band in kickass form, production, and really wonderful liner notes...everyone should have this CD!), but the mere mention of an early 70's live Albert Collins release sent my heart racing. Any additional info on how to contact Munich Records that you come across would be of GREAT interest to what I bet is MANY of us on this list. Thanks Bob Page ========================================================================= Date: Sat, 23 Sep 1995 11:20:19 -0500 From: "Nuri A. Nuri" Subject: Re: AUSTIN BLUES SCENE That's what you'ld like to think. Oh, I'm just playing. No the DFW area is of course very strong and I agree that people (many of whom are frineds with me) like Doyle, the Vaughns, Lou Ann, Angela, Anson (who is performing here tonight), the Brutons, etc. came originally from the Dallas/DFW area, but thing of Hooker, Hopkins, Collins, Copeland, Katie Webster, Big Mama Thornton, the Duke Peacock label, and more are from around this area. I guess what I'ld like to say is..Texas blues is the best! > > > If anyone decides to move to Texas, Austin is opne of the places > > (the women > > are great too..>!!!) > >Actually..... > >DFW has a better blues scene than Houston and Austin combined. Especially when >you remember so many of the "name" Austin acts came from DFW (Vaughans, Doyle, >Denny, Derek, Lou Ann, Moellers, etc.). There's more than 20 clubs, more than >70 working blues bands, and 3 active blues labels. The women are nice here, >too, plus we have a winning football team. > >Of course, I'm joking with you a bit here... :') but we do have a VERY strong >blues scene. > >Don O. > > ========================================================================= Date: Sat, 23 Sep 1995 12:16:30 -4 From: "P.W. Fenton" Subject: The Road (was percy strother in FW) On 23 Sep 95, Don O had this to say... > I had the EXTREME pleasure of seeing Percy last night (9-21) at J&J Blues > Bar in Fort > Worth. What a great show! I got there just as the show started at > 10 pm and > the club was empty. By 10:40 there was a total of 13 paying > customers in the > joint, but 10 were dancing! A few more straggled in later, probably > 50 or so > in all. What a shame more people didn't come out to see his show. Don's remarks got me thinking about how much respect and compassion I have for Blues musicians who take their show on the road. I recently saw a concert by Terry Garland. I loved the intimacy of being one of about 20 admirers, but at one point I thought "He's probably working for the 'door'". He was dressed nicely, played several frightfully expensive guitars, and had some equally expensive outboard gear. How do you manage to have a life when you invest your heart and soul in being excellent for just a little over a hundred bucks? Anybody who has simply spent time in a strange city knows how difficult it is to live within a hundred bucks a day. No wonder our heroes burn out and die too young. We are so lucky to have them at all. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 23 Sep 1995 11:46:52 -0500 From: "Nuri A. Nuri" Subject: Re: Kenny Wayne Shephard??? If this is the same Kenny I am thinking of, yes he does sound a lot Stevie..rayish! He is from Louisiana (Lafayette if not mistaken) and is 17 or 18 at the most, and performs around the Louisiana/Texas area. He and his band are very tight, VERY. He plays a song that he wrote (I think) in which he pays tribute to 3 of his influences: SRV, Albert Collins, and Albert King. In this 8 minute song, he devides it up into 3 sections, one where he plyas SRV licks, one with Collins licks, and one with King licks; they all sound very good. I'll let you know more asd I receive more information. Nuri Nuri, Host/Producer Off the Clock blues show, KPFT 90.1FM-Houston >I don't know if I spelled his name correctly... >Anyhow, does anyone know anything about this guy. > >Supposedly he's some 17 yr. old phenom. I've only heard >one song on the radio (103.9 WRCN New York). They've been >playing it frequently. It's pretty good, VERY Stevie Ray -ish. > >Any info on him would be greatly appreciated. > >Rob. -rubino@li.net- > > ========================================================================= Date: Sat, 23 Sep 1995 13:41:34 -4 From: "P.W. Fenton" Subject: Imitation Blues What a strange culture we belong to in the USA, where the majority of us appear to appreciate imitations more than originals. Where fictional characters like the Blues Brothers are held up as examples of a genre. Where a talented man like Stevie Ray Vaughan dies and a hundred dress alike/sound alike clones appear and actually make money. Where "Born Under A Bad Sign" is called an Eric Clapton song. Where imitators are successful imitating other imitators. No wonder there's mostly trash on TV. We seem to crave it. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Sat, 23 Sep 1995 11:09:42 -0700 From: Mary Katherine Aldin Subject: Billboard blues album chart 9/30/95 The Billboard Magazine Blues Album chart for the week ending September 30, 1995 is as follows: albums marked with * are new on chart this week 1. From the Cradle/Eric Clapton 2. Handful of Blues/Robben Ford & the Blue Line* 3. Cover to Cover/The Jeff Healy Band 4. Some Rainy Morning/Robert Cray 5. Live '92-'93/Albert Collins & the Icebreakers* 6. Blues/Jimi Hendrix 7. Chill Out/John Lee Hooker 8. Roll of the Dice/The Fabulous Thunderbirds 9. Essential Blues/Various Arists (House of Blues Records) 10. Texas Sugar/Strat Magik/Chris Duarte Group 11. Keb' Mo'/Keb' Mo' 12. Standing On the Bank/Tab Benoit* 13. Blues of the Month Club/Joe Louis Walker* 14. One Foot In the Blues/ZZ Top 15. Booty and the Beat/Popa Chubby ========================================================================= Date: Sat, 23 Sep 1995 15:29:58 -0400 From: Brenda Bogert Subject: Re: Imitation Blues On Sat, 23 Sep 1995, P.W. Fenton wrote: > What a strange culture we belong to in the USA, where the majority of > us appear to appreciate imitations more than originals. Where > fictional characters like the Blues Brothers are held up as examples > of a genre. Where a talented man like Stevie Ray Vaughan dies and a > hundred dress alike/sound alike clones appear and actually make > money. Where "Born Under A Bad Sign" is called an Eric Clapton song. > Where imitators are successful imitating other imitators. No wonder > there's mostly trash on TV. We seem to crave it. How true! A lot of those imitators think that all it takes to make a "bluesman" is the proper hat & shades! They can't even take the time to find out who really wrote that song that they are covering. I get so tired of musicians proudly declaring from the stage that they are going to do a Elmore James tune and then launch into Tampa Red's "It Hurts Me Too". Another Tampa hit "Sweet Little Angel" is often presented as a Robert Nighthawk or B. B. King original. "Tell Me Mama" was made famous by Little Walter, but it was recorded earlier by Casey Bill Weldon -- an unsung genius of slide guitar! If you're going to delve into the blues seriously, remember this: You can't really appreciate the music without knowledge of its history. And it is so easy to gain that knowledge. Read the liner notes. Take a look at the songwriter credits (which are not always correct, but it's a start). Check your local library for books on the blues. Check out the recordings of some of the less well-known artists. You may find some great material to perform. *Everybody* covers SRV, Clapton, Hendrix, Muddy, Howlin' Wolf but *nobody* can improve on those originals (IMHO). If you must do covers, why not choose from the thousands of great blues songs out there that the typical audience has not heard. Do we really want to hear another rendition of "Texas Flood" by Little Bob and the Basement Crawlers? If you want to play the blues, leave the costume & attitude at home & try to be as natural & knowledgeable as you can on stage. Great bluesmen are born -- not created! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Sat, 23 Sep 1995 16:10:19 -0400 From: Peter Welch Subject: Performers & Crowds Listening to one of my CDs this weekend I came across this line in a song, which I sort of sums up what people have been talking about lately about performers attitudes toward loud crowds: "Pat your feet like you wanna, and clap your hands out loud, Pat your feet like you wanna, and clap your hands out loud You can scream like you wanna But please don't drown me out" >From "Come On, Let's Boogie" by Goree Carter (1949). -Peter W. ========================================================================= Date: Sat, 23 Sep 1995 15:19:17 -0500 From: "Henry Busse Jr." Subject: birthdays 9/23-9/25/95 born 9/23/95 ALI, BARDU Born1910 NEW ORLEANS, LA Occupation:LEADER / SINGER Worked With:CHICK WEBB FRONTED BAND 35-39 / RED FOXX'S MANAGER Style:BIG BAND AMMONS, ALBERT ( ALBERT C. ) Born:1907 CHICAGO, IL Died:12 02 1949 CHICAGO, IL Age:42 Occupation:PIANO Worked With:MEADE LUX LEWIS / PETE JOHNSON FATHER OF GENE Style:JAZZ BESTER, DON Born:1889 LANGFORD, SD Died:01 13 1970 Age:81 Occupation:LEADER Worked With:BENSON ORCHESTRA (AS DIRECTOR ) / OWN ORCHESTRA Style:JAZZ / BIG BAND BLUE, LITTLE JOE ( JOSEPH VALERY JR. ) Born:1934 VICKSBURG, MS Died:04 22 1990 RENO, NV Age:55 Occupation: Style:BLUES BRADSHAW, TINY ( MYRON ) Born:1905 YOUNGSTOWN, OH Died:11 26 1958 CINCINNATI, OH Age:53 OccupationLEADER / SINGER / DRUMMER Worked With:HORACE HENDERSON / MARION HARDY / MILLS BLUE RHYTHM BAND / LUIS RUSSELL / ELLA FITZGERALD / SONNY STITT / RED PRYSOCK / SIL AUSTIN Style:BLUES / JAZZ / BIG BAND BUCHANAN, ROY Born:1939 OZARK, AR Died:08 18 1988 FAIRFAX, VA Age:49 Occupation:GUITAR Worked With:DALE HAWKINS / RONNIE HAWKINS Style:BLUES CHARLES, RAY ( RAY CHARLES ROBINSON ) Born:1932 ALBANY, GA Occupation:PIANO / COMPOSER / ORGAN / ALTO SAX / LEADER STYLE:POP /JAZZ / BLUES COLTRANE, JOHN ( WILLIAM ) BORN:1926 HAMLET, NC DIED:07 17 1967 NEW YORK, NY AGE:41 OCCUPATION:TENOR SAX WORKED WITH: KING COLAX / EDDIE CLEARHEAD VINSON / JIMMY HEATH / HOWARD MCGHEE / DIZZY GILLESPIE / EARL BOSTIC / MILES DAVIS STYLE:JAZZ DOGION, DOTTIE ( DORTHY GIAIMO ) BORN:1929 BREA, CA OCCUPATION:DRUMMER WORKED WITH:CARL FONTANA / BENNY GOODMAN / MARION MCPARTLAND / RUBY BRAFF / MELBA LISTON MARRIED TO JERRY STYLE:JAZZ ESCOUDE, CHRISTIAN Born:1947 ANGOULEME, FRANCE Occupation:GUITAR Worked With:JOHN LEWIS / GEORGE DUVIVIER / OLIVER JACKSON Style:JAZZ FOSTER, FRANK Born:1928 CINCINNATI, OH Occupation:TENOR SAX Worked With:COUNT BASIE IS LEADER OF THE BASIE BAND Style:JAZZ / BIG BAND LOMAX, JOHN Born:1867 GOODMAN, MS Died:01 26 1948 GREENVILLE, MS Age:77 Occupation:PIONEER IN RECORDING AND COLLECTING BLACK FIELD SONGS 77 FATHER OF ALAN LOMAX Style: FOLKLORIST McCANN, LES ( LESLIE COLEMAN ) Born:1935 LEXINGTON, KY Occupation:PIANO / SINGER / LEADER Style:BLUES /JAZZ REID, IRENE FRANCES Born:1930 SAVANNAH, GA Occupation:SINGER Style:BIG BAND ROBINSON, FENTON Born:1935 GREENWOOD, MS Occupation: GUITAR / SINGER Worked With:JUNIOR WELLS / OTIS RUSH / SONNY BOY WILLIAMSON(RICE MILLER) / Style:BLUES STEIG, JEREMY Born:1943 NEW YORK, NY Occupation:FLUTE Style:JAZZ WOODE, JIMMY (JAMES BRYANT ) Born:1928 PHILADELPHIA, PA Occupation:BASS Worked With:SARAH VAUGHAN / ELLA FITZGERALD / NAT PIERCE / DUKE ELLINGTON Style:JAZZ / BIG BAND YOUNG, MIGHTY JOE ( JOSEPH YOUNG ) Born:1927 SHREVEPORT, LA Occupation:GUITAR Worked With:HOWLIN WOLFE / OTIS RUSH / JIMMY ROGERS / BILLY BOY ARNOLD / KOKO TAYLOR Style:BLUES BORN 9/24/95 BARBARIN, ISIDORE Born:1872 NEW ORLEANS, LA Died:06 12 1960 NEW ORLEANS, LA Age:88 Occupation:ALTO HORN Worked With:THE ONWARD BRASS BAND ALMOST 30 YEARS FATHER OF PAUL & LOUIS Style:JAZZ / DIXIE BUTTS, JIMMY ( JAMES H ) Born:1917 NEW YORK, NY Occupation:BASS Worked With:ART HODES / LES HITE / CHRIS COLUMBUS / DON REDMAN / TINY GRIMES / TRUMMY YOUNG / SIR CHARLES THOMPSON Style:JAZZ / BIG BAND / DIXIE CARTER, JOHN ( WALLACE ) Born:1929 FORT WORTH, TX Died: 03 31 1991 LOS ANGELES, CA Age:63 Occupation:CLARINET / ALTO SAX / COMPOSER / TEACHER Worked With: ORNETT COLEMAN / CHARLES MOFFETT AS EDUCATOR FOUNDED LOS ANGLES WIND COLLEGE Style:JAZZ CONNORS, BILL ( WILLIAM A. ) Born:1949 LOS ANGELES, CA Occupation:GUITAR Worked With:STANLEY CLARK / LEE KONITZ Style:JAZZ COSTANZO, JACK ( JAMES ) Born:1922 CHICAGO, IL Occupation:BONGO Worked With: STAN KENTON / NAT COLE / PEGGY LEE / PREZ PRADO / HARRY JAMES / CHARLIE BARNET / PETE RUGOLO Style:JAZZ / BIG BAND HENDERSON, WAYNE ( MAURICE ) Born:1939 Occupation:TROMBONE Worked With:CRUSAIDERS Style:JAZZ HOGGARD, JAY Born:1954 NEW YORK, NY Occupation:VIBES Style:JAZZ JEFFRIES, HERB Born:1914 DETROIT, MI Occupation?SINGER / MOVIE ACTOR Worked With:EARL HINES / ERSKINE TATE / BLANCHE CALLOWAY / DUKE ELLINGTON / SIDNEY BECHET / RUSS GARCIA Style:JAZZ / BIG BAND KENT, WILLIE Born: 1936 SHELBY, MS Occupation:BASS / SINGER Style:BLUES NAVARRO, FATS Born:1923 KEY WEST, FL Died: 07 07 1950 NEW YORK, NY Age:27 Occupation:TRUMPET Worked With:ANDY KIRK / BILLY ECKSTINE / KENNY CLARKE / BUD POWELL / CHARLIE PARKER Style:JAZZ / BIG BAND WILLIS, CHiCK Born:1934 CABINESS, GA Occupation:SINGER / GUITAR Worked With:CHUCK WILLIS COUSIN OF CHUCK WILLIS Style:BLUES / R&B Birthdays 9/25/95 ALEXANDER, ROLAND E. Born:1935 MOSTOON, MA Occupation:TENOR SAX / SOPRANO SAX / PIANO Style:JAZZ ALLEN, CHARLIE Born:1908 JACKSON, MS Died:11 29 1972 CHICAGO, IL Age:64 Occupation:TRUMPET Worked With:EARL HINES / DUKE ELLINGTON Style:JAZZ / BIG BAND ARNOLD, HORACEE ( HORACE EMMANUEL ) Born:1937 WAYLAND, KY Occupation:DRUMMER Worked With:ROLAND KIRK / CHARLIE MINGUS / BUD POWELL / HUGH MASEKELA Style:JAZZ BARNES, BOOBA ( ROOSEVELT BARNES ) Born:1936 LONGWOOD, MS Occupation:GUITAR / SINGER Worked With:SWINGING GOLD COASTERS / PLAYBOYS Style:BLUES BUSHELL, GARVIN ( PAYNE ) Born:1902 SPRINGFIELD, OH Died:10 31 1991 LAS VEGAS Age:89 Occupation:CLARINET / ALTO SAX Worked With:SAM WOODLING / BESSIE SMITH / BUNK JOHNSON / CAB CALLOWAY / CHICK WEBB Style:JAZZ / BIG BAND PIERCE, BILLY Born:1948 HAMPTON, VA Occupation:TENOR SAX / SOPRANO SAX Worked With: ART BLAKEY Style:JAZZ RIVERS, SAM ( SAMUEL CARTHORNE ) Born:1930 EL RENO, OK Occupation:ALTO SAX /PIANO / COMPOSER Worked With: MILES DAVIS / CECIL TAYLOR Style:JAZZ WILSON, SHADOW ( ROSSIERE ) Born:1919 YOKERS, NY Died:07 11 1959 NEW YORK, NY Age:40 Occupation DRUMMER Worked With:BENNY CARTER / TINY BRADSHAW / LIONEL HAMPTON / EARL HINES / GEORGIE AULD / COUNT BASIE / WOODY HERMAN Style:JAZZ / BIG BAND ========================================================================= Date: Sat, 23 Sep 1995 16:33:21 +0000 From: Ian Angus Subject: Re: Imitation Blues > What a strange culture we belong to in the USA, where the majority of > us appear to appreciate imitations more than originals. Where > fictional characters like the Blues Brothers are held up as examples > of a genre. Even weirder -- where there is a living to be made in most cities imitators of the Blues Brothers! Copies of imitations ... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Sat, 23 Sep 1995 17:11:48 -0600 From: David Silberberg Subject: Re: Imitation Blues At 7:45 AM 9/23/95, P.W. Fenton wrote: >What a strange culture we belong to in the USA, where the majority of >us appear to appreciate imitations more than originals. Where >fictional characters like the Blues Brothers are held up as examples >of a genre. Where a talented man like Stevie Ray Vaughan dies and a >hundred dress alike/sound alike clones appear and actually make >money. Where "Born Under A Bad Sign" is called an Eric Clapton song. >Where imitators are successful imitating other imitators. No wonder >there's mostly trash on TV. We seem to crave it. I do believe that this - and some of the responses from Ian and Brenda - are a bit unfair. Don't forget that the blues is our passion - we study it, learn about it, some of learn how to play it. We care about the difference between the originals and the imitations. Most people don't - but they have other things that they learn about, study about, and know the difference between originals and imitations that WE don't care about. I don't care about Mexican food - I'd as soon eat a North-Americanized imitation of a true burrito as take the trouble to find an "authentic" one - but there are lots of people who do care and who think, "How can he eat that...." I think we worry too much about the Blues Brothers, HOB, people liking EC instead of Freddie King, etc. All of us here are students of the blues; most people aren't, and don't want to be: they are neither ignorant nor are they philistines; they just have different passions. No one has the time - or the energy - to be passionate about everything. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 23 Sep 1995 16:43:53 -0600 From: Watterworth Jay Subject: Re: Imitation Blues I have always respected your opinion, and I think this is yet another reason why. Doesn't it seem that in most any society there are only a few who truly appreciate, or even go through the motions of pretending to appreciate, worthy art? You, my friend, have recognized that your taste (to which I am sure any long time subscriber to BLUES-L could attest) is somewhat above the crowd. Instead of bemoaning the situation, I think you should be relieved that you represent a defining edge in culture. Of course, if you were in the crowd you probably wouldn't be aware of your status and could enjoy the "blues" of EC, SRV, et al and be happy as a clam. (Please, clam lovers, no flames.) Sociologically musing, Jay Watterworth CU Boulder On Sat, 23 Sep 1995, P.W. Fenton wrote: > What a strange culture we belong to in the USA, where the majority of > us appear to appreciate imitations more than originals. Where > fictional characters like the Blues Brothers are held up as examples > of a genre. Where a talented man like Stevie Ray Vaughan dies and a > hundred dress alike/sound alike clones appear and actually make > money. Where "Born Under A Bad Sign" is called an Eric Clapton song. > Where imitators are successful imitating other imitators. No wonder > there's mostly trash on TV. We seem to crave it. > > P.W. Fenton > Tampa, Florida > e-mail = pwfenton@gate.net > WWW = http://www.gate.net/~pwfenton > ========================================================================= Date: Sat, 23 Sep 1995 20:02:41 -0400 From: David Goldstein Subject: Little Jimmy King aka Little Albert I guess from what I have been reading that he is emulating his adopted daddy, Albert King, too well. I have heard Albert complaining to his engineers on many a CD about this or that. ========================================================================= Date: Sat, 23 Sep 1995 20:45:35 -0400 From: Your Name Subject: Re: Imitation Blues I get so >tired of musicians proudly declaring from the stage that they are going >to do a Elmore James tune and then launch into Tampa Red's "It Hurts Me >Too". >Brenda Bogert >KYANA Blues Society >Louisville KY I saw Eric Clapton do just that on a T.V. special he did in support of his "From the Cradle" CD! All things considered I found it quite ironic. Glad to see Clapton getting back to his "roots";-) ========================================================================= Date: Sat, 23 Sep 1995 18:13:49 -0800 From: James Carmin Subject: CHARLIE MUSSELWHITE: "Please Don't Think I'm Nosy" I think the lyrics to this song -- as well as the rest of it -- are so damn great, I just got to pass them on. This is from CHARLIE MUSSELWHITE's excellent '93 Alligator recording (he surely must be due for another soon), IN MY TIME (ALCD 4818). Pete Welding's liner notes call this a Baby Boy Warren influenced track; Baby Boy was one of the finest Detroit bluesmen who, unfortunately, passed on way too early in 1977 at age 57. =============================================================== PLEASE DON'T THINK I'M NOSY (Kirkland, Ft. Knox/Tri Music, BMI) Good morning, you beautiful darling, Please don't get me wrong. Are you expectin' a private party, or are you just Standing all alone? Please don't think I'm nosy, I'm just as kind as a man can be. Because the present is in your future, I'd bring the whole round world home to you. I'd like to get some information, Are you gonna make this town your home? Can I state my conversation, or should I be Movin' on along? Baby, please don't think I'm nosy, I'm just as kind as a man can be. Because the present is in your future, I'd bring the whole round world home to you. Let me get acquainted darling, What may be your name? I don't mean to dig too deep, but could you Use a lovin' man? Baby, please don't think I'm nosy, I'm just as kind as a man can be. Because the present is in your future, I'd bring the whole round world home to you. If you don't have no objections, we can Go out to drink and dine. I'd like to ask a few more questions, can I Possibly call you mine? Baby, please don't think I'm nosy, I'm just as kind as a man can be. Because the present is in your future, I'd bring the whole round world home to you. =============================================================== James C. jcarmin@teleport.com ========================================================================= Date: Sun, 24 Sep 1995 01:52:32 GMT From: toulouse Subject: Re: Here we DON'T go again A few questions - Why are you posting an answer on Blues-l to a post that originated on rec.music.bluenote.blues? Neither 42neke$p1d@Owl.nstn.ca, nor harvey@fox.nstn.ca are members of Blues-l Why do you think that we want to "overhear" this conversation? Why do you follow a phrase like "Get you head out of your B***." with "Peace" as a salutation? Seems to me you are just out to provoke. On 22 Sep 95, toulouse had this to say... > In article <42neke$p1d@Owl.nstn.ca>, harvey@fox.nstn.ca says... > > > > > >Tell me Jim, while reading that rag [Living Blues], did you notice > anything missing? Like ahhhh, I don't know, maybe... > >WHITE PEOPLE!!! Good god, how can you support a racist blues mag? The > ONLY white people in Living Blues are the > >ones who pay for advertising, but just try and find an article on one of > them. > >Sorry to all for bringing this up again. > > > >Thanx > >Bye > >DMH > > I must admit Darrin, you've got a point. > > > What in the hell are you guys talking about? It may be news to you, but the Blues is a BLACK form of music. White folks just take up > the teachings and styles to incorporate their own skills and talent into it. I guess you would be looking for that 10 page intervie > w with Eric Clapton on the Blues, huh? Spare me. Are you a white supremist or something? The fact of the matter is, there are very f > ew "living blues" left. If you were a real fan, you would know. What the world needs is another white boy, or woman, playing dobro a > nd blowin harp. Yeah. Don't get me wrong, I do appreciate the preservation and respect aspect of what the white folks bring to the t > able, but quite frankly, most of it lacks the real deal, SOUL. > > > Another funny point, Livng Blues is published by the University of > Mississippi. How ironic that you feel that it is biased against w > hite people.If you want Eric Clapton, Bonnie Raitt, and Jeff > Healey, read Rolling Stone, they never write about the real blues > guys. Having seen a lot of the true blues guys die in the past 20 > years, it is a pleasure to seem some exposure of what is left and > what little bit there is coming up of what is traditionally a black > form of music.Get you head out of your B***. > > > Peace. > > A few answers: Provoke? You obviously miss the racial slant of the POSTING I RESPONDED TO. As for why I put it in the other blues category, well it= seems that it was a blues topic, did not know that the categories were regimented. Is it your private newsgroup or something? DID Y= OU NOT READ THE QUOTED POST? If you don't want to be part of the comments, then don't be, if you don't want to hear about it, don't= read it, but don't act like I am "provoking" the situation. As far as I am concerned, anyone who can complain about a blues magazin= e not having any WHITE people in it and as a result call it racist, does have their heads up their butt. Peace, Brother ========================================================================= Date: Sat, 23 Sep 1995 20:48:53 -0800 From: Don Cicchetti Subject: Re: Here we DON'T go again Hey folks! This is not an AOL chat room, this is the Blues list... Get off the flame war nonsense. Learn to recognize the other guy's point, and even when you think they're dumb, respond with intelligence, not flames. Give us a break OK? You know, this whole thing can be discussed without calling anyone (or any magazine) racist! "Living Blues" chooses to limit their coverage to African American artists. That's their choice, it's their magazine, and since the blues are an African American art form their is at least SOME justification for this. Yet, whites have become an important part of the blues community, and some will choose to see the editorial position of "Living Blues" as less than enlightened, but it is a little silly to start throwing the "race card" around here isn't it? And yet, it's ok to say that "Living Blues" editorial policy is misguided. There are valid bases for believing this. No matter how goofy some may think "Living Blues" is for their policy, there are certainly other journals around where one can see white blues dudes covered. Let's no resort to hyperbole to castigate "Living Blues", it only brings more hyperbole, and pointless flame wars. Rush Limbaugh's impression of a "chat room": ;-] you suck no YOU suck NO YOU SUCK!! **NO YOU SUCKKKKKK!!!!!** puhleeze guys.. give it a rest Sheesh! Why does sitting at a computer cause people to forget their manners?? relax, put some Freddie King on... get over it. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 19 Sep 1995 02:25:02 -0400 From: Msbeale Subject: Chris Cain Florida Dates The Official "HurriCain" tour starts soon.... OCTOBER 6 Gatorz Port Charlotte, FL 7 Blues on the Bayou Tarpon Springs, FL (festival) 8 Ringside Cafe St. Petersburg, FL 10 Opera House Sarasota, FL 11 Sebastian Beach Inn Melbourne Beach, FL 12 The Backroom Delray Beach, FL 13 Tabacco Road Miami, FL 14 Musician's Exchange Cafe Ft. Lauderdale 28 Golden Nugget Casino Reno, NV ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 19 Sep 1995 17:09:21 -0400 From: BlueSunJay Subject: Robert Cray/Rosebud Could someone please provide me with Robert Cray's touring schedule? Thanks, Jay Sheffield BlueSunJay@aol.com FAX: 901-751-1685 ========================================================================= Date: Tue, 19 Sep 1995 18:56:05 -0400 From: RLaMour Subject: Re: Portland Blues? I've never had any more problems, any where, than trying to work with all the butt head talent buyers and club owner in Portland. The flakiest bunch ever. ========================================================================= Date: Tue, 19 Sep 1995 20:51:10 -0400 From: GDKimball Subject: Re: Piedmont Blues I recommend the "East Coast Blues" compilation from Yazoo. It has the classic "Betty and Dupree" by Willie Walker and one of the few recorded Virginians, William Moore, a barber from Tappahannock, not far from my home base. Gregg in Richmond ========================================================================= Date: Tue, 19 Sep 1995 23:41:10 -0400 From: Msbeale Subject: Re: Pretty Woman lyrics (NOT Gary Moore!!) >Dude, no offense, but please do your blues homework. I've met so many >Gary >Moore fans who think he wrote those songs. To me, they are badly >overplayed >versions of the classic originals. Recently I was in a club listening to a band do their rendition of Clifford Brown's Blues Walk..... A guy next to me says "Cool.....Lyle Lovett!" ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Tue, 19 Sep 1995 23:51:33 -0400 From: DeniseTapp Subject: Re: Joe LOUIS Walker Spelling error, LW. It's Joe Louis (like Armstrong) Walker. And he's a shy guy, until he's on stage. Never has yet delivered a bad performance, has he? Denise (If typos were a sin, I'd be deep in Hell now.) ========================================================================= Date: Tue, 19 Sep 1995 23:40:56 -0400 From: Msbeale Subject: Re: SF Blues Radio: was SF Blues Calendar >Does anyone have schedule information about blues on Bay Area radio? Are >there any regularly scheduled blues shows on locally? KJAZ used to have a > regular Friday evening blues show on before they changed owners, but I >don't know about any others. Luckily there are LOTS of good blues radio programs in the SF Bay area. About 20 that I can think of that are aired regularly. Unfortunately, most of the stations are small, listener supported or college stations and with the terrain out here (lots of hills and valleys) the reception can be kind of hit or miss. Except KCSM 91.1 FM based in San Mateo. It's a college station and listener supported but they can be heard from Santa Rosa to Gilroy. The format is jazz (most of the DJ's are from KJAZ) but they have one of the best blues radio shows I've ever heard!!!!! Strong statement, huh??? Anyway, it comes on every Friday night from 9 until midnight and it's called Crazy 'Bout the Blues. It's hosted by Kathleen Lawton, who has to have the sexiest voice that ever graced the airwaves. And on top of that, she is EXTREMELY knowledgable when it comes to blues music. Every show is a blues music lessson for me and quite frankly, I'd rather stay home on Friday nights and listen to her show than go out. And I have been known to tape her shows, when I am forced to leave the house. IMHO it's really that good. Other stations that do VERY good blues shows: KSCU 103.3 FM Sundays 10-3, Fri. 9-noon KPOO 89.5 FM Wed. 9-noon KALW 91.7 FM 9-10pm (Mark Naftalin's show) KKUP 91.5 FM Mon 6am-9, Mon 10-midnight, Wed 2-5, Thurs 2-5 There's lots more, but that should get you started.... ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Sun, 24 Sep 1995 11:08:28 GMT From: Tony Burke Subject: Re: Billboard blues album chart 9/30/95 Aaargggghhhh!!!!!! ========================================================================= Date: Fri, 22 Sep 1995 23:46:59 -0400 From: DeniseTapp Subject: Re: Little Jimmy King vs. B.B. I find Tony O'Connor's observations regarding Little Jimmy King very interesting: > The guy can definitely play guitar but his attitude was just too annoying. It looked > as if he was just going through the motions of one long boring chore. The entertainers with real staying power, like B.B., are gentlemen with respect for their audiences and professionals in every sense of the word. Little Jimmy has a lot to learn, maybe not about guitar playing, but certainly about public relations. Denise ========================================================================= Date: Sat, 23 Sep 1995 00:53:12 -0400 From: MMADSEN1 Subject: Re: John Hammond My favorite album of his is his "Solo" album. Unadulterated John Hammond and his guitar (s). Pick it up. You won't be let down if you like acoustic Delta style blues played with lots of energy and emotion. The copy I have is an LP put out in 1976 by Vanguard. The number on the album is VSD 79380. I don't know where you might find it, check the local music stores for a tape or CD. Elderly Instruments in Lansing, Mich. probably has it. Their number is: (517) 372-7890. adios for now MICHAEL L. MADSEN, BLAINE, WASH. ========================================================================= Date: Sun, 24 Sep 1995 09:25:52 -0400 From: "Bluzman Ed@Aol.Com." Subject: WFBE Playlist 9-23 95 Our first hour was a live broadcast of the Dogfish Blues Band, a relatively new, but outstanding Flint area band. The Theme of tonights show (rather loosely) was "Hard Luck And Troubles" (What? In the Blues?) =============================================================== WFBE Blue Highway Playlist, Sept 23, 1995. With Host David Boyd Song Album Artist Label 9 pm to 10pm Various Live Remote Broadcast Dogfish Blues Band 10pm to 11pm Can't Stop Loving Doggone Blues Sampler Elmore James Pointblank 14171 Somebody Loan Me A Dime Somebody Loan Me A Dime Fenton Robinson Alligator4705 Too Much Alcohol Chicago: The Blues Vol1 J.B. Hutto/Hawks Vanguard 79216 You're Nobody Till Somebody.... Louie Bluie Howard Armstrong Blue Suit 106D Honest I Do Ann Arbor Blues Fest Vol 2 Little Sonny Schoolkids 2102-2 Don't Want No Woman Please Mr. Foreman Mr. Bo Schoolkids 2102-1 Left Me With... Deep Blue Ronnie Earl Rounder 20/21 Dyin' Flu Feelin' The Blues Albert Collins GRP 9749 Think With Your Heart Blue Streak Luther Allison Alligator 4835 Mans Gott Do... Shine Me Up Bobby Parker Black Top 1119 Rip It Up My Blues and My Guitar BOb Margolin Alligator 4835 Baby Please dont go Long Way From Home Eddie Taylor Blind Pig 5025 Sittin Here Doin' Nothin Title Track Mike Griffen Waldoxy 2811 Cut To The Chase Black and White James Harmon ZBand Black Top 1118 Reconsider Babay Brother to Brother Nolan Struck Paula 9007 11pm to Midnight Put The Shoe Live 92/93 Albert Collins Point Blank 7243-8 Mean Old World Learned hThe Hard Way Mississippi Heat Van Der Linden VR101 Blues Of The Month Club Title Track Joe Louis Walker Gitanes 314527999-2 One Room Country Shack Shining The Pearls Mr. B Blind Pig 71886 Laundromat Blues Standin On The Bank Tab Benoit Justice 1203-2 L&L Special Them Update Blues Lowell Fulsom Bullseye 9558 Hook, Line And Sinker Steel on Steel Dave Hole Alligator 4832 You Can Have My Husband Marvalous Marva Wright Mardi Gras 1026 Casino Blues I'm A Gambler Little Milton Malaco 7473 Way Out West Fresh Catfish Catfish Keith Fishtail 004 Cow Cow Blues (exit theme) Blue Ivory Mr. B Blind Pig 74591 ============================================================== Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 24 Sep 1995 09:38:03 -0400 From: "r.d. tebby" Subject: Re: HEY! I'M STILL HERE! (POB TAPES) On Fri, 22 Sep 1995, Baseflug Michael wrote: -- stuff deleted > > This reminds me of something that kinda irks me. I've sent a bunch of copies > out now, all free of charge. All I asked for in return is honest opinions of > what they thought of the music (this doesn't really apply to those who were > there, I know they had a great time and liked the music). I haven't heard one > remark form y'all out there. It can be short, but just tell me or the list > what your impressions were. It's kinda like an internet blues bar, and > everyone's talkin and partyin' over the music and doesn't listen and give the > musician feedback... (just kiddin' y'all ;) ;) -- more stuff deleted Mea culpa! I am one of those who received a copy and haven't replied. I AM sorry. My only excuse is that my favourite tape player is broken, and I haven't been walking much, so I've only listened to bits and pieces on my Walkman. But you don't want to hear excuses... HOWEVER, having listened to some bits, THOSE BITS ARE GREAT!! What I've heard tells me you guys were having a great time, and were getting it all together and making some pretty good music!!! It makes me wish I could have been there too. Whenever I've had a chance to listen, it puts a smile on my face and makes me step out more energetically. I think that's pretty good for a home-grown party-bash tape! And, thank-you very much for doing it! -- I think I'll just go get my Walkman and listen to some more... Reina Tebby London, Canada ========================================================================= Date: Sun, 24 Sep 1995 10:39:25 -0400 From: Brenda Bogert Subject: Re: Piedmont Blues On Tue, 19 Sep 1995, GDKimball wrote: > I recommend the "East Coast Blues" compilation from Yazoo. It has the > classic "Betty and Dupree" by Willie Walker and one of the few recorded > Virginians, William Moore, a barber from Tappahannock, not far from my > home base. Speaking of "Betty and Dupree", this song was inspired by the story of the last man to hang in the state of Georgia. The story of the crime and of all the songs that it inspired are detailed in a fascinating 2-part article in the Feb & Mar '95 issues of Blues & Rhythm magazine. It is the historical articles, along with the intelligent & witty reviews, that make B&R the finest blues magazine (IMO) on the planet! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Sun, 24 Sep 1995 10:45:28 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 24th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLBUT, BARBARA (of THE ANGELS) b. 1940-0924, ORANGE, NJ ALLBUT, PHYLLIS "JIGGS" (of THE ANGELS) b. 1942-0924, ORANGE, NJ CARTER, JOHN W. (cl) b. 1929-0924, FORT WORTH, TX CONSTANZO, JOE J. (MR. BONGO) (NAT COLE) b. 1922-0924, CHICAGO, IL DAVIS, MAMIE "GALORE" (v) b. 1940-0924, ERWIN, MS JEFFRIES, HERB (v/ELLINGTON/MCVEA) b. 1916-0924, DETROIT, MI JONES, CARL (owner: CJ REC) d. 1985-0924, CHICAGO, IL 72 MCCOY, GREGARY (sax/MASS PRODUCTION) d. 1984-0924, NORFOLK, VA -- PORTER, KING (JAMES A. POPE) (tpt) d. 1983-0924, LYNN, MA 66 SYMONDS, NELSON (g) b. 1933-0924, HAMMONDS, NS TARHEEL SLIM (ALDEN BUNN) (g/THE LARKS) b. 1924-0924, BAILEY, NC TEMPLETON, RAY (critic/BLUES & RHYTHM) b. 1953-0924, BELLSHILL, SCOTLAND WILLIS, ROBERT L. "CHICK" (g/ICHIBAN REC) b. 1934-0924, CABINESS, GA ------------------------------------------------------------------------------- ========================================================================= Date: Sun, 24 Sep 1995 15:34:37 GMT From: Tony Burke Subject: Re: Imitation Blues Well said Brenda, 'bout time somebody said these things besides a few of us UK blues-l's who get into trouble and get dubbed "purists" as though that is something nasty! TB ========================================================================= Date: Sun, 24 Sep 1995 10:50:23 -0500 From: Jason Fristedt Subject: Re: Imitation Blues Unbelieveably; there are still a few hard working "bluesmen" on the road passing through. I live in Brainerd Minnesota, not really known as a blues town, and recently a newbie passed through and played. A fellow by the name of Kid Johnny Lang. about 15 years old and plays the SRV style but boy can he howl... nothing sparkly about this artist. with his 3 man band, and a guitar always by his side from dawn to dawn, he plays solid blues as a true bluesman would- not aware of the crowd. The dimlit, stale beer stenched, smoky bar in this town of country music junkies was standing room to the parking lot. I guess he's been playing about 18 months but boy can he play... Picked up his CD "Kid Johnny Lang & the Big Bang". Had a song on it from Robert Johnson "Malted Milk" and "Too Tired"- Albert Collins really great. I spoke with him in passing, He plays some Lonnie Brooks, Lightnin Hopkins Peg Leg Sam. Great kid with a good head on his shoulders. He has some vocal improvement, but considering the age, sounds really great. Watch for this original... (His CD had plenty of self written material). Also the other night, passing through Brainerd, caught Spider Jon Koerner- put on a great show --- B.B. King watch out- Kid Johnny is in the wings Jason ========================================================================= Date: Sun, 24 Sep 1995 11:57:16 -0400 From: Patti Bowman Subject: Re: Here we DON'T go again >This is not an AOL chat room, this is the Blues list... >Get off the flame war nonsense. >Learn to recognize the other guy's point, and even when you think they're >dumb, respond with intelligence, not flames. >Give us a break OK? >You know, this whole thing can be discussed without calling anyone (or any >magazine) racist! As with everything in this country......vote with your dollars and with your involvement. If you have a problem with Living Blues.... direct it to them and don't buy their magazine. You are aware of your interpretation of their policies. If you disagree, do not buy it. Get really angry and do not support their advertisers. Stick to your guns. BUT....... (and this is a big one)....... They have the right to say _whatever_ and promote _whatever_ they want. It's america. It's one of our perks. And, quite frankly, not one I'm ready to give that up any time soon. >"Living Blues" chooses to limit their coverage to African American artists. >That's their choice, it's their magazine, and since the blues are an >African American art form their is at least SOME justification for this. >Yet, whites have become an important part of the blues community, and some >will choose to see the editorial position of "Living Blues" as less than >enlightened, but it is a little silly to start throwing the "race card" >around here isn't it? I was on the board of a blues society that had 9 officers. There were 2 black officers and only a few more black members. Obviously, we had little black involvement on the board and in our membership. The "majority" of whites were keeping blues alive in our area. Is this bad? What if the board was all Chinese (for example)? Would that lessen the validity of a group of people with a love of blues from trying to preserve the genre? All of this cannot change the fact that the "black involvement" in blues is undisputed. No one can say that the blues was borne of the Irish, French or German. It was the blacks, displaced to america that started the music. That is what Living blues has chosen to represent. The *ROOTS* of blues. These roots are prodominately black. In the name of political correctness would you have them rewrite history? >And yet, it's ok to say that "Living Blues" editorial policy is misguided. >There are valid bases for believing this. Sort of depends on your definition of their editorial policy. Any one out there associated with LB and willing to comment? >No matter how goofy some may think "Living Blues" is for their policy, >there are certainly other journals around where one can see white blues >dudes covered. Let's no resort to hyperbole to castigate "Living Blues", >it only brings more hyperbole, and pointless flame wars. Like I said before- don't buy it if you are against their "policy" but one should be informed before one smears someone. One could say that Brides magazine discriminates unwed people and People magazine doesn't have enough articles on dobermans. >Rush Limbaugh's impression of a "chat room": ;-] >you suck >no YOU suck >NO YOU SUCK!! >**NO YOU SUCKKKKKK!!!!!** Rush Limbaugh......who I personally can't stand.......but who i will defend as having a right to say his peace..........is a perfect example.......... think for yourselves, people........vote with your support (or lack of) and don't fight - or give in- because it's easy. >puhleeze guys.. give it a rest >Sheesh! Why does sitting at a computer cause people to forget their manners?? >relax, put some Freddie King on... get over it. Don, I agree with your final solution........chill out, people.........put in some blues............blues, a music for black people, white people, purple people and anyone else with a love of tradition, emotion and honest feeling expressed in music. -Patti who hates having to come out of" lurk-mode" for such drivel............. ========================================================================= Date: Sun, 24 Sep 1995 11:57:29 -0400 From: Patti Bowman Subject: HOB..public nusiance >Yeah..that's it...public nusiance.....remember the days when HOB people >would post to this group offering free tickets? yeah...public nusiance.... In general I hate the "yeah, I agree " sort of posts but all I can say is "yeah, I agree........" -Patti who would have given HOB my money when I was in CA except they had punk bands that weekend and so I didn't go. I'm voting with me beer money now. ========================================================================= Date: Sun, 24 Sep 1995 11:57:36 -0400 From: Patti Bowman Subject: Re: "Don't you touch Louise!" >You goofheads! > >I hope you are mindful that your >mischievious little patter is being >electronically zipped clear around >the blasted world! > >Your concerned friend and bluezeller, > >Joe Downey (your man in Russia) >J.E._Downey@bakermck.com I was ONCE AGAIN kicked off randomly from Blues-L. What is this post in reference to? Is BBig Brother listening to Blues'l? Is Big Brother connecting on that whole Luther Allison thing? One can hope.................. -Patti who is starting to take this disconnect thing personally......... ========================================================================= Date: Sun, 24 Sep 1995 11:57:50 -0400 From: Patti Bowman Subject: Re: Imitation Blues >What a strange culture we belong to in the USA, one of our strong points >where the majority of >us appear to appreciate imitations more than originals. With imitation being the strongest form of flattery......... ..................Many blues folowers have become blues followers due to less traditional introductions. >Where >fictional characters like the Blues Brothers are held up as examples >of a genre. The Blues Brothers were not Fictional in the sense that they didn't exist. Donald Duck Dunne, Matt Gituar Murphy, Blue Lou Marini, and the boys are real blues musicians. Ackroyd and Belushi, although not really old black guys, were my daughter's intro to the blues. Where does that become wrong? Where a talented man like Stevie Ray Vaughan dies and a >hundred dress alike/sound alike clones appear and actually make >money. Wasn't SRV making money? He was gigging and recording before his death. Oh yeah...... he was spending most of it on drugs, etc.............unfortunate but where does this fit in the probelms of the people? SRV was imitating Hendrix at the start, nes pas? >Where "Born Under A Bad Sign" is called an Eric Clapton song. If Clapton , who seems to acknowledge the roots and origins of his music, is willing to put his name on the line in the area of blues education and awareness, then I say yes what is the world coming to? I mean Clapton, being God ;->, could have endorsed and embraced a form of music much more popular and lucrative. >Where imitators are successful imitating other imitators. No wonder >there's mostly trash on TV. We seem to crave it. PW (help me up on my soapbox, baby) I have to say, if you don't like it, don't buy it. ========================================================================= Date: Sun, 24 Sep 1995 13:01:01 -4 From: "P.W. Fenton" Subject: Re: Imitation Blues On 24 Sep 95, Patti Bowman had this to say... > The Blues Brothers were not Fictional in the sense that they didn't exist. > Donald Duck Dunne, Matt Gituar Murphy, Blue Lou Marini, and the boys are > real blues musicians. Ackroyd and Belushi, although not really old black > guys, were my daughter's intro to the blues. Where does that become wrong? The Blues Brothers are fictional. Just like Indiana Jones, Darth Vader, and Luke Skywalker, they never existed. It was a skit on a comedy TV show, and then a movie....make believe. They got real musicians to help with the illusion. We, as a culture, embraced them and made them lots of money. Did I say that was wrong? No, I said it was strange that we ignore the original and buy the copy. > Wasn't SRV making money? He was gigging and recording before his > death. Oh yeah...... he was spending most of it on drugs, > etc.............unfortunate but where does this fit in the probelms > of the people? Gosh, Patti, I never suggested that SRV didn't make any money, only that it's amazing that people who dress up like him, and copy his solos note for note are making money today. I don't know what the reference to buying drugs.... and how that fits into the problems of the people, even refers to. I don't understand what you are defending, because I didn't attack anyone. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Sun, 24 Sep 1995 13:27:02 -0400 From: Tom Freeland Subject: The Wild Magnolias, New Orleans, HOB and Tip's Last night the Wild Magnolias were in town (they, by the by, are a great party band. Anyone in New Orleans wanting a taste of the Mardi Gras Indian side of New Orleans culture, and wanting some a really good time should check them out). Their manager had a couple of interesting comments about the New Orleans club situation. Keep in mind that Tipatina's is either going or gone, that their booking agent has been hired by HOB, and that HOB is oft cited as the cause of Tip's demise.... about Tip's, the comments were generally derisive-- as in "it's a rat trap" and he'd have to fight to get his money About HOB: they pay on time, have air conditioner, a proper green room, good food. I'm not a fan of HOB, but the Wild Magnolias are the real thing in New Orleans...... Tom Freeland ========================================================================= Date: Mon, 25 Sep 1995 01:16:18 +0700 From: "Peter E. Beal" Subject: Advice on New Orleans I would like to thank all those who made suggestions about our upcoming trip to New Orleans. I am sure they will make our visit a success. I am looking forward to it even more than before. Thanks again. ========================================================================= Date: Sun, 24 Sep 1995 14:22:14 -4 From: "P.W. Fenton" Subject: Re: HOB and Tip's On 24 Sep 95, Tom Freeland had this to say... > Keep in mind that Tipatina's is either going or gone, that their booking > agent has been hired by HOB, and that HOB is oft cited as the cause of Tip's > demise.... > > about Tip's, the comments were generally derisive-- as in "it's a rat trap" > and he'd have to fight to get his money About HOB: they pay on time, have > air conditioner, a proper green room, good food. My first trip to New Orleans all I wanted to see was the legendary Tipitina's. When I got there I was very disappointed. Unbearably hot, crowded, dirty, and un-accommodating. I didn't stay for the whole show. My feeling then was that they were simply milking their historical reputation dry. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Sun, 24 Sep 1995 11:41:10 -0700 From: "Reginald E. Palmore, III" Subject: Ok -Somebody gotta splain sompun to somebody Why is everybody so damn pissed off on this letter.I haven't seen one damn thing that's interesting since joining. How bout some new song ideas, a few cool licks, or something besides who takes credit or somebody's birthday. what's an old man to do? ========================================================================= Date: Sun, 24 Sep 1995 11:47:51 -0700 From: Mary Katherine Aldin Subject: Blues Heaven Foundation benefit in L.A. I have no affiliation with the non-profit organization The Blues Heaven Foundation, other than that I have always supported their work in whatever way I can. They are having their Second Annual Tribute to Willie Dixon on October 24 in Los Angeles, at the Palace (near Hollywood & Vine), featuring: Little Milton, Robert Lockwood, Cash McCall, Keb' Mo', Kenny Neal, Bo Diddley, John Hammond, Ronnie Brooks, Kim Wilson, Arthur Adams, Paul Rodgers (ex-Free, Bad Company), Becky Barksdale, Sherry Clarke, Jimmy Rip, Jeannie Holliday, and other special guests who cannot be advertised. For ticket information call Blues Heaven at (818) 507-8944. Mary Katherine ========================================================================= Date: Sun, 24 Sep 1995 19:06:34 GMT From: Patrick Cusse Subject: Need help in Nashville Going to Nashville with friends in November. Can anyone give me a few suggestions, bands to check out, clubs to go to... ========================================================================= Date: Sun, 24 Sep 1995 15:15:48 -0400 From: Patti Bowman Subject: Bros. Illusion/was: Imitation Blues >> The Blues Brothers were not Fictional in the sense that they didn't exist. >> Donald Duck Dunne, Matt Gituar Murphy, Blue Lou Marini, and the boys are >> real blues musicians. Ackroyd and Belushi, although not really old black >> guys, were my daughter's intro to the blues. Where does that become wrong? > >The Blues Brothers are fictional. Just like Indiana Jones, Darth >Vader, and Luke Skywalker, they never existed. It was a skit on a >comedy TV show, and then a movie....make believe. They got real >musicians to help with the illusion. We, as a culture, embraced them >and made them lots of money. Did I say that was wrong? No, I said >it was strange that we ignore the original and buy the copy. The Blues Bros might be an illusion but Blues music comes out of my stereo when the Blues Brothers Cd is in it. Guess that's what I meant, PW. Keep in mind that, strange or not, often the originals are brought to greater public awareness by the copy. -Patti who embraces most things "strange" ;-> ========================================================================= Date: Sun, 24 Sep 1995 15:37:23 -0400 From: Joe Norris Subject: Comin' in the back door Can anybody tell me what's happened to Li'l Ed and the Blues Imperials? Seems like it's been three years since "What You See is What You Get" came out, but I'm not seeing anything new show up in the "L" section of my local record bins. And Bruce hasn't breathed a word about him in that little letter he does in Living Blues. Did Ed go back to the carwash or what? bottlenekk@aol.com ========================================================================= Date: Sun, 24 Sep 1995 14:50:07 GMT-6 From: Eliot Williams Subject: Little Milton - Bobbin sides? Some time back someone on the list (Dick Shurman I think) mentioned that Little Milton's Bobbin material was going to be or had been released on the Collectables label. I've been unable to find these CDs anywhere. The two Little Milton discs I've found on Collectables consist of material he recorded for the Glades label, after leaving Chess and before signing with Malaco. Can anyone provide me with titles or catalog numbers for the Bobbin discs? EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Sun, 24 Sep 1995 21:54:13 GMT From: Zaphkiel Subject: Blues On The Bayou >>>>Tarpon Springs, FL Fellow Blues Fans, If you are anywhere near Tarpon Springs on Oct. 7th, be sure to attend this event! Hot Chili and Hot Blues, can it get better than this! The site is beautiful, surrounded by water on three sides. Be sure to find my jewelry booth and say Hi! Tell me you read about this on Blues-L and I'll give ya a discount! ;-) Keep Blues Alive! RL Adams Blues on the Bayou 3 East Tarpon Avenue, Tarpon Springs, Florida 34689 This event officially sanctioned by the Florida Sesquicentennial Commission in support of Celebrate Florida (1845 - 1995) ____________________________________________________________________________________ July 10, 1995 PRESS RELEASE The Main Street Association of Tarpon Springs, Florida, is pleased to announce the first annual Blues On The Bayou festival scheduled for Saturday, October 7, 1995, at Craig Park, located downtown in historic Tarpon Springs, Florida. This festival will feature national and regional blues music and will be centered around a chili cook-off supported by the International Chili Society. Set in beautiful Craig Park, the event will attract thousands of patrons and blues fans to the Tarpon Springs community. An impressive array of talent has been developed for this music festival. Headlining is a Chicago blues legend, guitarist Lonnie Brooks and the Lonnie Brooks Band, featuring the father and son combination of Lonnie and Ronnie Brooks. Lonnie's recent CD's, Bayou Lightning Strikes and Satisfaction Guaranteed, indicate the type of performance blues fans have come to know from the Lonnie Brooks Band. The State of Florida welcomes back, from California, guitarist Chris Cain, an electrifying talent who won rave reviews in Tampa on his last appearance in March/1995. The fact that Chris Cain's mother is of Greek heritage adds a special quality to this music festival in an area rich in Greek traditions. The Chris Cain Band features rich, impressive vocals, intelligent guitar phrasing, and a very tight rhythm unit which features organ and horn section performing all original material. Award-winning guitarist Jimmy Thackery and The Drivers roll into Tarpon Springs to join this great musical line-up. Jimmy Thackery is at the forefront of today's thriving blues scene nationwide and tours full-time due to demand for his special talent. Jimmy's three-piece band "cooks", as the saying goes. The fact that Jimmy Thackery recently purchased a home in the Tarpon Springs area adds another special quality to this music festival. Florida favorite Bill Wharton, known as "The Sauce Boss", and his band, The Ingredients, will open the show. Guitarist Bill Wharton concocts his own exotic gumbo during his blues performance and invites the audience to sample the delicious mixture. This fact adds another special quality to this music festival. Tampa favorites James Peterson and 13-year old female guitar sensation, Clearwater's D.D. Dunn, appearing with BirdDog Bobby and the Honey Hounds, round out this great event. The music will begin at 11:00 a.m. and continue through 10:00 p.m. providing a day-long backdrop to the flavors of chili. Food and beverages will be served throughout the day. The event will be open to people of all ages, and parents are encouraged to bring their children to the festival. The Main Street Association of Tarpon Springs is a non-profit organization whose membership supports many programs in the community. A portion of the proceeds from this event are earmarked for the Tarpon Springs Public Library Building Fund. Blues On The Bayou intends to be a yearly event. Tickets are available at all Ticketmaster locations statewide and at selected outlets locally. Children under 12, accompanied by adults, are free. General Admission is only $10.00 advance, $15.00 at the gate. Make plans to spend a fun-filled day in one of Florida's natural settings.....historic Craig Park, downtown Tarpon Springs, Florida. For further information: Tarpon Springs Main Street Association Hotline & Recorded Message: 813-944-3364 Ammon Gant/Main Street Association/Event Chairman 813-938-2287 Jerry Ross/Florida Blues Network, Inc./Director of Operations & Promotion 941-377-8220 ========================================================================= Date: Sun, 24 Sep 1995 22:30:48 GMT From: George Myers Subject: Re: Allison At Antone's if you can't make Antones (and even if you can) you also can see Luther October 3 at the Grand Emporium in K.C. and also on the Ultimate Rhythm & Blues Cruise 5 sailing May 25 from Genoa, Italy with John Mayall, Buckwheat Zydeco, Katie Webster, Little Charlie and the Nightcats, Marcia, Ball, Louisiana Red, John Mooney, and Rudy Rotta. ========================================================================= Date: Sun, 24 Sep 1995 22:33:53 GMT From: George Myers Subject: Re: Luther Allison Itinerary Don't forget Luther on the Ultimate Rhythm & Blues Cruise 5 sailing from Genoa, Italy May 25 for a week of blues heaven! ========================================================================= Date: Sun, 24 Sep 1995 22:37:25 GMT From: George Myers Subject: Re: Mayall references ... John will be sailing on the Ultimate Rhythm & Blues Cruise 5 May 25-June 1 Genoa-Naples-Stromboli-Palermo-Sardinia-Corsica-Marsailles-Cannes-Genoa with Luther Allison, Buckwheat Zydeco, Katie Webster, Little Charlie and the Nightcats, Marcia Ball, Louisiana Red, John Mooney, and Rudy Rotta. The ultimate gig is , perhaps, an understatement! ========================================================================= Date: Sun, 24 Sep 1995 18:59:17 -0400 From: Tom Freeland Subject: Truly Repulsive Repetitive Advertising from George Myers In not one, not two, but three messages, in a row, dated 95-09-24 18:33:58 EDT, NMDH37A@PRODIGY.COM (George Myers) posts to the lists announcements of a May 25th blues cruise originating out of Italy. I pretty much ignore the blues cruises posts, but wonder if he's posted this one before? One post informing the list would have been ok, but three, using fake tie-in's to prior threads seems to me quite out of line. Other thoughts? Tom Freeland ========================================================================= Date: Sun, 24 Sep 1995 19:23:23 -0400 From: "Bluzman Ed@Aol.Com." Subject: Live Band For WFBE fundraiser? Is there a touring blues band or artist going to be in the mid-Michigan area on either October 28 th, or Nov 4th.(both Saturdays) If so, would you be interested in a live appearance on WFBE 95.1FM, 50,000 watts in Flint Mi, in support of the Blue Highway show, and public radio, at our fall fundraiser? We may be able to swing a paid Sunday gig, and provide lodgings to sweeten the pot. No guarantees at this point though, we are working on it. Contact me by private E-Mail, please. Bluz! Bluzman Ed aka Ed Tremewan ========================================================================= Date: Sun, 24 Sep 1995 20:02:02 -0400 From: Barry Silverberg Subject: Re: Truly Repulsive Repetitive Advertising from George Myers Tom Freeland (Skipjames@AOL.COM) wrote: : Other thoughts? Tom, If it really bothers you - send him some private e-mail and let him know what you think. If enough people do this pri- vately then he may get the message. Also let it be - in no time at all these things tend to run their course - posters get their info in, readers get extra posts and soon another thing to gripe about rears it's head. In the past few months, public gripes have done little more than to start flamefest threads. I know from your posts in general that this is not your intention - but be careful in what you say, a host of others may just wait to followup on a non-blues item and wreak havoc for quite a while with all sorts of well intentioned but not thought out posts. I for one have made a number of public goofs and am the wiser for it. Daily there are posts that call out to me to respond to but 1) I try to watch who the poster is (some folks can not be wrong and turn into real jabeeps if they feel wronged) & 2) I count the value of my followup post (what it will acc- omplish and what it will bring out from others). I have an inordinate high regard for this forum and so I try to think far in advance before I hit the keys. Sometimes I'm ok and sometimes I'm just a boob. Hope this post was not one of my boob posts. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Sun, 24 Sep 1995 20:20:40 EDT From: "William R. Tschanz" Subject: What's an old man to do? In responce to Reginald E. Palmore's Question of whats an old man to do. >From what I can percieve from this blues-l is that it is geared more toward who did what and when they did it. Not how they did it; why they did it; or who should be given credit for doin it. But is anyone out here doin it. I mean the blues. The blues for me is a soulful thing that has no care who did it why or who should be. This old man is Into Blues fusion. Take a little jazz composition stir it in slowly into the root, and watch it rise. Yours in the blues. ____________________________________________________ | > | WILLIAM R. TSCHANZ TSCHANZ@VM.TEMPLE.EDU > | CIVIL ENGINEERING WRTSCHANZ@AOL.COM > | TEMPLE UNIVERSITY ----------- > |___________________________________________________> ========================================================================= Date: Mon, 25 Sep 1995 00:40:59 GMT From: Weidel Subject: Re: Piedmont Blues In article , Brenda Bogert wrote: > On Tue, 19 Sep 1995, GDKimball wrote: > > > I recommend the "East Coast Blues" compilation from Yazoo. It has the > > classic "Betty and Dupree" by Willie Walker and one of the few recorded > > Virginians, William Moore, a barber from Tappahannock, not far from my > > home base. Anyone still listening to that old Prestige/Bluesville lp "Carolina Blues Man" by Pink Anderson? I always thought that was a pretty good example of the Piedmont style. Bob ========================================================================= Date: Mon, 25 Sep 1995 08:42:54 +0700 From: "Peter E. Beal" Subject: Avice on New Orleans I would like to thank all those who provided advice on New Orleans. I am sure this advice will make our visit a success. Thanks again. ========================================================================= Date: Sun, 24 Sep 1995 18:54:40 -0700 From: "Terry L. Odor" Subject: web update Just a quick note to let you know that my web page has been updated and now includes the journal of our Norwegian Friends. http://www.teleport.com/~tlo/ Terry http://www.teleport.com/~tlo/ ========================================================================= Date: Sun, 24 Sep 1995 22:56:53 GMT From: Dennis York Subject: Re: Portland Blues? In article <43nhq5$ri6@newsbf02.news.aol.com>, RLaMour wrote: >I've never had any more problems, any where, than trying to work with all >the butt head talent buyers and club owner in Portland. The flakiest bunch >ever. No doubt you have someone or some club in particular in mind when you posted this? And it must go without saying that it has to do with the Blues, and not some "other" form of music? ========================================================================= Date: Mon, 25 Sep 1995 01:47:41 GMT From: Weidel Subject: King Biscuit Blues Festival I've only been reading this newsgroup for a week, but I find it hard to believe that no one is talking about the upcoming King Biscuit Blues Festival. This year promises to be a great one, what with Buddy Guy, Charlie Musselwhite, Irma Thomas, Anson Funderburgh, RP&MF, and many, many more. We messed around getting about getting rooms, so we'll be driving over each day from Clarksdale. At least we'll stop at Rooster Blues. I even hope to get over to Oxford and catch breakfast at Smitty's (world's best biscuits) , leave my Visa card smokin' at Square Books, and maybe run into novelist Larry Brown having a Bud at Ireland's. For a list of this years schedule of performers see http://www.pccc.cc.ar.us/~durrjr/bluesfest.html Hope to see ya in Helena. Bob ========================================================================= Date: Sun, 24 Sep 1995 21:41:36 +0500 From: Bill Morgan Subject: Re: HOB and Tip's I've been avoiding this thread, because of the complexity of the situation. I'm not an insider. I'm not in the music business, nor do I ooze business sense; I can balance a checkbook, but I have better things to do with my time. But here's my take on the subject. >On 24 Sep 95, Tom Freeland had this to say... >> Keep in mind that Tipatina's is either going or gone, that their booking >> agent has been hired by HOB, and that HOB is oft cited as the cause of Tip >> demise.... I'm not sure if or where Tipitina's is going. Since word came down a couple of months ago about the sale of Tip's, there has been a great deal of discussion in New Orleans about the causes of the sale. While HOB has impacted business at Tip's, it certainly isn't the only cause for what may be the demise of Tipitina's as some on this list may suspect. It's true that HOB hired away Tipitina's booking agent. That occurred just prior to the opening of HOB; its not something that happened within the past few months. Tipitina's responded by hiring a booking agent out of Houston, who began booking more alternative rock bands. In effect, the managemet of Tipitina's decided to change course and cater to a college clientele rather than compete for the same audience that it had been serving. I should mention that Tip's had through the years been drawing college students from area colleges, especially the uptown schools (Loyola and Tulane). But by booking primarily alternative acts, they alienated older music lovers (such as myself). Since HOB came to town, there seldom has been a musician or band at Tip's that I would be interested in seeing. I suspect that there are few people over thirty who would go to Tipitina's on a regular basis, because of who's playing there. I should mention that lately the booking situation seems to be improving some; I believe that the Houston agent has been relieved of her duties. In addition, a new ordinance which bans serving those under 21 may have spurred the decision to go back to booking musicians with wider audience appeal. My feeling is that the situation at Tip's is by and large a management problem. The owner, Jim Green, has moved to Houston. He may still maintain a home here in N.O. I'm not sure about that. But I sense that he has lost interest in the music business. It's obvious that he didn't make a vigorous attempt to compete with HOB. I should also mention in his defense that in the past couple of years his life has been impacted by the loss of a child (to cancer I believe). I think it's a mistake to see HOB as this juggernaut that comes to town and pushes poor little defenseless Tip's out of business. Other venues remain vital by booking musicians from an array of local talent. Most notable is Mid City Lanes, which appears to be flourishing. They were even covered in a story by the Today Show a few months ago. >> about Tip's, the comments were generally derisive-- as in "it's a rat trap >> and he'd have to fight to get his money About HOB: they pay on time, have >> air conditioner, a proper green room, good food. I have heard that musicians weren't treated well by management at Tipitina's. Again, it's a management problem. I'm not a musician, but I have been backstage, and it is pretty bare back there. And P.W. Fenton had this to say: >My first trip to New Orleans all I wanted to see was the legendary >Tipitina's. When I got there I was very disappointed. Unbearably >hot, crowded, dirty, and un-accommodating. I didn't stay for the whole >show. My feeling then was that they were simply milking their >historical reputation dry. The heat also is a constant complaint. It seems to me that a committed owner would have installed an air conditioner, especially when facing new and stiff competition if he really wanted to compete. I hadn't heard the complaint about it being dirty, maybe I thought that was just part of the funky decor (that's the way I describe my own housekeeping as well). I've been to HOB. It was more crowded than I've ever experienced it at Tip's. Also, it tends to sell out quickly, probably because of a larger tourist clientele drawnj on from the quarter. I don't think it holds as many people. It was more than half way through the show before I was able to get more than a peek at the performers. I'd never had any difficulty seeing the performers at Tipitina's regardless of the size of the crowd. I'm not opposed to HOB. In fact, I have to credit them for reviving a part of the French Quarter that needs reviving. And I would attend other shows there, but I'd prefer Tipitina's if they would book someone that I'd like to see. One of the things that I don't like about HOB is that it doesn't strike me as a warm (figuratively speaking) and friendly place. The decor is sort of funky but it's contrived funky. To get to the front door, you've got a short alley walk through a gauntlet of alley monitors (just in case you've been wondering if there's a future for hall monitors). At most clubs in New Orleans, patrons can stand outside the club and socialize while hearing the music. At one club, the Maple Leaf. you can even see the band perform (from the rear) while standing on the sidewalk in front of the building. At HOB, the alley way with its guardians is a line of defense against that sort of interaction. Someone mentioned in an earlier post that many New Orleanians call it the House of Rules, and I had heard it called that. I wasn't treated rudely there; it just didn't seem friendly. Some other recent complaints about Tip's are the traffic, parking and crime problems in the uptown neighborhood. The traffic and parking problems are a result of road construction just outside Tipitina's. But in my opinion, parking and traffic isn't nearly as bad around Tip's as it is in the French Quarter, where HOB is located. In addition to the inflated cover charge at HOB, patrons who don't live in the quarter or staying in hotels in the downtown area must pay cab fare, streetcar fare or a parking fee. Another thing I will miss with the decline of Tip's are the great Christmas cards that Jim Green used to send to everyone on their mailing list. *************************** Bill Morgan ========================================================================= Date: Sun, 24 Sep 1995 23:02:54 -0400 From: Stew Crossen Subject: Re: Imitation Blues Thank you David Silberberg for putting the "Imitation Blues" scenario into oerspective. Life imitates Life Beef Stew WHUS Radio ========================================================================= Date: Sun, 24 Sep 1995 20:23:06 -0700 From: Garry Segal Subject: Song "Go Now" I was watching the Rock and Roll series on PBS last night. Its pretty good. Good interviews and clips of Ben E. King, Leiber& Stoller and Big Mama Thornton. Talked about how the Beatles came and basically put the kabash on black R&B that was poised to hit big. Very little bitterness about it , just a kind of sadness that American audiences didnt get on the R&B bandwagon until the British redid the songs. Brian Wilson of the Beach Boys seemed the most bummed about the Beatles coming, but it did inspire him to put out his best work "Pet Sounds". The Leiber and Stoller tune 'GO NOW' was originally recorded by a R&B group whos name I missed. The song hit big when the Moody Blues covered it. The original version played on the show sounded great and I want to get a copy of it. Anybody know who that R&B group was ? Is it on one of those Rhino reissues? Thanks ! Garry BlueSngr@ix.netcom.com Moodswingerpage http://www.island.net/~blues/BlueSngr.html ========================================================================= Date: Sun, 24 Sep 1995 23:47:40 -0400 From: James Leftwich Subject: Harp help Hello, Moving out of my apartment I unearthed an unplayed Hohner Blues Harp in the key of E. I've never played before and was wondering if someone would mail (or post) a little primer...something to get me started... Jim Leftwich leftwich@cloud9.net "I'm on cloud9!" ;) ========================================================================= Date: Mon, 25 Sep 1995 05:09:04 GMT From: Colin Miller Subject: Re: Anyone Know the Lyrics to "Couldn't Stand The Weather"? John Puleo. User (PITSBRGJon@AOL.COM) wrote: : Does anyone know the lyrics to "Couldn't Stand the Weather"? I have checked : all of the Lyric Servers and have not been able to find them. Help!!! : John Try the Texas Flood Mailing List This mailing list is dedicated to the discussion of issues relating to Stevie Ray Vaughan. To subscribe send a mail message with the bodytext of "subscribe" (without the quotes) to: texasflood-request@dmu.ac.uk Colin ========================================================================= Date: Sun, 24 Sep 1995 21:54:23 -0400 From: BlueDremer Subject: Searchin' for The Wolf song Hey blues lovers, I've got a question for Hardcore Wolf lovers. Looking for the song that goes a little something like this: "I'm going to leave you, I'm going away. I'm going to leave you, I'll be back some day. Cause I can't stay here, ????? There's nothin here for me to lose. ?????? Please I've searching under 'Can't Stay' but that's not helping. Title and Album and this BlueDremer would be much obliged. I need my Wolf Fix, Thanks. BlueDremer. the blue dreamer ========================================================================= Date: Sun, 24 Sep 1995 23:04:51 -0400 From: CATBAUER Subject: Re: King Biscuit Blues Festival In article , Weidel writes: > I find it hard to >believe that no one is talking about the upcoming King Biscuit Blues >Festival. This year promises to be a great one, what with Buddy Guy, >Charlie Musselwhite, Irma Thomas, Anson Funderburgh, RP&MF, and many, >many more. You're right! Busy with work and getting ready to go to the festival has been taking up a lot of time so I haven't had much time to check out the list let alone post notes. : ) I know several people here including myself are going. We should do the same as we have for other festivals and pick a couple days & times to meet up. I'll be arriving on Wed. but have plans to meet friends when I first get there. On Thursday morning I'll be checking out the festival site because we'll be doing some online conferences from the festival...Luther Allison, Charlie Musslewhite, Joe Louis Walker, Anson Funderburgh and...Robert Jr. Lockwood! I'll probably run into you in Oxford doing the same thing as you...eating biscuits, or maybe I can talk someone into going for catfish again. I'll be at Rooster too as I didn't buy near enough to satisfy me when I was there last...I found a great 45 of Big Jack Johnson doing a couple of classic Christmas tunes. ; ) Will you be going to see Little Milton at the casino on Thursday night? I plan on starting the festival there and ending it on Sunday with Lonnie Shields (you should pick up his cd over at Stackhouse while you're there). Does anyone want to suggest some spots to meet? Cat ========================================================================= Date: Mon, 25 Sep 1995 00:17:18 -0400 From: Msbeale Subject: Sad news from Memphis Mr. Booker T Laury, barrel house piano player and a life long resident of Memphis, Tennessee passed away at the estimated age of 82 on Saturday, Sept. 23, 1995 Booker T. Laury had many stories to tell about his upbringing on Beale Street. I was lucky to have heard a few of them. I wanted to take notes, but he'd always say, "You got to PAY me for what I know". I use that line alot these days. Booker T had a full life. He had very strong opinions about things. I think it's safe to say that he did just about everything he ever wanted to do. And what he didn't do, he didn't want nothin' to do with. He was a Mason. He drove a powder blue Cadillac car with a white top. He was missing most of a finger on his left hand. He was very close to Memphis Slim, and thought of him as a brother. He drank Johnny Walker Red straight up with a tall glass of water back. I can remember hearing him say at the end of his shows; "I'm fixin' to have to get away from here" Services will be held at the Greater Mt. Moriah Baptist Church, in Memphis Tennessee on Thursday, September 28. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Mon, 25 Sep 1995 04:16:23 -4 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 25th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ALLSOP, BRIAN (b/ASHFORD & SIMPSON) d. 1981-0925, NEW YORK CITY, NY 23 BARNES, ROOSEVELT "BOOBA" (g/hca) b. 1936-0925, LONGWOOD, MS BONHAM, JOHN "BONZO" (d/LED ZEPPELIN) d. 1980-0925, WINDSOR, UK 32 BUSHELL, GARVIN (asax) b. 1900-0925, SPRINGFIELD, OH DARLING, ERIK (g/WEAVERS) b. 1933-0925, BALTIMORE, MD DAWSON, WILLIAM L. (ar/gospel) b. 1898-0925, ANNISTON, AL FLEMONS, WADE (v/songw/VEE JAY REC) b. 1940-0925, COFFEYVILLE, KS HILL, ROSALIE (v/ARHOOLIE REC) b. 1910-0925, COMO, MS RUSSELL, JOSEPH JESSE(co-lead/PERSUASIONS)b. 1939-0925, HENDERSON, NC SMITH, HEZEKIAH "STUFF" (vln) d. 1967-0925, MUNICH, GERMANY 58 TINNEY, WILLIAM "PEE WEE"(of JIVE BOMBERS)b. 1930-0925, GREENWICH VILLAGENY WILLIAMS, HORACE "SPOONS" d. 1986-0925, PHILADELPHIA, PA 74 WILLIAMS, J. MAYO "INK" (awesome a&r/prod)b. 1894-0925, MONMOUTH, IL ------------------------------------------------------------------------------- ========================================================================= Date: Mon, 25 Sep 1995 05:29:35 -0400 From: ILVA JYRKI T Subject: Re: Song "Go Now" Garry Segal wrote: > The Leiber and > Stoller tune 'GO NOW' was originally recorded by a R&B group whos name > I missed. The song hit big when the Moody Blues covered it. The > original version played on the show sounded great and I want to get a > copy of it. Anybody know who that R&B group was ? Is it on one of those > Rhino reissues? Thanks ! Actually it was not a group. The original version of "Go Now" was recorded by Bessie Banks, who made some very good records in the mid-sixties ("Do It Now" is another gem), but never had a real hit. Although "Go Now" was released on the Tiger label, which was owned by Leiber and Stoller, I don't think that the song was written by them. The song has been available on Rhino reissues - I have it on the "Sultry Soul Sisters" LP - but I'm not sure if it's on CD. Jyrki Ilva Helsinki, Finland ========================================================================= Date: Mon, 25 Sep 1995 10:31:44 +0100 From: Jean-Pierre Urbain Subject: REVIEW: BIG AL DUPREE - SWINGS THE BLUES - DBS8902 Well, here is an amplification of Tony's recommendation of this great album: BIG AL DUPREE " SWINGS THE BLUES " Dallas Blues Society 8902 feat. Big Al Dupree: vcl, piano, sax Teddy Morgan gtr Eric Mathew standup bass Esten Cooke drums Hash Brown gtr (on two cuts) (Wonderfully) recorded in Dallas, produced by Chuck Nevitt, here is another winner from DBS and one of the nicest debut (!) album of 95! Born in Dallas in 1923, Big Al Dupree is active since thas late 30's and played with names such as T-Bone, Pee Wee Crayton, Hal Hibbler, Buster Smith and more recently Zuzu Bollin, and clearly you'll hear all these guys in his music. What you get here is a truely consistent and great set of polished, cool, swinging, jazzy and relaxed texas R&B in the best tradition you could think of: the point where cool (Kansas city tradition) jazz, Blues and R&B become undistinguishable. Big Al Dupree is an extremely good and melodious piano player, full of taste, in a tradition which reminds me of some great west coast piano players (Nat King Cole, Amos, ...): cool and full of swing . Names such as Eddie Cleanhead Vinson, Jimmy Rushing or Witherspoon come to mind, but it should be clear that he's definitly NOT an imitator but well an absolutely accomplished musician with a very charming personnality. The music has an intrinsic natural fluidity which is seldom heard nowadays and this CD is a real pleasure to listin to. I'd like to mention the great job done by Teddy Morgan and The Sevilles. They really understand what it's all about and how they had to back Big Al. Teddy Morgan is constantly placing discrete, appropriate swinging licks, and the rhythm section just rolls! The great overlooked Hash Brown joins the band on two cuts (T Bone Blues and Juice head Baby) enriching the sound with his impressive "T-Bonish" interventions. The album closes on Vinsons's "Juice head baby" where Big Al plays some nice sax. As you can imagine, this comes as a higly recommended, and not only for fans or Vinson et al, but simply for those who want to hear something, altough apparently polished, natural, true and mellow. In particular, I would advice -as I did the first time I gave a listen to this set saterday after I came back quite late from a festival- to put it in your CD player late at night, when everyone and everything sleeps, when the night's there. Just sit down, relax, turn the volume up, listen and enjoy. You'll understand what I'm talking about. Jean-Pierre Urbain P.S. Good news for European bluezellers (especially those from Benelux): Dallas Blues Society is now distributed over here by (the very serious) ALL BLUES RECORD SERVICE (Tel/Fax +32-51-72 29 54). ========================================================================= Date: Mon, 25 Sep 1995 12:23:26 +0100 From: Jean-Pierre Urbain Subject: Info request: TRIBUTE TO MAGIC SAM While I was in Japan end of august I saw a brand new CD entitled TRIBUTE TO MAGIC SAM feat. among other musicians Magic Slim. I copied the references (the album was a bit expensive) but I am now unable to find it back! I'm now trying to get the references of this CD (LABEL name, address, .., number...) Could someone out there help me! Thanks Jean-Pierre Urbain ========================================================================= Date: Mon, 25 Sep 1995 07:10:17 CST From: William Shute Subject: Mick Taylor/Joe Houston "Live" CD From: Bill Shute MICK TAYLOR "Coastin' Home" Shattered Music (US) CD SHA 007-2 Rec. Feb. l995 at 14 Below Zero Club, Santa Monica, CA released Sept. l995 Personnel: Mick Taylor-(tracks 3-6) gtr/vcl Joe Houston--vcl (track 1), tenor sax on all tracks Bobby Owsinski--ld gtr (tracks 1 & 2), vcl of tr. 2, 2nd gtr (all) Jeffrey Barr--Keyboards Paul III--bass Ronnie Ciago--drums tracks: sweet home chicago 5.25 coastin home 5.09 i wonder why9.21 you gotta move8.50 you shook me13.02 can't you hear me knockin'11.44 Here's a new release from left field on a label I've never heard of, yet it features two giants (to me, at least)--legendary R&B tenor-sax blower Joe Houston, and former John Mayall gtrist and one-time Rolling Stone MICK TAYLOR. They are backed by an LA journeyman blues combo, The Hollywood Blues Kings. While this is an interesting release and does capture the excitement and spontaneity of a live gig well, it is basically a jam and feels like one. Even the liner notes are honest enough to admit "none of the songs were rehearsed...in fact, we didn't even know what song we were about to play until Mick counted it off with a "fast shuffle in C" description." I guess they are admitting this so as to beat critics to the punch! "Sweet Home Chicago," chosen by blues-l persons as most over-worked cover a few months ago, opens the set featuring Joe Houston on vocal and of course on his honking smeared tenor. Hey, at least he doesn't try to do a chicago-style cover of the tune. "COastin' HOme" is a regular in the backing band's set, so they are featured on it and it can be described as solid. Mick Taylor is brought on next--and it's interesting to hear this self-effacing man actually say a few words and joke around! Taylor's understated yet powerful playing and imaginatively developed solos are still in evidence, and his singing is competent also, altho no one will ever hire him as a vocalist (he's not BAD in the sense that some gtrists who sing are). Taylor mixes straight-ahead blues playing with those simultaneous scat vcl/gtr line things that George Benson made a hit with way back when (altho Taylor's lines are, shall we say, more muscular), and in the closing twelve-minute cover of the Stones' "CAn't You Hear Me Knockin'" he goes off into a jazz direction. JOe Houston, who often seems like he's looking for something to do on this disc, will solo on each track, and if you cannot imagine a squealing tenorsax worked into Fred McDowell's "You Gotta Move," here's your chance to hear what it would sound like. The forty-two minutes or so with Mick are clearly the highlight of the set, and Mick is sounding great, even in this unrehearsed, one-step- above-Jamnight set. The band could be described as "keeping up adequately with Taylor," and Joe Houston does his thing well, although he probably should have done his own set with this band and put it out separately. Still, as a "comeback" album for Mick Taylor, this is preferable to an over-produced, bombastic major-label job with numerous "guest stars." And it's an interesting complement to Taylor's work with the disciplined, tightly woven John Mayall band. Mayall would have stopped the show rather than go on with a band this raggedly held-together. As for Joe Houston, it's great to hear him ANYWHERE, altho for a real taste of the man's greatness, try THE RETURN OF HONK with Otis Grand recorded in the early 90s for JSP, or for a big collection of his classic LA material for John Dolphin's various labels, try Specialty SPCD 2171-2, JOE HOUSTON "Cornbread and CAbbage Greens." Recommended for the serious Mick Taylor fan. Bill Shute San Antonio, TX By the way, don't forget our next Blues-l South Texas get-together on October 6th here in San Antonio--the great Joe "guitar" Hughes. I've been too busy to do much promotion this time around, but I should have some 8x11 mini-posters ready for a few days. Looking forward to seeing SA/Austin/San Marcos etc. blues-l-ers there! Speaking of posters, Jerry Clayworth told me he'll be doing another of his beautiful LARGE posters for this gig, so maybe we can talk him into giving us a few if we have a good enough crowd. ========================================================================= Date: Mon, 25 Sep 1995 07:40:35 GMT-6 From: Eliot Williams Subject: Re: Song "Go Now" > From: Garry Segal > did inspire him to put out his best work "Pet Sounds". The Leiber and > Stoller tune 'GO NOW' was originally recorded by a R&B group whos name > I missed. The song hit big when the Moody Blues covered it. The > original version played on the show sounded great and I want to get a > copy of it. Anybody know who that R&B group was ? Is it on one of those > Rhino reissues? Thanks ! Bessie Banks, on RedBird or one of its subsidiaries. It's available on "The Red Bird Story" compilation. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 25 Sep 1995 12:39:50 +0000 From: Pat Hertel Subject: Joanna Connor I may get a chance to see her in the near future. I have heard the name but never any of her stuff. What can I expect? Is she a Rory Block or is she a Debbie Davies style performer or something else altogether? phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/9/95 8:37 AM] "They call it stormy monday..." ========================================================================= Date: Mon, 25 Sep 1995 07:54:40 -0500 From: Jeff Seale Subject: Ike Turner on Chuck Berry I was watching the PBS series on the histiry of Rock-n-Roll last night. They had some interview footage with Ike Turner, who was looking pretty good. He said that Chuck Berry wasn't accepted, couldn't be accepted by blacks. Basically, Chuck was white folks' music (that last sentence is a paraphrase). Was this true? How well did Chuck's records do on the R&B charts? BTW, the first part of this series was VERY good. Lots of Blues and r&b. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 25 Sep 1995 14:57:05 +0400 From: "Henrik R. Lassen" Subject: NYC - good blues next week? A couple of friends of mine are visiting New York City next week (from Saturday Sept. 30 through Friday Oct. 6), and I am looking for a good tip or two on blues concerts of the not-to-be-missed type to give them as a sort of going away present.... Any suggestions? ======== Henrik Lassen ======== ==== Odense, Denmark ==== "I don't laugh at people any more when they say they've seen UFOs, because I've seen one myself." Jimmy Carter, 1973. ========================================================================= Date: Mon, 25 Sep 1995 07:57:26 -0500 From: Jeff Seale Subject: orchestral arrangements On the PBS history of Rock-n-Roll, they basically said that Leiber & Stoller *invented* the use of orchestral arrangements in r-n-r with the tunes they did for the Drifters (There Goes My Baby). Did this preceed Dick Jacobs and Buddy Holly's use of orchestra on True Love Ways, It Doesn't Matter Anymore, Raining in My Heart, etc? I always thought that the Drifters came around in the early 60's. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 25 Sep 1995 08:07:35 -0500 From: Jeff Seale Subject: Re: Ok -Somebody gotta splain sompun to somebody On Sun, 24 Sep 1995, Reginald E. Palmore, III wrote: > Why is everybody so damn pissed off on this letter.I haven't seen one > damn thing that's interesting since joining. How bout some new song > ideas, a few cool licks, or something besides who takes credit or > somebody's birthday. what's an old man to do? Start his own list, maybe? ;-) -Jeff (just tyin some threads together...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 25 Sep 1995 08:06:27 CDT From: L W Subject: Imitation Blues I didn't start this thread, but while we're here. Can you name ONE white blues performer who is not an Imitator..... I guess I'm asking for a white innovative Blues peformer/singer/kazoo player your choice...... It doesn't have to be white, hell name a modern day blues peformer who is not imitating someone....new innovations out there anywhere...Oh yeah I forget Dave Thompson uses WD-40 and plays with a coin, with a innovator :-) Living Blues is THE BEST US BLUES MAGAZINE....PERIOD...Now Blues/Rock belongs to another Magazine, that has more subscribers, but a magazine that had a special on Clapton, Jimi...etc can hardle be called a blues magazine. LW 'just my 2 cents" ========================================================================= Date: Mon, 25 Sep 1995 08:23:17 CDT From: L W Subject: Joanna Connor/Jonh Hammond ----------------------------Original message---------------------------- > I may get a chance to see her in the near future. >I have heard the name but never any of her stuff. >What can I expect? Is she a Rory Block or is she a >Debbie Davies style performer or something >else altogether? I think she's closer to Angus Young....ADVICE: If it's not FREE don't go unless you dig Heavy Metal and lots of guitar tricks. She's got talent, she's just been put in the wrong type of music... Since you mentioned Rory Block, I made an observation while comparing some players this weekend. IMHO Rory Block is a much better guitar player, vocalist than John Hammond. I've seen them both and John is not as good a player as Rory Block. I found that really amusing, since John appears to be more popular. I listened to Son House's Preaching Blues, then Hammond, then Block Son was best, then Rory, then Hammond was a very distant third....Not even close to me....I know I'm the only one that is going to feel that way, but it only takes one listen of the two IMITATORS to figure it out. Don't misunderstand I like John Hammond, but Rory is TOUGH. LW ========================================================================= Date: Mon, 25 Sep 1995 08:40:48 CDT From: L W Subject: Live T-Bone I've been listening to a disc from the library called "Stormy Monday" it was recorded in 1968 and has MUCH wah-wah and other crazy things. There is another guitar player besides T-Bone who plays alot. It's a really strange recording, being that it's T-Bone....Anyone have any info on thise, such as who is the other guitar player (I suspect he's the one with the wah-wah). Thanks (the label is LRC or sumpin) LW 'IMHO - They can throw away ALL the wah pedals, EVER' ========================================================================= Date: Mon, 25 Sep 1995 09:00:00 CDT From: Bonnie Kalmbach Subject: Living Blues It seems that the reason some people take offense at the Living Blues policy of restricting their coverage to black artists is because it makes it seem that white artists are inferior. There are probably some folks there who think so - but I know a few of them and their beliefs are hardly that rigid. I believe one major reason that policy came about was that when the magazine was founded - then as now - more white artists got major coverage, bookings, and press than did black bluesmen. Twenty-five years ago they were Paul Butterfield, Charlie Musselwhite, John Hammond; more recently it's been Clapton, the late SRV, Chris Duarte, Tab Benoit, etc. How many folks are more familiar with the Magic Slims, the Long John Hunters, etc. Booking agents chose what they believ will sell. Lonnie Mack always draws a bigger crowd here than Big Jack Johson or Joe Louis Walker. So do lesser known white bands such as Lamont Cranston. I'm sure 100 per cent of all white artists are as appalled at this state of affairs as some of their fans. Living Blues was founded,in part, to redress this issue (they *do* review albums by white artists). Living Blues was founded by people who came out of the civil rights era - who were used to seeing Blacks short-changed at every step of the way and it was especially galling to see this happen with an art form that came out of their own culture. It seems that are still many more black blues artists than white yet today, but it also seems to me, that almost half the discussion on Blues-L is about the white artists. There are many reasons for this state of affairs, but I haven't seen it change much at all in over twenty-five years. All we can do is hope with the new popularity of the blues in the 90's that Magic Slim, et al. will become as well-known as the Eric Claptons out there. -Bonnie ========================================================================= Date: Mon, 25 Sep 1995 09:01:00 -0500 From: Bruce Roberts Subject: Re: Imitation Blues > It doesn't have to be white, hell name a modern day blues peformer who is not > imitating someone....new innovations out there anywhere...Oh yeah I forget > Dave Thompson uses WD-40 and plays with a coin, with a innovator :-) If someone does something new and innovative, would you still consider it the Blues? Or would you call it Rock, Jazz, Soul, etc... Bruce Roberts Austin, TX ========================================================================= Date: Mon, 25 Sep 1995 09:58:43 -5 From: "P.W. Fenton" Subject: Re: Imitation Blues On 25 Sep 95, L W had this to say... > I didn't start this thread, but while we're here. Can you name ONE white > blues performer who is not an Imitator..... > > I guess I'm asking for a white innovative Blues peformer/singer/kazoo player > your choice...... I would guess that the second human to play a guitar was in effect imitating the first, but what I was talking about was having a sound or style that was identifiably your's as opposed to an attempt at sounding like someone else. I think SRV, while influenced by Albert King and Jimi Hendrix, had a style and sound all his own. Duane Allman would be another. There are more, I'm sure. > It doesn't have to be white, hell name a modern day blues peformer who is not > imitating someone....new innovations out there anywhere...Oh yeah I forget > Dave Thompson uses WD-40 and plays with a coin, with a innovator :-) If Joe Louis Walker is imitating someone, it's someone I'm not familiar with. > Living Blues is THE BEST US BLUES MAGAZINE....PERIOD Doesn't that sort of sound like "Metallica rules, man. Everything else bites" ;-) P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Sep 1995 08:56:08 CDT From: L W Subject: Charles Brown needs help in N.O. Anyone in or around the New Orleans area, Charles Brown and Co can use your help. It has to do with transportation to the Louisiana Blues Fest in a very timely manner. You will be compensated with $$$$ and incredible fringe benefits. You must know how to get from the airport to the Festival site very quickly.....It's a great deal for someone....Private mail and I'll get you in touch..... THANKS LW ========================================================================= Date: Mon, 25 Sep 1995 09:26:19 -0400 From: Willy Evans Subject: Re: Imitation Blues On Mon, 25 Sep 1995, L W wrote: > I didn't start this thread, but while we're here. Can you name ONE white > blues performer who is not an Imitator..... > Good morning Leonard! This question depends a lot on your definition! If you relay on cultural aspects of vocalization to define blues players then perhaps there can be no white blues players, unless they imitate somebody else. If you are going to make imitation a criteria for NOT being a blues player then you've got to drop about half the black players. I consider myself a blues player. I try not to imitate anyone vocally, but I am not necessarily overly traditional. In the same night, I'll have somebody tell me that I'm a rocker and then somebody will tell me how good it is to hear somebody play "real" blues. It's going to be hard to get a real absolute on that question! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Mon, 25 Sep 1995 09:26:04 GMT-6 From: Eliot Williams Subject: Re: orchestral arrangements > From: Jeff Seale > On the PBS history of Rock-n-Roll, they basically said that Leiber & > Stoller *invented* the use of orchestral arrangements in r-n-r with > the tunes they did for the Drifters (There Goes My Baby). > > Did this preceed Dick Jacobs and Buddy Holly's use of orchestra on > True Love Ways, It Doesn't Matter Anymore, Raining in My Heart, etc? > > I always thought that the Drifters came around in the early 60's. I think a lot (all?) of the strings on those Buddy Holly sides were overdubbed at a later date. Some of that stuff was originally recorded in Buddy's living room as I recall. The strings on the Drifters' sides were there from the beginning. EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 25 Sep 1995 09:24:23 -0500 From: Bruce Roberts Subject: Innovation So who in the Blues would you consider truly innovative? I mean someone who did something that no one had tried before. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 25 Sep 1995 08:25:55 -0600 From: Jessica Jones Subject: Re: BLUES-L Digest Living Blues controversy- Living Blues concentrates on black artists, which is fine with me since there are lots of magazines out there that don't, but I will say that Living Blues has published a review of Bleecker St.'s first CD and gave a paragraph to their second, and the band is made up of two caucasians and one African American, which is clear from the band pictures, so perhaps LB is not so insistant on blacks only as you think? jessica jessicaj@spot.Colorado.edu ========================================================================= Date: Mon, 25 Sep 1995 14:27:36 GMT From: "John M. Saylor" Subject: Mike Morgan and the Crawl I know Mike Morgan and the Crawl are in New York City this coming weekend (Sep 30) Does anyone know what their complete fall tour schedule is. I've been listening to their 'Mighty Fine Dancin" CD and would really like to see them. I'm in Ithaca, NY. BTW does anyone know if they have a web page or know the words to Kiss Me Baby -Thanks -bj ========================================================================= Date: Mon, 25 Sep 1995 09:03:18 -0500 From: Richard Shurman Subject: Re: Munich Records The live Albert Collins CD on Munich is from '78, not '70. It's still nice, though there's an ongoing debate about whether Albert agreed to do a whole album. (There's a witness who says he did, but he told someone else he didn't. My suspicion is that it was his way of saying "thanks" to Barrelhouse and Job Zomer from Munich, who brought him to Europe for the first time earlier that year.) Evidence was considering licensing it but backed off because of the unsettled questions. ========================================================================= Date: Mon, 25 Sep 1995 09:06:53 -0500 From: Richard Shurman Subject: Re: Joe LOUIS Walker Maybe since Joe Louis Walker is on a French label (his new one is very nice, by the way, which is certainly no surprise), they decided he'd be more commercial if his name was more like Jerry Lewis. ========================================================================= Date: Mon, 25 Sep 1995 09:15:27 -0500 From: Richard Shurman Subject: Re: Searchin' for The Wolf song You're talking about "Howling Blues." (I think one alternate take was titled "I'm Going Away.") If I'm not mistaken, it's on Ain't Gonna Be Your Dog (MCA); if I'm wrong, it's on the Wolf box on MCA. ========================================================================= Date: Mon, 25 Sep 1995 09:21:13 -0500 From: Richard Shurman Subject: Re: Ike Turner on Chuck Berry I think you have to take Ike Turner's remarks on Chuck Berry's lack of appeal to blacks partly in the context of them being major rivals for the top spot in the black music scene in the St. Louis area at the time (mid '50s). While it's true that Chuck was certainly pitching his music more to whites (as he said himself), Ike played his sharew of white functions around there at different times too. I should probably duck here and sign off, but instead will advance a long-held belief: the Stones' Chuck Berry covers from the '60s were nastier than Chuck's versions, because Chuck was trying to sound as clean as he could to reach the white market, but the Stones were trying to sound like tough black blues artists. Ironic... ========================================================================= Date: Mon, 25 Sep 1995 10:09:00 -0400 From: Willy Evans Subject: Re: Imitation Blues On Mon, 25 Sep 1995, P.W. Fenton wrote: > On 25 Sep 95, L W had this to say... > > > Living Blues is THE BEST US BLUES MAGAZINE....PERIOD > > Doesn't that sort of sound like "Metallica rules, man. Everything > else bites" ;-) > Good observation PW! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Mon, 25 Sep 1995 09:59:09 CST From: William Shute Subject: new JAY OWENS album From: Bill Shute JAY OWENS "Movin' On" Code Blue/Atlantic CD (US) 82840-2 released last week I hope our NYCD Blues friends will undertake a full review of this fine SECOND album from Jay Owens, but I just wanted to say that after having gotten a copy last night and listening to it twice, I feel it's the finest NEW blues album (along with Lowell Fulson's new one) I've heard since the Lee "Shot" Williams disc I reviewed a few months ago. Here is a man who could "make it" solely as a songwriter, as a vocalist, or as a gtrist--and he happens to do all three! While the production is a bit "uptown" and someone like Kaz Kazanoff ought to do the horn arrangements on Jay's next album, the album seems to touch many different bases stylistically--slow blues, audience-pleasing set-openers, T-Boneish workouts, a Jamaican-tinged track, fine 90s soul, and lots more. Producer Mike Vernon and Jay himself have opted for a "sound" to the recording that is friendly to 90s ears (this DOES NOT sound like a Black Top or Blind Pig release!) that might not be accustomed to blues (I'll test it out on my twentysomethingish Hootie-and-the-Blowfish- loving ladyfriend this afternoon), yet I can't imagine fans of BB King or of any artist labelled "soul blues" not finding this a tasty AND satisfying disc. I can imagine that with the right promotion this disc could really connect with the wide 30s/40s black audience who find hiphop degrading and abrasive yet are unsatisfied with the MOR-psuedosoul artists being fed to them by "adult r&b" stations... I have many friends in that category, and will try to turn them on to Jay Owens. Jay's mature lyrics, his subtlety and emphasis on shading and touch as a gtrist, his rich soulful vocals--they would stand out and command attention in any context, and here they are given a contemporary setting that I HOPE (!!!) will satisfy the serious blues fan while perhaps serving as a Trojan Horse to slip a real-blues fix into the bloodstreams of the unsuspecting! Bill Shute San Antonio, TX ps, has anyone seen Jay Owens live? pps, whatever happened to that Atlantic Records guy (from TExas, I think) who was on blues-l last year? I remember that he was flamed about Atlantic/WEA's "ethics" in past dealings, he got on the defensive, and he vanished. Maybe he could line up a blues-l interview with Mr. Owens or something. If you're reading this, sir, let me know. I'd love to interview Mr. Owens. He seems like a very articulate man, yet a man with deep roots. ========================================================================= Date: Mon, 25 Sep 1995 11:01:26 -0400 From: Peter Welch Subject: Chess Reissues I just read in "Living Blues" that MCA/Chess is releasing yet another Muddy Waters set ("The Woodstock Album"?) next month....They are also releasing the much anticipated (at least for me) 2-CD set of Little Walter rarities...Hopefully this will be much better sounding than the various bootleg imports (Le Roi Du Blues, Charly, Syndicate Chapter) that this stuff has appeared on in recent years. I'm disappointed to hear that about the Muddy Waters release..Isn't time that MCA/Chess starting mining its archives of Jimmy Rogers, Lowell Fulson, J.B. Lenoir and other material before another Muddy set?...I guess Muddy sells, so that's what gets released. I'd certainly shell out for 2-CD sets of Jimmy Rogers, Lowell Fulson, etc...I've got most of their Chess stuff spread out over various MCA and import budget releases, but I'd much rather have most of these cuts in a quality MCA/Chess package. -Peter ========================================================================= Date: Mon, 25 Sep 1995 11:03:27 -0400 From: Patti Bowman Subject: Fort Lauderdale Question Anyone on the list from Ft Lauderdale? I went gone to the Riverwalk blues fest a few years ago ( 92 and 93) and was thinking about making the trip agin this year. It's a three day outdoor fest in Nov. Just wondered who was playing? Also, Is Sushi Blues in miami still open? Gotta love a place that has a great sushi chef AND a live blues band! -Patti dreaming of a vacation................... ========================================================================= Date: Mon, 25 Sep 1995 10:14:44 -0500 From: Jeff Seale Subject: Re: Ike Turner on Chuck Berry On Mon, 25 Sep 1995, Richard Shurman wrote: > I should probably duck here and sign off, but instead will > advance a long-held belief: the Stones' Chuck Berry covers from the '60s > were nastier than Chuck's versions, because Chuck was trying to sound as > clean as he could to reach the white market, but the Stones were trying > to sound like tough black blues artists. Ironic... Chuck said as much himself in his interview. He said he tried to write "nice" songs about "nice" things - school, etc. I was tempted to ask the question - was CB R&B or rock-n-roll? I think Chuck answered it for me. -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 25 Sep 1995 10:27:56 -0500 From: Jeff Seale Subject: Re: orchestral arrangements On Mon, 25 Sep 1995, Eliot Williams wrote: > I think a lot (all?) of the strings on those Buddy Holly sides were > overdubbed at a later date. Some of that stuff was originally > recorded in Buddy's living room as I recall. The strings on the > Drifters' sides were there from the beginning. EW The strings were there from the beginning with those Holly sides as well. The songs were recorded at the Pythian Temple in NY. In fact, Dick Jacobs said that Buddy came running into his office the day of the session and said "Paul Anka just gave me this song. We have to put strings on it." They got the copyist over and recorded it that evening. I think the overdubs that you're thnking of were with the Fireballs overdubbing (and totally ruining) lots of the unreleased stuff that was discovered after Buddy's death. If you have heard the original apartment tapes, there's no comparison to that crap that Norman Petty released... -Jeff (that's a sore point with me...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Mon, 25 Sep 1995 11:32:33 -0400 From: Peter Welch Subject: Living Blues, White Blues, etc. Something that annoys me sometimes is when people start talking about White blues artists, they tend to mention Blues-Rock folks like SRV, EC, Allmans, etc...So, of course, the purists get upset when you start lumping in these guys with Black blues artists. Unfortunately, many times (from what I can tell) the people who get passed over in this discussion are the many excellent White performers who are as unknown to the general public as a Magic Slim or John Primer. Whether it's Ronnie Earl, William Clarke, Rory Block, The Mighty Flyers, Big Mike Griffin, Garry & The Moodswingers, James Harman, and tons of others. These folks are playing some of the best blues out there, regardless of skin color, but I really don't see their names mentioned on the list for example with nearly the same frequency as SRV, Clapton, etc. For me, Ronnie Earl, Kid Ramos, or the late Hollywood Fats, are much more enjoyable blues guitarists than SRV or EC, but that's just me. However, as much as many of us would like to believe, the general public, even if was exposed to these artists, is just not going to start rushing to the stores to buy the next Ronnie Earl disc, but they'll flock to buy EC's next release. As for "Living Blues", it's their choice not interview White artists, but I have never EVER seen a bias against White artists in their reviews. I don't always agree with LB's reviews, but they certainly don't have a skin-color bias. Now bias against artists doing cover material, that's another story... -Peter ========================================================================= Date: Mon, 25 Sep 1995 10:32:15 -0500 From: Roger Struve Subject: Innovation -Reply I don't want to sound like a broken record... but John Hammond is truly innovative....listen to what he's done with the old blues standards.. he has taken a rough cut tune (in many cases) and embellished it, and took it to a new dimension...giving it a sound that is truly his own...and done wonderful things with the furtherance of the blues by his work. Take for instance, Drop Down Mama, one of my favorite songs....Sleepy John Estes did it first, and his is a passing fair version, in my opinion...but listen to what John Hammond did with it...its incredible. (hear it on his instruction video, or on the LP version which is a studio version, or the live version on LIVE (which is NOT my favorite version of the song)....besides the instruction video take, he did a burning take of it on the Lonesome Pine Special when he appeared with Robt. Lockwood Jr. He also did the best live version of it i ever saw at the Fine Line in Minneapolis, 1992. just my thoughts, delta doc roger ========================================================================= Date: Mon, 25 Sep 1995 10:50:43 -0400 From: Willy Evans Subject: Re: BLUES-L Digest Living Blues controversy- As has been posted before, Living Blues' is the result of a program to study Black Culture through music. That is why it's editorial content is about only black performers. I find them very liberal in their policies about reviewing records and advertising. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Mon, 25 Sep 1995 11:38:05 -0400 From: Steve Levine Subject: Re: Innovation *So who in the Blues would you consider truly innovative? I mean someone *who did something that no one had tried before. Paul deLay. ========================================================================= Date: Mon, 25 Sep 1995 10:39:14 CDT From: L W Subject: Re: Imitation Blues ----------------------------Original message---------------------------- > It doesn't have to be white, hell name a modern day blues peformer who is not > imitating someone....new innovations out there anywhere...Oh yeah I forget > Dave Thompson uses WD-40 and plays with a coin, with a innovator :-) > If someone does something new and innovative, would you still consider > it the Blues? Or would you call it Rock, Jazz, Soul, etc... Paul Fenton said that Joe Louis Walker is pretty unique and I have to agree I think he has been somewhat innovative I don't know how this thread got started or anything, I was just saying that whether it's ERIC CLAPTON, KIM WILSON or CAREY BELL they are all pretty much imitating someone else...That doesn't mean they aren't really good, Great or whatever. LW ========================================================================= Date: Mon, 25 Sep 1995 10:55:13 -0600 From: Ranko Vujosevic Subject: Living and Talking Blues I found it really strange that after, what, 2-3 years of Blues-L existence, we still argue about the best blues magazine - this should be entered in Blues-L FAQ: LIVING BLUES IS THE BEST BLUES MAGAZINE. However, this was not the main reason of this posting. I wanted to report an a very pleasant experience. Namely, one night, a couple of months ago, I found on the answering machine a message from Tina Mayfield from LA who wanted to talk to me. I did not have any idea who Tina was, but returned the call anyway right away. It turned out that her grand-daugther who happened to live in Iowa City, saw an article about our Blues Society in local newspaper and sent a copy of the article to Tina. I spent a most enjoying half-hour talking to Tina, who said she was the President of International Black Blues Society. We agreed on sending newsletter to each other and I expected not to hear from her again. However, after a few weeks, I received a check on $100 from Tina as annual sponsorship fee to our Society. That gesture really made me happy. I still did not know who Tina was until I recently (a few days ago) re-read Living Blues 121 (June 1995) and read that Tina is widow of the late Percy Mayfield. Another of most enjoing experiences that happened to me since getting involved in the Society work. Ranko ps. BTW, Living Blues article was about The 54 Ballroom, located in the heart of South Central LA, closed 30 ago, once known as "Apollo Theater of the West Cost," type of the articles we usually don't find in the magazine who wastes its pages on columns by Keri Leigh and Bob "I played with Muddy Waters" Margolin. ========================================================================= Date: Mon, 25 Sep 1995 09:00:48 -0700 From: Mary Katherine Aldin Subject: Re: Chess Reissues Peter Welch wrote: Isn't it time that MCA/Chess starting mining its archives >of Jimmy Rogers, Lowell Fulson, J.B. Lenoir and other material before >another Muddy set?...I guess Muddy sells, so that's what gets >released. I'd certainly shell out for 2-CD sets of Jimmy Rogers, Lowell Fulson, etc...I've got most of their Chess stuff spread out >over various MCA and import budget releases, but I'd much rather have most of these cuts in a quality MCA/Chess package. > Yes, of course you are quite right about Rogers, Fulson and Lenoir. However, be patient; all three of these sets are in the works as I write this. Andy McKaie (head of reissues at MCA) and I have already discussed doing 1996 releases of The Complete Chess Recordings of both Lowell Fulson and Jimmy Rogers (each a double CD), and although we have not yet sussed out the Lenoir possibilities, that too will come in time. Andy has on his plate not only the entire Chess (and Duke-Peacock and ABC Bluesway and Decca) catalogues to coordinate reissues from, but also all the current MCA artists including pop, Broadway, etc. His superiors need to see a certain amount of billing each quarter, which means that his two hands are as often filled with Elton John and Lynrd Skynrd box sets as they are with blues. Also, the art department at MCA can only process a certain number of packages through their system per quarter, and priority must be given to best-sellers (are we surprised?). But there *is* a long-range plan for reissuing quality artists like Fulson, Rogers and Lenoir, at least two of which are on the release schedule for 1996. My own plate, too, is rather full, so I can't even *start* these liner notes till early in the new year as I must first finish the Blues Classics box set for MCA, my portion of the Mercury Blues Box notes for PolyGram, and a book chapter that is already overdue and my publishers are hollering at me! Mary Katherine ========================================================================= Date: Mon, 25 Sep 1995 11:32:35 CDT From: L W Subject: Charles Brown Interview (LONG) This is Charles Brown interview, kind of rough,still. If you see any names I've screwed up please lemme know (esp. Nina Mae McKinney ???). I apologize if this if this is too large for people's mailbox.....Thanks LW Copyright 1995 Leonard Waktins All rights reserved :Charles Brown: LW: First off, let me tell you. My wife and I have spent many evenings listening to Charles Brown with the candles lit and the lights off. CB: (laughter) You know the music that we like is in accord with the kind of people who have good hearts and love. So I'm glad that even today I am able to project a few things, before you leave this earth. I'm so glad that you do, it makes me feel good LW: What were you doing before you started playing with Johnny Moore and The Three Blazers ? CB: During the war days, I had been a school teacher. I had been teaching Chemistry and math down in Baytown Texas. I was also Junior Chemist for Civil Service. My grandmother told us years ago and she would say "chullin" she wouldn't say "children". She said "I want to bring my chullin out to California when I get enough money". She said it was God's country. She would paint pictures about California and the oranges, bananas, and the grapes you could pick up free, off the ground. We thought you can get those free ?. You know how children loves bananas and things, so I said one of these days I'm going to California just to see what it's like. My goal was that maybe one day I could go and see what it was my grandmother wanted us to see. I told my grandfather "I'm going to California and I'm going to make some records". I really didn't know that. When I went out there, I didn't go straight in to the music industry. I got a job, working as an elevator operator at the Broadway department store. I heard about the Lincoln Theatre having those talent shows. I practiced up real good, I had great fingers and classical training. I had copied Earl Hines piano version of St. Louis Blues with band, kind of boogie woogie. I played and got the greatest applause of all the other contestants. They wanted an encore and I played some classical. When I went off the stage there was a guy with a gun, if you didn't do well they would shoot the gun and shoot you off. Well he told the others, there's no use ya'll going out there, he's already won. I mentioned on the stage, that I worked as an elevator operator at the Broadway department store. While I was playing, Ivie Anderson's husband and Johnny Moore were there. Ivie's husband had a little club and they needed entertainment. When he heard me play, he thought I would be just the right thing for his restaurant. He came down the elevator one day and said "You're Charles Brown" and I said "Yes". He said he was interested in having me play in his club, a little place called "Ivie's Chicken Shack'. He told me he would put me in the union, put a tuxedo on me and a nice little salary, which was forty two dollars a week. Then the government started taxing your salary. I didn't mind them taking the money, but I wanted to be making the same amount. I asked for an increase in my salary.I asked her "Mrs Anderson they going to deduct money out of my money and I wish you could raise my salary so I'd be getting the same amount of money". She told me she wouldn't do it now, probably when she came back from Mexico. She was so nasty when she said it and I was so young. I told her when she comes back from Mexico City she wouldn't see me. I had a chance to meet Nina Mae McKinney who was a a great movie star, before Lena Horne. She was reading scripts in Hollywood and singing. She said she wanted me to play some for her at an audition. When she got up there she got mad and threw all the music in the floor. She cussed all the directors out and she said "Charles let's go". I was behind her, I was young. One of the fellows asked me if I was connected with her and I told him I just played the piano for her. He told me if I had an agent they couldn't use me, if i didn't have an agent I could be in the movie, Casablanca.In the meantime the guy who was booking NINA MAE told him he was my agent, so I didn't get the job. I was in Sugarhill, looking for a job and Johnny Moore lost his piano player to a heart attack. He came looking for me and didn't know what address, so they went to nearly every house asking if they know Charles Brown. They went to a white lady who lived next door to Rev Charles Davis, who I was living with. She told them she didn't know no Charles Brown, but heard someone next door playing the piano a lot. They came over and said they had a job for me. He told me they were looking for someone who could play and sing like Nat Cole. They told me that a club was holding an audition and we could make six hundred dollars a week, if we passed the audition. I looked at them and me being so young, I thought they were too old. He left me a card and said if I'm interested to call. When they left I told Reverend Davis's son they were too old and I was looking to play by myself. He said "Charles you don't have a job, why don't you call Johnny Moore , make a effort and see what ya'll come up with". So I called Johnny Moore and told him I was interested. So we went out to the "Talk Of The Town" for the audition. Mr Vandergrfit was over looking it and some trios I thought were much better than we were, white trios. The he hollered "Stop It", it scared us to death, we thought something was wrong with us. He said "Johnny Moore I don't want to hear no more trios" Then everybody looked around real funny and he said "Johnny Moore can you open up here next week". As we went on , our tips were very good, sometimes three hundred dollars a night. It was a melting pot of the movie stars. Then, all of the sudden, here comes ASCAP, saying Mr Vandergrift had to pay a fund for using their music. He said he wasn't going to do it, he told us he would not have us sing, until he told us to sing. He was going to watch out for who came in. Then one night we were singing and playing, then he told us to stop. Someone else came in who really liked our singing and playing. they asked us if we would sing a particular song. We started singing and Mr Vandergrift told us not to sing until he told us to. We told him that we had people giving us tips and we felt it was just as fair to play for those people as it was for those he selected. He got real angry and said "You're fired". This guy named Lou who owned the Swanee Inn, was sitting there. He said "Did I hear him say you were fired" we told him yes. He told us to come out to his club on Tuesday. We started playing everywhere from there. That was a start of things, we made our first record with Ivory Joe Hunter. We recorded "You Taught Me To Love" and "Blues At Sunrise". It was a stepping stone to us making records. It's long story. Johnny Moore loved to play the races. So the little money we were making, we were hoping we could accent by going to the horse races. He said Mother, a fortune teller, would tell him what numbers to play. We went over to Mothers and I didn't believe she could do this so I sat in the car. He said she prayed this big prayer, she was real religious, she told him she saw a fellow in his car and told him to go get me. I didn't want to go in there. She prayed a prayer again and she said "I see a halo over your head" . She told Johnny that I would make them a lot of money and we'd go a lot of places. She told him he had to stop his gambling. She gave him a lodestone and told him he can't gamble with it cause you'll lose. She told him in twenty four hours we would sign a contract taking you across the country. She told him that what he came in there for , numbers to play, she was god fearing and she don't give out numbers for people to gamble with horses. The she said "If you want play number seven in the forth race you can". That's all Johnny wanted to hear, we had about eight dollars a piece. Sure enough a horse named "Lovely Millie" came in and it must have been forty five to one. The total amount of money we got from that was one hundred seventy five dollars. Johnny Moore jumped up and said "Mother told us, she told us". We went home and had to play the Cobra club that night. When we got on the stage and played that night, people were going crazy about "Drifting Blues" and kept asking about it. We played a lot of other songs too, mostly ballads. It was almost time to leave and we remembered Mother told us we'd sign a contract in twenty four hours, but we'd be in bed soon. I was looking from the stage to the back door, I could see through two little moon windows. I could see someone out there hitting on the door and someone let them in. It was Eddie Mesner and Sammy Goldberg, who owned Aladdin records, it was called Philo records then. They heard about "Drifting Blues" and they were throwing twenty dollar bills and saying "Play it again". Johnny Moore was real frustrated then and said "I don't want to play it no more, I'm tired, I want to go home" . Eddie Mesner told us he was interested in recording that number. That's how it all started. LW: Isn't there some copyright problems with "Drifting Blues". Do you actually own the copyrights to that. CB: I owned it by myself and I let Johnny Moore's sister keep my copyright from Washington D.C. In the meantime, when the record started hitting. Johnny Moore took my copyright and gave it to Mr Leo Mesner, because he wanted his name on it. I was young and I didn't know, so when they had a conference with us, Mr Mesner told us, that anything anybody wrote in the group had to be divided equally. I asked where my copyright was and he told me, it was in his safe and I was not getting it. I didn't know any better, what did I know about a copyright. "Drifting Blues" begin to sell and sell. Then he put it out with all three names on it, Johnny Moore Eddie Williams and Charles Brown. Johnny Moore could hardly write his name, much less try and write a song. He put me over all the arrangements and that's how I came out with "Merry Christmas Baby". LW: Was "Merry Christmas Baby" your best selling song. CB: Well I think it lasted longer than anything else. The colored folks didn't have a christmas number. It went into all the colored places and the juke boxes had it. In the meantime I didn't get credit for it. They put Johnny Moore's name on it, but I wrote "Merry Christmas Baby". They said they would put one of my numbers on the back of it and I would get the same royalties as "Merry Christmas Baby" got. They did that for a while and then they put someone else song on there, so I was killed me completely out. Later on when the song got popular, Johnny Moore was getting the money. I think he leased it to St. Louis music with my name off of it completely. Even Elvis Presley told me in 1968, that he did it because he thought I wrote it. I'm glad today that I didn't put a claim in, because all of them are dead, except Johnny Moore's two sisters. They never married and they are able to get the royalties from Johnny Moore's part of it now, they live on that. I feel satisfied that I didn't put a claim in on it, because "money is only means to an end". The righteousness behind it, that's why I can live with a good feeling, that I didn't do dirt for dirt. They got the royalties and they need it now, one of the sisters is "low" sick. I think the good man up above look down and see the righteousness in my heart and that's why I have a second time around. I believe when you do good for people, it comes back around. Why did I live as long as I did. When they tried to beat me out of "Please Come Home For Christmas" I outlived everybody. I was able, in twenty years, to get my song back. Now I'm able to reap the benefits, money I never thought would ever come to me. I'm getting my residuals and along comes Bonnie Raitt. I go out on tour with her and make a nice name for myself. LW: She has such a diverse audience. How well did they accept you CB: Standing ovation, every night. When she introduced me as a living legend and I played. The people saw that this was something they haven't heard and I was good at what I did. It created an audience for me. Bonnie Raitt told me, that the way those people were accepting me, if one tenth of those people would come to the club to see me I would have a club full every night. I got recording contracts, I begin to play more places, they wanted me to play overseas. It opened doors, I was still strong and I hadn't lost anything. They say I'm better than I was when I was younger. We just finished a second tour with Bonnie and she called me and Ruth Brown the Adam and Eve of Rhythm and Blues. LW: You've played classical and you've played blues. Can you compare the two. CB: If you'll notice I don't play that low down stuff. I don't believe in the Mississippi type of thing, because those people who went to Chicago. They came off the cotton fields or whatever they did. They had no unique way of playing. My mind was geared to higher culture music. I still, even now, put some of my classical training in to my music. You have to know how to hold your hands to get a certain sound out of a piano. I don't even need a band, if I wanted to play by myself. LW: Didn't at one point in the 70's, you did not own a piano. How did that happen. CB: You know, when you come off the scene as a artist and you've been up there, they wonder what happened to you. I was sued by The Billy Shaw Agency back then and I had to become a scab musician. I wasn't on the big scene anymore, I was struggling to make ends meet, I had to wash windows. I was a janitor in Hollywood and wasn't playing anywhere. When my grandfather got sick, the agency had deposits. They wanted me to go play and not go home and see about him. He reared me, when my mother and father died, so quite naturally I wanted to go see about 'papa'. They said "If you go we're going to do what we want to do" . So they sued me for 40 thousand dollars, which they knew I couldn't pay. I was black balled with the union, I couldn't go unless I made an initial payment with the union on the claim. I finally decided it was too much for me. In 1962 I found out I could play again, because all the people who put a claim against me were dead. They told me I could get back in the union. I played real small clubs, no big affairs, people forget when they don't hear about you. LW: I got to ask you about the tune "I Wonder How She Knows" Elvis Costello wrote that, right.? CB: Yes, he did. He gave me the song in the style he does it So I had to change it to fit my style. LW: I love the tune, I was surprised that Charles Brown would record an Elvis Costello song. CB: He calls it something else, now. I got one version and he's got another. He's crazy about me. He said his first Desert Island choice would be Charles Brown. LW: You were close to retirement in the eighties, but Dan Caron talked you out of it. CB: I was retired, I retired when I was sixty two. I started getting government checks at sixty two, so that kind of helped a little bit. A guy named Hawkeye Herman, he wanted me to play the piano on one of his recordings. He said "Charles I wish I could play with you, but I'm not advanced enough". He told me about Danny Caron and he loves your work. He thought Danny could play with me So I said "Tell him to call me". Danny came over and brought his tape recorder and taped me. He said we should get together and start a little band. Then it just took off and then along came Bonnie Raitt. LW: Who influence you vocally ? CB: My grandmother used to listen to Russ Colombo, I liked his sweet singing. Pha Terrell, with Andy Kirk and later on Billy Erkstine, was the one who really turned me on to the love and the sweetness of a vocal. One lady who's singing I loved was, Helen O'Connel. They gave me inspiration. LW: Do you have a favorite Charles Brown album. CB: You know, I've done so many, "These Blues" , I think that's one of the best. I liked the one before that "Just A Lucky So & So". They may not be my favorite albums, but they have some of my favorite material on them. This new album that's coming out soon on Verve, I'm giving some some ladies a chance, who aren't heard much. Etta Jones and Irene Reed, they can really sing. They are really under estimated, they are tough. I don't think anyone out there today can beat them. LW: Is there anything you'd like to say to any of you fans CB: I'd like to say that, I'm appreciative that they do understand what I'm doing. I do appreciate the fact that they can take this older man and make him a part of their record collection. I want them to really look into what I'm trying to do and maybe they can grasp some of the things that I'm trying to say. I hope they keep the love in their hearts like I have. ========================================================================= Date: Mon, 25 Sep 1995 12:46:43 EDT From: William Pollak Subject: Re: Ike Turner on Chuck Berry >From: Jeff Seale >Subject: Ike Turner on Chuck Berry >Lines: 20 > >I was watching the PBS series on the histiry of Rock-n-Roll last night. >They had some interview footage with Ike Turner, who was looking pretty >good. He said that Chuck Berry wasn't accepted, couldn't be accepted by >blacks. Basically, Chuck was white folks' music (that last sentence is a >paraphrase). > >Was this true? How well did Chuck's records do on the R&B charts? Listening to that interview with Ike Turner reminded me that I had heard Roy Buchanan express the identical opinion about Chuck Berry. Roy loved many black guitarists, of course--Gatemouth Brown, T-Bone, Jimmy Nolan, Pete "Guitar" Lewis, Johnny "Guitar" Watson, Albert King, Hendrix--but he had nothing good to say about Chuck. New subject: Another great Bessie Banks song is "Try to Leave Me If You Can" on Disk 10, Volume 3 of the Stax/Volt box set. Bill P. ========================================================================= Date: Mon, 25 Sep 1995 13:07:43 -5 From: "P.W. Fenton" Subject: Re: Living Blues On 25 Sep 95, Bonnie Kalmbach had this to say... > It seems that the reason some people take offense at the > Living Blues policy of restricting their coverage to black artists is > because it makes it seem that white artists are inferior. There are probably > some folks there who think so - but I know a few of them and their beliefs > are hardly that rigid. I believe one major reason that policy came about > was that when the magazine was founded - then as now - more white artists > got major coverage, bookings, and press than did black bluesmen. The wounds caused by racism in this country may be healing but they are still sensitive and sore. If there was a magazine, as I'm sure there is, that was devoted to antique automobiles, no one would get upset and point out that the magazine accepts advertisements for new cars while excluding them from their featured articles. Fans of new cars just wouldn't care. America's racism wounds are so sensitive they react in pain even if they are brushed innocently by accident. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Mon, 25 Sep 1995 17:30:38 +0000 From: Pat Hertel Subject: Re: Imitation Blues Name ONE, just ONE artist that can't be said to be imitating those before and as per the blues you can take that back into Africa and Olduvai gorge! Geeez Perhaps the original poster was referring to "aping" rather than imitating. Okay it's a fine line but the latter allows for building on what went before. So IMHO (:):):)) the Blues Brothers "ape" EC "imitates". phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [25/9/95 13:12 PM] "They call it stormy monday..." ========================================================================= Date: Mon, 25 Sep 1995 10:35:00 -0700 From: Ned Kraft Subject: Imitators Here's my take on imitators - it they didn't exist many of us who now love and play the blues never have been educated (I still love Jimi's "Red House") Admission - my song list does include the names of the famous bands who covered originals, but if you're trying to get gigs, listing the Blues Brothers instead of Junior Wells gives an opportunity to play gigs for folks who enjoy the blues, but don't know the history. (Also, the folks who want to have "Blues Brothers" themes seem to have budgets much bigger than the traditional blues crowd - I like playing blues clubs, but private and corporate gigs pay WAY better and give me the cash to record, buy equipment, etc.) BTW, during gigs the Blues Brothers don't get the credit, maybe some education will occur (nice fantasy of mine). No history quiz at the shows, but occasional lessons. As was noted by Living Blues posts. People vote with their wallets - some folks win, some lose (but originators do get royalties on popular covers - can anyone out there educate me on the amount of royalties being paid out to artists and next-of-kin from Clapton's latest?) Still a subscriber to LB because the educational value outweighs the (disappointing) exclusion of white artists. Ned Hoosier Daddy ========================================================================= Date: Mon, 25 Sep 1995 17:46:19 GMT From: toulouse Subject: Re: Living and Talking Blues Great story and valid points, Thank you very much. ========================================================================= Date: Mon, 25 Sep 1995 17:50:45 GMT From: toulouse Subject: Re: Living Blues On Sept. 25, P.W. Fenton had these comments: >If there was a magazine, as I'm sure there is, that was devoted to >antique automobiles, no one would get upset and point out that the >magazine accepts advertisements for new cars while excluding them >from their featured articles. Fans of new cars just wouldn't care. >America's racism wounds are so sensitive they react in pain even >if they are brushed innocently by accident. Very aptly put Mr. Fenton, thanks. Peace, toulouse@comm.net ========================================================================= Date: Mon, 25 Sep 1995 12:55:10 -0600 From: David Silberberg Subject: Re: Imitation Blues At 7:06 AM 9/25/95, L W wrote: >I guess I'm asking for a white innovative Blues peformer/singer/kazoo player >your choice...... > >It doesn't have to be white, hell name a modern day blues peformer who is not >imitating someone....new innovations out there anywhere...Oh yeah I forget >Dave Thompson uses WD-40 and plays with a coin, with a innovator :-) Well, I guess I hear a lot of innovation / new / different from Jimmy Dawkins and Keb' Mo' and Robert Cray (like 'em or not), among others. Problem is, if black bluesers become TOO different, we accuse them of "Selling Out" to commercial funk/rap/hip-hop, and they cease to be bluesers to our ears. If they don't sell out to commercial interests, then they become jazz artists to us, worthy, buy not blues. And if white bluesers become TOO different, we call it blues-rock, or plain old rock, and they cease to be bluesers to our ears. Hard to win where we're concerned.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Mon, 25 Sep 1995 13:38:55 -29900 From: Michael Kaloyanides Subject: Re: Song "Go Now" Garry, If I heard correctly, it was Betty Briggs who did "Go Now" originally. I have to agree with other Rock & Roll historians who feel that the British Invasion (Beatles et al.) did not put the kabosh on R & B, but, rather, on the crass commercial drivel of producer idolmakers such as Dick Clark. Early '60's producers such as Lieber & Stoller, Don Kirschner, and Phil Spector may have revolutionized R & R production values but they also gave too many musically clueless record executive types the idea that producers and A & R men know better than musicians. Had it not been for the British Invasion we may have been condemned to a longer stay in "Bobby Hell"--Bobby Vee, Bobby Rydell, and the pitiful others. ========================================================================= Date: Mon, 25 Sep 1995 17:54:18 GMT From: toulouse Subject: Re: Imitation Blues on Sept. 25, phertel@cmc.doe.ca says: >Name ONE, just ONE artist that can't be said to be >imitating those before and as per the blues you can >take that back into Africa and Olduvai gorge! Geeez B.B.King, John Lee Hooker, and Charles Brown. Peace, toulouse@comm.net ========================================================================= Date: Mon, 25 Sep 1995 13:03:37 CDT From: L W Subject: Re: Living Blues ----------------------------Original message---------------------------- On Sept. 25, P.W. Fenton had these comments: >If there was a magazine, as I'm sure there is, that was devoted to >antique automobiles, no one would get upset and point out that the >magazine accepts advertisements for new cars while excluding them >from their featured articles. Fans of new cars just wouldn't care. >America's racism wounds are so sensitive they react in pain even >if they are brushed innocently by accident. I think that was well put. I also have a question. Since LB is "The Study of Southern Culture...etc" is it a NON-PROFIT publication. If so, is there another blues magazine that is NON-PROFIT. LW ' I have no idea' ========================================================================= Date: Mon, 25 Sep 1995 13:08:20 PDT From: Michael Suffern Subject: Re: Blues-L tape #3 Rick, (and slowhander's that want to find tapes in parking lots) I'll try and find the message I sent to the slowhand list (or was it blues-l?) about the live recording technique I use - M+S stereo. A main mic and a side mic are used to capture the live image. The main mic records the mono signal from the best vantage point. The side mic records the ambient sound. You then mix it specially and control the amount of stereo-ness and ambience (and echos and other nasty things) by how much side mic you mix in (more details later). Since you can control the level of the side mic mix, you can balance the amount of stereo image you need with the least amount of obnoxious echos and phase cancelations - a compromise that you can control during the mix. This is an old technique and it works great for live recording. You just need some extra equipment to decode the stereo when you mix (more later). Of course, if you have a multi track available, you can record this, plus a board mix and mix them together in the studio. M+S live works best when you've got a good house sound. If the band sounds good in the audience (which is what you always want), then you've got all you need. Get the best recorder you can round up, a great main mic, and a sharp side mic. I use a DAT recorder now, a Radio Shack PZM plate mic ($50) for the main mic (eliminates phase cancelations from the main sound!!!), and a RS back electrec condenser ($25) omni (tie clip mic, no less) for the side mic (clear highs, not the greatest bass which is o.k. for the ambient image). Mike On Fri, 22 Sep 1995 10:38:46 -0400 Rick Miller wrote: >Hey, I would love to do something for this tape, but I have no access to any >serious recording equipment, nor does anyone in my band ( I think ). :( >Anyone have any suggestions on how to do a decent recording with home equipment >or if it can be done at all? For instance, can the band's mike-mixing board >be hooked into a cassette player or something? I have no experience with >such stuff, but would love to learn. > >Riffin Rick (((( > oo-) > /- > > It's 3 o'clock in the morning > and all the pretty women are gone. > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/25/95 Time: 13:08:20 ------------------------------------------------------- ========================================================================= Date: Mon, 25 Sep 1995 11:35:42 -0700 From: Joe Lempkowski Subject: Re: Little Walter & Chromatics LW writes: >Am I right that Little Walter played a chromatic harp most/a lot/some of >the time...? Little Walter played quite a bit of chromatic on his and Muddy Waters records, but I would say most of his stuff > 75% of it was done on a diatonic harmonica. >Why is it that most harp players I talk to say that Little Walter is their >favorite harp player, but they NEVER play chromatic harps. They cost more money. A good chromatic harmonica will set you back from 95 - 150 dollars. (This is peanuts to some you you guitar guys.) It isn't easy to get a good tone out of them, i.e. that Little Walter sound. Playing the riffs in third position is not really difficult, but it is hard to get that sound. As a few others have stated, notes are really difficult to bend. >I know one of my friends who plays good harp and has done so for many,many >years, finally bougth a chormatic and he said no way. A totally different >instrument than regular (diatonic ?) harps. It would stand to reason that if >you wanted to sound & play like Walter you would become proficent on a chromatc The notes are laid out a bit differently. A lot of Little Walter's most acrobatic instrumental work was done on a diatonic harmonica. Tunes like Back Track, Roller Coaster, Off The Wall, Juke were all done on a diatonic. Even some of his most notable slow stuff was done on a 10 hole like Sad Hours, Blue Midnight, ... He would even change harmonicas mid-song, he did this on Blue Lights switching between diatonic and chromatic harmonica. In an interview published in Living Blues, he claims to have played four different harmonicas on Blue Lights, but I can only figure out two different harmonicas. You would be amazed how much effort has been spent on recreating that "Little Walter-sound" The harp-l list has threads on this quite often. Some people have been experimenting with this for years. Lately, I've noticed a lot more harmonica players playing the chromatics, but this could be another West Coast abberation. Actually, George "Harmonica" Smith was a really big influence out here. Joe ========================================================================= Date: Mon, 25 Sep 1995 11:36:41 -0800 From: Don Cicchetti Subject: Re: Living Blues Bonnie Kalmbach said: > It seems that the reason some people take offense at the >Living Blues policy of restricting their coverage to black artists is >because it makes it seem that white artists are inferior. There are probably >some folks there who think so - but I know a few of them and their beliefs >are hardly that rigid. I believe one major reason that policy came about >was that when the magazine was founded - then as now - more white artists >got major coverage, bookings, and press than did black bluesmen. All true. However some do not take offense (myself included), and are actually glad "Living Blues" exists, but do find their positions somewhat strange on a couple of levels. 1. African Americans have always been much more inclusive in their music and art and culture than white liberals are towards that same music. Very interesting. This even applies to Africans, BTW. Remember the row over Paul Simon's "Graceland"? While some were blasting Simon for "cultural plunder" or some such nonsense, Joseph Shambalala (of Ladysmith Black Mambazo) thought they were being very silly. So who is right, the African musicians who ADORE Paul Simon or the American liberals? I side with Joseph. AND I'll bet you a buck that "Living Blues" is NOT run by African Americans! 2. If it were not for whites, the blues would be a little postscript in musicology and a few scratchy records at the Smithsonian. Several successive generations of African Americans have rejected the blues, and it was white and brown Americans (and others) who kept it alive, and provided the core audience for the great artists we all love for the last several decades. In 1995, whites are part of the blues scene, and to exclude them is a little silly IMO, but I'm not mad about it, heck it's their magazine, and it's not real enlightened to criticize a blues journal when there are so few of them. We would be much wiser to slag the mass culture rags for their "ghetto-izing" of the blues than the dump on "Living Blues". I mean, we have to admit that in the balance they are very much a benefit to the scene. What chaps MY hide is places like "Croce's" in San Diego which will not hire white blues musicians! I wonder what they do with mixed race bands? Maybe they make the honks come in a different door or something, and use a different water fountain! I GOT it! We'll call it "Jim Crow-ce".... I can't even imagine Buddy Guy excluding white bands from "Legends", or BB excluding white bands from his clubs.... naahhh, it takes WHITES to exclude people by their race. African Americans are uncomfortable with such rules, after all they BEEN there.... Bonnie again: (btw, I AGREE with Bonnie, I just wanted to bring up some colloary points) edit edit > I'm sure 100 per cent of all white artists are as appalled at >this state of affairs as some of their fans. Living Blues was founded,in >part, to redress this issue (they *do* review albums by white artists). Living >Blues was founded by people who came out of the civil rights era - who >were used to seeing Blacks short-changed at every step of the way and it was >especially galling to see this happen with an art form that came out of their >own culture. > > It seems that are still many more black blues artists than white >yet today, but it also seems to me, that almost half the discussion on Blues-L >is about the white artists. > > There are many reasons for this state of affairs, but I haven't >seen it change much at all in over twenty-five years. All we can do is hope >with the new popularity of the blues in the 90's that Magic Slim, et al. >will become as well-known as the Eric Claptons out there. I couldn't agree more! I hope you all read this, because it's important. And it is WE who must introduce our friends to these artists, and the real roots of this art form. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Mon, 25 Sep 1995 12:04:50 PDT From: Michael Suffern Subject: Re: Blues-l Tape #3 >Your voice and music will be accessable to millions of people world-wide! ^^^^^^^^ Or 1217 as PW reports from the stats. Anyway, I'd like to contribute a couple but it will be months before I cut them (Live to DAT at a jam w/, hopefully, zeller Tom Rossen, and Jimmy Rogers' ex-drummer). A single CD could be produced for about $2.50 ea. in qty of 1000 -too many I think :( We could do 500 w/ 2 color art for $5.00 ea (might have to buy 500 casettes too to get that deal). We have the resources to do the artwork (hell *I* have the resources). I have the studio gear to master cassette mixes down to DAT (at 48KHz which requires paying to have it converted to 44 KHz for CD, unless I rent a digital converter or a pro deck). Mackie CR 1604, DBX single ended NR (for tape hiss), compressors, 1/3 octave EQ, Verbs and DSPs, and majik:Aphex Aural Exciter w/ (I am not kidding) Big Bottom!. Mike > On Thu, 21 Sep 1995 10:32:38 -0400 bob unger wrote: >OK, I've been thinking about this and talking with experienced people and >I think the best way to do this is through a commercial duplicator if there >are a lot of requests. The cost of the duplication, cassette and mailing >would not be very much. This is a BALLPARK figure....between $5 and $10 per >cassette. I have not checked with any companies yet, so dont quote me on >that price. Their is even the possibility of transfering the master tape >to cd (Pat H., I know I told you I wasn't going to look into that, but if >I'm going commercial, might as well check it out) > >Of course if the requestd are minimal, I can always make copies on my >home deck. > >Now, all this dont mean a damn thing if we dont have anything to put on the >tape. I already have 2 songs from one blueseller. Who else want's to go >down in Blues-l history as a contributing musician. Always to be remembered >in the Blues-l Hall of Fame. Show off to your gran chillun'! HEY! Maybe >we can get Curtis H. to put sound bites from the tape at his web site! Your >voice and music will be accessable to millions of people world-wide! > >So, all who are interested, contact me by private e-mail and let's get the >ball rolling...... > >BU >bob@sun.bnkst.edu ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/25/95 Time: 12:04:50 ------------------------------------------------------- ========================================================================= Date: Mon, 25 Sep 1995 11:38:00 -0700 From: Ned Kraft Subject: Innovative Paul DeLay (unless you call it Jazz) Ned ========================================================================= Date: Mon, 25 Sep 1995 14:44:57 -0400 From: Steve Levine Subject: Telephone interviews I have a question for my fellow blues journalists and writers - how do you effectively do interviews over the telephone? When I do interviews I always try to do them in person and use a tape recorder. I can't write very fast, and I don't know shorthand, so I like to record everything. When you do phone interviews do you have some way of taping the conversation? ========================================================================= Date: Mon, 25 Sep 1995 14:52:15 -0400 From: "Abe W. Mathews" Subject: Re: Imitation Blues toulouse@comm.net wrote: > on Sept. 25, phertel@cmc.doe.ca says: > > >Name ONE, just ONE artist that can't be said to be > >imitating those before and as per the blues you can > >take that back into Africa and Olduvai gorge! Geeez > > B.B.King, John Lee Hooker, and Charles Brown. I *know* that B.B. has admitted copping licks from T-Bone Walker, among others. As for John Lee, you might have something. Abe awmathew@mtu.edu ========================================================================= Date: Mon, 25 Sep 1995 13:51:42 CDT From: L W Subject: Amping a National (guitar chat) Anyone have good success amp'ing a resonator type guitar....? I have a DeArmond pu that fits, but it takes away the resonator sound. I tried many different things, but the best thing I've found is the innards of a lapel mic taped to the coverplate. it amps it and still has the National sound.....Any other ideas, besides buying a Highlander pickup system Thanks LW ========================================================================= Date: Mon, 25 Sep 1995 13:58:04 -0500 From: Bruce Roberts Subject: Re: Living Blues > The wounds caused by racism in this country may be healing but they > are still sensitive and sore. Racism is gouging new wounds on a daily basis. We've got a long way to go. Bruce Roberts Austin, TX ========================================================================= Date: Mon, 25 Sep 1995 11:58:30 -0700 From: Garry Segal Subject: Re: Song "Go Now" You wrote: > >Garry, > >If I heard correctly, it was Betty Briggs who did "Go Now" originally. I >have to agree with other Rock & Roll historians who feel that the British >Invasion (Beatles et al.) did not put the kabosh on R & B, but, rather, >on the crass commercial drivel of producer idolmakers such as Dick Clark. >Early '60's producers such as Lieber & Stoller, Don Kirschner, and Phil >Spector may have revolutionized R & R production values but they also >gave too many musically clueless record executive types the idea that >producers and A & R men know better than musicians. Had it not been for >the British Invasion we may have been condemned to a longer stay in >"Bobby Hell"--Bobby Vee, Bobby Rydell, and the pitiful others. > Hi Mike, Good points and also quite true. R&B did not escape unscathed by the British Invasion though. Many an American R&B artist was forced off the charts when the British cover of the same song came out . Pretty much like the aforementioned Betty Briggs song "Go Now" not getting the airplay thus not the $$s that the Moody Blues version did. take it ez, Garry (call me Bobby Angel ;-) S. Moodswingerpage http://www.island.net/~blues/BlueSngr.html BTW I have mixed feelings for Dick Clarks role because he stood by and took care of guys like Jackie Wilson when they needed it. Also I wouldnt lump Leiber and Stoller in there with Don Kirshner, Spector, they actually wrote FOR the Big Mama Thorntons not for Elvis's of the day.(Coasters , Drifters plenty 'o' cool R&B for me) ========================================================================= Date: Mon, 25 Sep 1995 18:58:45 GMT From: James Farris Subject: Tribute to John Lee Hooker John Lee, For all your great achievements and all of the great music that you have given us over the years, thank you! For your great love of people and for being the one and only Godfather of the Blues, thank you! This thread is intended as a tribute to John Lee Hooker. This is a place where anyone can write their good wishes, congratulations, or even a good story about John Lee. (It seems like everyone who has met this great man has a story to tell about the experience.) I will record the messages that you post to this folder and read as many as possible on my radio show. I will tape the show and deliver the tape to John Lee. All of John Lee's friends are especially encouraged to post messages to this folder because he dearly loves his friends. In fact, he loves people and has said so many times. Whether or not you missed the San Francisco Blues Festival's Tribute to John Lee Hooker, this is your opportunity to express your feelings publicly. Jammin' Jim Farris KKUP 91.5 FM Cupertino, California ========================================================================= Date: Mon, 25 Sep 1995 12:18:09 -0700 From: Mark Gentry Subject: Re: more dfw fests Hello Don, With all of the great bands scheduled to play in your neck of the woods this past weekend, were there any notable jam sessions between players of different bands that we should know about? I know you had to attend some of those shows. Any comments about the performances would be appreciated. Regards, Mark Gentry ========================================================================= Date: Mon, 25 Sep 1995 12:20:00 -0400 From: "J.E. Downey" Subject: Re[2]: Searchin' for The Wolf song My good bluezellers, I have a deep, painful confession to post: I own no Freddy King. Thus, arises the question (in addition to whatever measure of humiliation) , *what should I buy*? Grateful for all responses, Your humble foreign correspondent, Joe Downey (Moscow) J.E._Downey@bakermck.com ========================================================================= Date: Mon, 25 Sep 1995 19:49:03 GMT From: Rennie Selkirk Subject: Re: Cold Blood In article Bob vanArsdall writes: >William R. Tschanz asked: > >Her name was Lydia Pense. But I've got no idea what happened to her. Unless >my synapses crossed somewhere (always a possibility with remembrances of >things in that era) I seem to remember Cold Blood was one of the successors >to Stoneground, which had Sal Valentino of the Beau Brummels as well. Yes? > Lydia has been appearing a few times a year at JJ's Blues Cafe in downtown San Jose, CA. I think she's going to appear in October, though I'm not sure of the date. A friend of mine who's seen her was VERY excited about her act. Don't know if she tours, but I wouldn't be surprised to see her doing the resort hotel thing around N. Calif. HJB ========================================================================= Date: Mon, 25 Sep 1995 11:46:52 PDT From: rjbauman@IQUEST.NET Subject: Re: Ike Turner on Chuck Berry =====================I was tempted to ask the question - was CB R&B or rock-n-roll? I think Chuck answered it for me.======================= The new Musicland operated label "Excelsior" has put out a CD called LIVE AT THE FILLMORE by Chuck Berry. Almost the entire CD is straight blues, and Johnny B. Goode is argueably still blues. He was playing with Steve Miller's band. It was previously on Polygram in 1968. Selections include: Everyday I have the Blues C.C. Rider Driftin' Blues Hoochie Coochie Man It Hurts Me Too Good Morning Little School Girl Fillmore Blues Flyin' Home Feelin' It Reelin' and Rockin' My Ding a Ling Johnny B. Goode. I'm not arguing he was a bluesman, but I bet a lot of people didn't know he actually played this stuff. The Great 28 is a helluva CD, but I was happy to find some CB with blues on it. RJ Bauman (asked a clerk at Musicland to show me some blues when he asked if I was finding everything ok. I was joking, but he showed me this budget label blues stuff. Pretty cool. BB's "How Blue Can You Get" is licensed on that label now, too. I think it's like what BMG and Columbia House are doing.) ========================================================================= Date: Mon, 25 Sep 1995 16:27:00 -0400 From: Rick Miller Subject: Little Red Rooster (help please!) Hi guys....I beg your indulgence for a bit here.... My band keeps getting requests for the ol' classic "Little Red Rooster" and we're always having to tell people we don't do it. We all know the song, but we don't "KNOW" the song, know what I mean? Who wrote this tune and/or made it famous? Everyone knows the Stones did it, but they changed the arrangement all around, if I remember. Can somebody PLEASE send me the lyrics? What key is it usually done in? Fast, slow, medium, shuffle, boogie? For the life of me I can't find a cover of it anywhere in my collection and I don't want to go buy an album just to get one song, my wallet doesn't floweth over green. :( Thanks blues-l'ers! 'preciate it muchly! Riffin Rick (((( oo-) /- .....if you see a little red rooster, send 'im over to Rick's house. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Mon, 25 Sep 1995 16:28:03 -0400 From: Steve Levine Subject: Re: Telephone interviews I got a few quick, very helpful responses to my telephone question. everyone who responded to me suggested either getting a speaker phone or a recording device from Radio Shack. Both are good ideas. Thanks to everyone who responded sp quickly. -Steve ========================================================================= Date: Mon, 25 Sep 1995 19:59:52 GMT From: Rennie Selkirk Subject: Re: Jr. Kimbrough's Place In article <950921100601_25362302@emout05.mail.aol.com> Skipjames@AOL.COM writes: > >This question implies a relatively complete misunderstanding of what goes on >in Junior's (or a juke joint). You should realize that this is one notch >removed from a house party-- 'informal' is not a strong enough word. > There's about a minute's worth of Junior's place in the first episode of the 10-part PBS Rock 'n Roll history. Course they didn't mention him by name during the show, just a one-line credit at the end. I suppose they were looking for the modern-day equivalent of a southern juke joint that they could use to set the stage for their VERY cursory overview of the Chicago blues scene, which included about another 30 secs of an early '60s TV appearance (I would guess) by Muddy with the young James Cotton. (With annoying voice over, of course.) Oh, well. (I LOVED the Ronettes in episode 2, though.) Boogie on, HJB ========================================================================= Date: Mon, 25 Sep 1995 20:40:29 GMT From: Rob Frantz Subject: Any BluesJams/Open Mikes in Chicago Sun-Tues 10/8-10 I'm a harmonica player/singer who will be in Chicago for a work-related conference and would be interested in finding out about any bluesjams and/or blues open mikes that I might go to. Also, any recommendations for good, reasonably to low priced food in the area near my hotel, the Hyatt Regency, would be appreciated. Please post to this list or email to rfrantz@u.washington.edu Rob Frantz Seattle, WA ========================================================================= Date: Mon, 25 Sep 1995 20:47:03 GMT From: Rob Frantz Subject: What's happening Blueswise in Chicago Sun-Tues 10/8-10? I'm visiting Chicago for a work related conference and would appreciate any info on what's happening in Chicago for these three nights. I'm a harmonica player and singer and would love to play at a good jam or open mike, but also would also like a show. Of course, good harp players top my want list in this regard. Please email me a rfrantz@u.washington.edu. Yours, Rob Frantz Seattle, WA ========================================================================= Date: Mon, 25 Sep 1995 15:50:34 -0400 From: Willy Evans Subject: Re: Imitation Blues On Mon, 25 Sep 1995, toulouse wrote: > on Sept. 25, phertel@cmc.doe.ca says: > > >Name ONE, just ONE artist that can't be said to be > >imitating those before and as per the blues you can > >take that back into Africa and Olduvai gorge! Geeez > > B.B.King, John Lee Hooker, and Charles Brown. > These guys all had role models and musical heroes as well. Read LW's interview. Charles Brown mentions his. B.B. King has referred many times to guitar players he listened to and John Lee Hooker is from a long line of Delta Styled players. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Mon, 25 Sep 1995 17:01:49 -0400 From: Peter Welch Subject: Re: Ike Turner on Chuck Berry According to RJ: > I'm not arguing he was a bluesman, but I bet a lot of people didn't know he > actually played this stuff. The Great 28 is a helluva CD, but I was happy to > find some CB with blues on it. > RJ, There's a really nice Chuck Berry CD on the British Ace Label called "On the Blues Side". It's got over 20 cuts of Chuck's blues stuff he recorded for Chess between 1955-1965, most of these were flipsides to his more popular R&R stuff. Really good blues, IMO, and definitely convincing enough to call Chuck a bluesman. -Peter ========================================================================= Date: Mon, 25 Sep 1995 17:02:10 -0400 From: Tom Morgan Subject: Playlist: Sun Records Story I watched the PBS special on Rock and Roll last night and thought a good theme for today's show would be Sun Records. I know that my listening audience was surprised by how much black music Sam Phillips was producing before he went country. Title Group Year Label -------------------- -------------------- ---- ----- Gotta Let You Go Louis, Joe Hill 50 Sun Rocket 88 Brenston, Jackie 51 Sun T-Model Boogie Gordon, Roscoe 51 Sun Swamp Root Floyd, Harmonica 51 Sun Frank Howlin for My Baby Howlin Wolf 51 Sun Rats in My Kitchen Estes, Sleepy John 52 Sun Treat Me Mean and Louis, Joe Hill 52 Sun Evil Baker Shop Boogie Nix, Willie 52 Sun Easy Horton, Walter 53 Sun Just Walkin in the Prisonaires 53 Sun Rain Gospel Train Jones Bros 53 Sun Make Room in the Seratt, Howard 53 Sun Lifeboat For Me Mystery Train Little Junior's Blue 53 Sun Flames Tiger Man Thomas, Rufus 53 Sun Bearcat Thomas, Rufus 53 Sun I'm Gonna Murder My Hare, Pat 54 Sun Baby Cotton Crop Blues Cotton, James 54 Sun Rockin Chair Daddy Floyd, Harmonica 51 Sun Frank That's All Right Presley, Elvis 54 Sun Cry Cry Cry Cash, Johnny 55 Sun Someday You Will Pay Miller Sisters 55 Sun Let the Jukebox Keep Perkins, Carl 55 Sun On Playing Rock n Roll Ruby Smith, Warren 56 Sun Red Hot Emerson, Billy 55 Sun Defrost Your Heart Feathers, Charlie 55 Sun Ooby Dooby Orbison, Roy 56 Sun Ballad of a Teenage Cash, Johnny 57 Sun Queen Ubangi Stomp Smith, Warren 56 Sun Blue Suede Shoes Perkins, Carl Sun Breathless Lewis, Jerry Lee 58 Sun Flying Saucer Rock Riley, Billy 57 Sun and Roll Devil Doll Orbison, Roy 56 Sun Red Caddilac and a Smith, Warren 57 Sun Black Moustache Matchbox Perkins, Carl 56 Sun Lonely Weekends Rich, Charlie 59 Sun Guess Things Happen Cash, Johnny 58 Sun That Way High School Lewis, Jerry Lee 58 Sun Confidental Right Behind You Smith, Ray 58 Sun Baby ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Mon, 25 Sep 1995 16:06:52 -0500 From: Leo Jilk Subject: Leadbelly Can anyone recommend to me a good Leadbelly album to buy ("Leadbelly's Last Sessions"?)? I really like the song "Where Did You Sleep Last Night" (not that I'd have to have that song). However, if anyone can tell me the name of the album with that song on it as well it would be great. Thanks a lot Bluzellers! -L.A.J ========================================================================= Date: Mon, 25 Sep 1995 17:04:31 -0400 From: Barry Silverberg Subject: Rosie Mae Moore - help. Can anyone provide details on Rosie Mae Moore. I just picked up a compilation CD on JSP w/ Ms. Moore, Frank Stokes, Ishman Bracey and Tommy Johnson. Have heard of all but Ms. Moore so I'm looking for the background info. The recordings by her on this disc have a date February 3, 1928 with backup by Charlie McCoy and Ishman Bracey. I must say that the sound quality on this CD is close to stellar. Clear and full - very nice rem- astering job done from original 78's. Another case in point for supporting this fine label and it's output. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Mon, 25 Sep 1995 17:15:00 EDT From: edward c liu Subject: SITTING & THINKING: Luther Johnson/Country Sugar Papa Howdy all, My 2nd NYCD Blues "Sitting and Thinking" review, for Luther "Guitar Junior" Johnson's _Country Sugar Papa_ CD: LUTHER "GUITAR JUNIOR" JOHNSON - COUNTRY SUGAR PAPA (BB #9546) BULLSEYE BLUES/ROUNDER RECORDS CORP. ONE CAMP STREET CAMBRIDGE, MA 02140 The first thing that anybody ever mentions about Luther "Guitar Junior" Johnson is that he played guitar for Muddy Waters, and that's a damn shame. Luther is a consummate musician with a wonderful baritone voice and a unique guitar playing sound. He isn't a good guitarist because he played for Muddy Waters -- he played for Muddy Waters because he's a terrific guitarist. Letting him front his own band gives him a chance to show off his own, formidable vocal ability as well as his vibrato-laden, bent-note guitar playing (which, by the way, should be mandatory listening for anybody who wants to play electric blues guitar). Luther is also one of those rare guitarists who is equally at home playing rhythm and lead without missing a beat. There's a strong "live in the studio" feel to this CD. It sounds like an album that would have come out of Chicago in the 1950's, when studio time was hard to come by, overdubs and retakes were non-existent, and every track on a record had to count. There's an energy on this CD that is in far too few discs released today, and it bursts out every now and then in Luther's frequent whoops and shouts throughout the album. By the end of it, you'll probably be whooping and shouting along with him. WALKIN' WITH YOU BABY / IF THE BLUES WAS WHISKEY / BIG LEG WOMAN / CALLED ME ON THE PHONE LAST NIGHT / YOU TOLD ME BABY / SOUTHERN COUNTRY BOY / I'M A KING BEE / CAN'T COME HOME / I'M GOING BACK, BACK, BACK / I LOVE YOU / WHISKEY DRINKIN' WOMAN / AIN'T TREATING ME RIGHT / YOU BELONG TO ME NY CD-Takes WALKIN' WITH YOU BABY: An fast-tempo shuffle out of the Elmore James songbook. Luther's guitar is suitably fat and distorted, and his vocals are wonderfully raw. Plenty of whooping and shouting going on here, along with some nice saxophone work by "Sax" Gordon Beadle. IF THE BLUES WAS WHISKEY: A slow, deep blues grind. Luther digs deep enough to strike oil with his vocal performance and his tasteful, edgy soloing. There's also an enormous sense of pacing to his playing on this track. His solo is not so much played as crafted -- he wrings everything out of every note he plays. There are plenty of players out there that could learn from Luther about the spaces between the notes. BIG LEG WOMAN: A smooth, funky bass lead in kicks off this medium-paced shuffle, as Luther tells the Kate Moss-women of the world to move over for his "big leg woman, in a short short mini-skirt." Luther's guitar serves as a perfect counterpoint to his voice, and he provides plenty of his rapid-fire, bee-sting vibrato. Again, the timing and sense of pacing in the solos is perfect. CALLED ME ON THE PHONE LAST NIGHT: Just in case you didn't get down low enough with "If The Blues Was Whiskey." This is a similar slow sizzler, with more great sax work by Gordon. YOU TOLD ME BABY: Starting with a big laugh, Luther kicks into an upbeat riff-rocker. Big, chunky rhythm playing by Luther provides a solid backing groove for "Sax" Gordon, Eric "Two Scoops" Moore, and Ron Levy show off on sax, piano, and Hammond B-3, respectively. Luther stays to the background for this track, stepping forward for some nicely restrained soloing at the end of the track. SOUTHERN COUNTRY BOY: A quick Chicago shuffle, with Luther trading licks with Richard "Rosey" Rosenblatt's harmonica. Richard evokes the spare minimalism of Sonny Boy Williamson on this track, and provides a nice counterpoint to Luther's tasty fill-in licks. I'M A KING BEE: Another slow, sizzling number as Luther makes some honey. There's more of Rosey's harmonica, though this time he goes for some nicely distorted tone that's got "Chicago" written all over it. Luther provides a strong rhythm bed for Rosey to show off, and provides a smokey, sensual vocal performance. CAN'T COME HOME: A tune to the riff of Howlin' Wolf's "Smokestack Lightning." Luther's backing guitar evokes images of Hubert Sumlin, another terrific guitar player cursed to live in the shadow of his employer. More tasty harp from Rosey, and some nice use of reverb on Luther's miking. I'M GOING BACK, BACK, BACK: A slow R&B number, where Luther actually doesn't play until the very, very end. However, with Luther's marvelously soulful vocals, his chorus of backup singers, "Sax" Gordon's chops, Ron's Hammond B-3, and Ron Levy's piano, you may not miss his guitar. I LOVE YOU: A smooth guitar intro kicks off this track. Luther provides fill-in licks that should be in every guitar player's vocabulary, and kicks in the afterburners for the solo, with emphasis on the "burn." There's little flash to Luther's playing, but you don't need flash to make plenty of heat. More nice sax honking and a closing fade to some sweet Hammond B-3 sounds. WHISKEY DRINKIN' WOMAN: Another slow blues that's got so much texture you can practically feel it coming out of your speakers. There's a lot of excellent interplay between the musicians: Luther duels with "Two Scoops'" piano while "Sax" Gordon duels with Rosey's harp. It would be easy for this one to turn into a colossal musical mess, but each member of the band manages to show off his considerable skills without quashing the others, and they know when to stop duelling and hit the right licks in sync. If this one isn't a blues classic, it ought to be. AIN'T TREATIN' ME RIGHT: A John Lee Hooker-style foot-stomping boogie, with a solo Luther pounding away continuously on a guitar (and probably the floorboards) while moaning mantra-like vocals. Not many musicians other than John Lee Hooker can pull numbers like this one off, but Luther makes it sound easy as pie. YOU BELONG TO ME: More chunky rhythm playing drives this fast-paced rocker that evokes Luther's version of "Walkin' The Dog." Luther sticks mostly to providing that solid rhythmic bed to this Magic Sam tune, and a vintage Luther whoop kicks off great piano and sax solos. The CD closes to one last, faded Luther solo. Reviewed by Edward C. Liu Copyright NY CD Blues - 1995 -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Mon, 25 Sep 1995 16:19:56 CDT From: L W Subject: Re: Imitation Blues ----------------------------Original message---------------------------- > > >Name ONE, just ONE artist that can't be said to be > >imitating those before and as per the blues you can > >take that back into Africa and Olduvai gorge! Geeez > > B.B.King, John Lee Hooker, and Charles Brown. > >These guys all had role models and musical heroes as well. Read LW's >interview. Charles Brown mentions his. B.B. King has referred many times I think the term for all of this is "influence" not imitator, but then I don't know how the thread started. I think it would have been a better thread, had I kept my mouth/fingers shut...I think I took it down a wrong path, than the originator intended...sorry LW ========================================================================= Date: Mon, 25 Sep 1995 17:49:01 -0400 From: cnotes@CNOTES.COM Subject: Re: AVI/Excello/Nashboro/Sun - Web Site At 7:59 PM 9/22/95, Barry Silverberg wrote: > Thanks for the note - but what's the http for the site. I'd > very much like to visit. > Hi, Barry; here you go: http://www.cnotes.com/cnotes.soul.html Take care, Mike Corso CNI <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> CNI Telecom ---------------> http://www.cnotes.com/telecom/cnitelpage.html Switch Long Distance Carriers & Help Fight For Reduced Defense Spending, Elimination of Corporate Welfare, Campaign Finance Reform, Environmental Protecton, Health Reform, and Human Rights. Info: longdistance@cnotes.com <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ========================================================================= Date: Mon, 25 Sep 1995 17:27:19 +0000 From: Ian Angus Subject: Re: Telephone interviews > I have a question for my fellow blues journalists and writers - how do > you effectively do interviews over the telephone? When I do interviews > I always try to do them in person and use a tape recorder. I can't > write very fast, and I don't know shorthand, so I like to record > everything. When you do phone interviews do you have some way of taping > the conversation? > I went to Radio Shack and bought a $10 device which is just a microphone in a suction cup, connected to a minijack. Plug it into my cassette recorder, stick the other end to the earpiece, and it works fine. The quality isn't always great, but I have even used this device to get interviews for broadcast purposes. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 25 Sep 1995 17:27:19 +0000 From: Ian Angus Subject: Re: Sad news from Memphis > Mr. Booker T Laury, barrel house piano player and a life long resident of > Memphis, Tennessee passed away at the estimated age of 82 on Saturday, > Sept. 23, 1995 I had the good fortune to meet mr. Laury in the Summer of 1994. He was performing at the Harbourfron Souk & Blues festival in Toronto -- his first visit to our city -- and I eagerly volunteered to MC his sets. He was a fine gentleman, and still performed in the old style, designed to be heard over the fighting in bars, in an era when there were no microphones -- loud piano, even louder singing. He was callerd "Slop Jar Laury" in the 1930s. As he told the story, he was flirting with a lady at a party, so his wife threw the slop jar (chamber pot) at him, knocking him out. He had to go to hospital to get stitches, and still bore the scars. He finally got to make his first US recording at the age of 80 -- he had made a couple in Europe, where America's blues heritage is valied more than it is at home. Just two weeks ago, I devoted my show to piano blues in honor of Mr. Laury's birthday. Another giant passes... Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 25 Sep 1995 17:51:47 -0400 From: "Scott E. Jeffcote" Subject: Re: Deep Blues in Boston I have been looking for a copy of "Deep Blues" on video ever since I saw it at the Blues Museum at Ole Miss in Oxford. They were nice enough to let me and a buddy of mine watch it in one of the back rooms. We must of rewound the tape thirty times to see that man dance in front of the BBQ stand. If anybody knows where I can get a copy please let me know - I want one badly. ========================================================================= Date: Mon, 25 Sep 1995 18:13:04 -0400 From: "Scott E. Jeffcote" Subject: Re: Kenny Wayne Shephard??? Kenny Wayne Shephard is from Shreveport, La. He is about 18 years old. His father was/is a promoter in Sherveport - that is how Kenny got to meet and play like Stevie Ray Vaughn. Kenny is one hell of a guitar player. I saw him for the first time about a year ago when he opened for Johnny Winter at the House of Blues in New Orleans. When he walked out on stage I thought he was going to waste my time. By the end of his set I was astonished. He put on a hell of a show. I soon met him at a B.B. King concert here in Baton Rouge, where he and his band were the backup band for noneother than Bo Diddley. I again met him at the Eric Clapton concert at the HOB. He said that his new album was supposed to have already been out but it would be out in the early part of 1995 on Giant. You can also hear his guitar work on some of the Jewel Records compilation albums where his guitar was added to some of the songs. Be on the lookout for this kid and his guitar - the voice isn't quite there yet, but it will be. ========================================================================= Date: Mon, 25 Sep 1995 17:36:40 PDT From: rjbauman@IQUEST.NET Subject: Re: Imitation Blues You can't to expect to innovate very much anymore and stay BLUES. Sounds simplistic, eh? Oh, well. When it comes down to it that's the way it is at this point. Then again, one doesn't have to stay strictly blues. If this weren't a blues discussion list, I hardly think we'd see the level of criticism we do about artists who aren't strictly blues. It's just different, not necessarilly bad. It only irks me when blues is represented as something it is not, like the Billboard chart is doing. I really like the new Jeff Healy CD, but 90% of it is not bluesy. RJ Bauman (blues comes first, but I like IT ALL) ============Well, I guess I hear a lot of innovation / new / different from Jimmy Dawkins and Keb' Mo' and Robert Cray (like 'em or not), among others. Problem is, if black bluesers become TOO different, we accuse them of "Selling Out" to commercial funk/rap/hip-hop, and they cease to be bluesers to our ears. If they don't sell out to commercial interests, then they become jazz artists to us, worthy, buy not blues. And if white bluesers become TOO different, we call it blues-rock, or plain old rock, and they cease to be bluesers to our ears. Hard to win where we're concerned....=============== ========================================================================= Date: Mon, 25 Sep 1995 18:00:00 CDT From: Bonnie Kalmbach Subject: Re: Playlist: Sun Records Story On September 25th, 1995, Tom Morgan wrote: >I watched the PBS special on Rock and Roll last night and thought a good >theme for today's show would be Sun Records. I know that my listening >audience was surprised by how much black music Sam Phillips was producing >before he went country. Looks like it was a great show! ...wish I could've heard it. -Bonnie > > Red Hot Emerson, Billy 55 Sun "My Gal is Red-d-d Hot" "Your Gal ain't Doodley Squat!!!" ========================================================================= Date: Mon, 25 Sep 1995 18:38:00 CDT From: Bonnie Kalmbach Subject: Re: Sad news from Memphis On September 25th, Ian Angus wrote: >I had the good fortune to meet Mr. Laury in the Summer of 1994. He >was performing at the Harbourfron Souk & Blues festival in Toronto -- >his first visit to our city -- and I eagerly volunteered to MC his >sets. > I also had the pleasure of listening to BOOKER T. LAURY play some great barrelhouse blues for an entire evening in the "Mallard Room" which is a little bar inside Peabody Hotel in Memphis, Tennesse (not where the duckies stay after they finish their daily job of cavorting for the tourists in the Peabody fountain). We were looking at some T-Shirts at an outdoor stand on Beale Street after the band in Handy Park packed it up for the night. On one of the shirts was a picture of a piano player. "Who's that?" we asked. The elderly vendor replied "Oh, he's over at the hotel!", pointing to the Peabody on the next block. We decided to go and check him out whoever "he" was. Booker was really into it that night about five years ago prompting much applause and inspiring many trips up to his piano to put money in his brandy snifter/tip jar by of a buncha Wisconsin Badgers on their merry way to the King Biscuit Festival. ** (I'm not sure if this was the year I saw James Cotton blowing harp in the falling-down gazebo next to the Daisy Theater or not - but I sure have had some great musical times in Memphis, Tennessee) -Bonnie ========================================================================= Date: Mon, 25 Sep 1995 19:42:10 EDT From: Joseph Leichter Subject: Re: Living Blues, White Blues, etc. Thats a really sad editorial policy. When the Muddy Tribute band came to Providence last year, a local paper printed an interview about Muddy with Paul Oscher (aka Brooklyn Slim) who was the Mud's harp player for a while in the sixties (most notably on portions of the "Live at Mr. Kellys" album) Slim was only 15 when Muddy asked him to join the band .Oscher's stories about Muddy, both the man and his music were something! He recalled that the first time he was at Muddy's house, Muddy picked up an acoustic guitar and sang with such intensity that every square inch of that house was filled with his voice.. I wish I could remeber more of that interview. But to think that LB would not print these stories about Muddy simply because Oscher is white....stupidity and short-sightedness at best, racism at worst .......just my $.02...flame away if you will, all responses ignored .. ========================================================================= Date: Mon, 25 Sep 1995 20:18:33 -0400 From: Scott Bohon Subject: UK Blues I'll be vacationing in England and Ireland for a couple of weeks starting October 1, and am interested in any local blues action. Any ideas, especially in London, from you dedicated UK blues-l'ers? Thanks. Scott ========================================================================= Date: Mon, 25 Sep 1995 19:58:17 +0000 From: Ian Angus Subject: Blue Soul line up Playlist for BLUE SOUL, WED SEPT 27 CKLN-FM 88.1 TORONTO IN MEMORIAM -- Booker T. Laury, Introduction to the Blues DUETS -- BB King & Katie Webster: Since I Met You Baby -- Koko Taylor and Lonnie Brooks: It's A Dirty Job -- Don Gardner & Dee Dee Ford: I Need Your Lovin -- Inex & Charlie Foxx: Mockingbird -- Etta James & Harvey Fuqua: Spoonful -- Lavern Bakwer & Jummy Ricks: You're the Boss SAFFIRE: PRE-CONCERT PROMO -- Saffire: Don't You Tell Me -- Interview With Ann Rabson -- Saffire: How Can I Say I Miss You -- CD Giveaway NEW CANADIAN BLUES -- Trailblazers: Torch For You -- Trickbag: Mind Your Own Business TELEVISION IN BLUES AND R&B -- Dinah Washington: TV is the Thing this Year -- Big Joe Turner: TV Mamma -- Reggie Hall: The Joke -- The Marquees: Wyatt Earp -- Olympics: Western Movies -- Coasters: Along Came Jones SMOKEY JOES CAFE: REVIEW & CAST RECORDING -- Keep on Rollin -- Searchin -- Kansas City -- Trouble ORIGINALS AND ANSWERS -- Big Mama Thornton: Hound Dog -- Rufus Thomas: Bear Cat ONE NAME, TWO SONGS -- Sticks McGee: One Monkee Don't Stop No Show -- Big Maybelle: One Monkee Don't Stop No Show ATLANTA R&B OF THE 50s -- Stomp Gordon: Damp Rag -- Margie Day: Take Out Your False Teeth Daddy EXTRO -- Saffire: Bitch With A Bad Attitude Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Mon, 25 Sep 1995 20:12:18 -29900 From: Michael Kaloyanides Subject: Re: Blues-L tape #3 I must offer a correction to Michael Suffern's description of the M-S microphone technique. It traditionally employs a bidirectional or figure-8 pattern microphone such as a ribbon microphone for the Side pattern and a cardioid or hypercardioid microphone for the Middle pattern. To avoid phase problems all the diaphragms or ribbons or elements must be carefully aligned on the same vertical axis. The cardioid mic points directly at the performer(s) and the figure-8 mic's axes are perpendicular to the cardioid's axis and performers. This two microphone technique can provide excellent stereo imagery if done right. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Mon, 25 Sep 1995 20:01:48 EDT From: "Paul R. Seibert" <74363.3247@COMPUSERVE.COM> Subject: Salty Papa Band Hello all, My name is Ralph Lusian and I am new to the Blues-L list. It was recommended to me by a fellow musician, and his advice was well taken, for I have really enjoyed the discussions here. It feels good to have a dedicated blues list and a suitable forum for discussions of this ilk. I am the leader of the Salty Papa blues band. We are based in Tuscaloosa, AL and we are _serious_ musicians dedicated to the music of SRV, BB, Albert, Albert Collins, T-Bone, et all. Recently we have dabbled in some more jazz-influenced numbers such as Herbie Hancock's 'Chameleon' and others. The band consists, in various iterations, of guitar (myself), bass, drums, hammond b3, and sax. Everyone in the band shares the outlook of wanting to perform our music truthfully according to the mores of the true blues community, or at least as we percieve those to be. I am interested in setting up some gigs locally, and also would like to solicit the help of any of those on the list who could assist me in expanding our choice of venues to Georgia, Florida, Alabama, Arkansas, Mississippi, Tenn, etc. (southeast). The band is availible for special events and functions, and we have experience at such festivals as King Biscuit, Cityfest in T-town and Birmingham, the Down Home blues fest, and others. I would be happy to discuss booking information or just the blues with anyone. Please respond private email: 75262.1467@compuserve.com or call me at 205-556-2335. I have demos and promo material availible for review upon request. Once again, my thanks to all those on the list who have provided this forum for us struggling blues fanatics . Take Care, -Ralph Lusian ========================================================================= Date: Mon, 25 Sep 1995 23:09:06 -0400 From: Brenda Bogert Subject: Re: Living Blues On Mon, 25 Sep 1995, Don Cicchetti wrote: > > 2. If it were not for whites, the blues would be a little postscript in > musicology and a few scratchy records at the Smithsonian. Several > successive generations of African Americans have rejected the blues, and it > was white and brown Americans (and others) who kept it alive, and provided > the core audience for the great artists we all love for the last several > decades. I think you give whites too much credit, Don. Sure, the older "rediscovered" performers like Son House and Skip James were no longer popular with younger blacks, but folks like Riley Puckett and the Delmore Bros. weren't popular anymore with young Southern whites either! I don't think that any generation of African-Americans has rejected the blues, and actually, African-Americans have been the "core audience" that has enabled the blues to survive and develop.Even in good ol' Louisville -- hardly Metropolis USA -- there are quite a few black blues bands who play mainly at black-owned clubs, where, incidentally, there are lots of young people in the crowd. Sadly, hardly any whites go to clubs in black neighborhoods and very few blacks go to clubs in white ones. Several of the musicians are only in their 20's and others have been gigging around town for over 40 years. So, the blues has been, and is, appreciated in the African-American community here and continues to thrive. Louisville KY Pen Bogert Louisville, KY ========================================================================= Date: Tue, 26 Sep 1995 11:30:43 +0800 From: peter palmer Subject: Re: Deep Blues in Boston Hi,, I saw it a a Film Festival last year here in Singapore - they didn't pull focus till after the 20th minute and the sound was distorted for over half an hour but yes it was superb and I'm looking for it as you know. I accidentally found the soundtrack on cd while in Malaysia last year - if you haven't got it, do drop me a line and I'll give you the record company details, no's etc.] the soundtrack contains a couple of different things to the movie but, like the movie is extrmely powerful and most emotive. Best Regards Peter P. At 05:51 PM 9/25/95 -0400, SJeffcote@aol.com wrote: >I have been looking for a copy of "Deep Blues" on video ever since I saw it >at the Blues Museum at Ole Miss in Oxford. They were nice enough to let me >and a buddy of mine watch it in one of the back rooms. We must of rewound >the tape thirty times to see that man dance in front of the BBQ stand. If >anybody knows where I can get a copy please let me know - I want one badly. > *********************************************************************** Copy Tiam: Creative Direction, Copywriting and Air Media " ISN'T IT GREAT Production .#04-05 Wilmer Court, WHEN YOU WRITE 1 Leonie Hill Rd. Singapore ALL THE TIME?. " Singapore Fax & Ph:(65)732 3144 copytiam@singnet.com.sg. ************************************************************************ ========================================================================= Date: Mon, 25 Sep 1995 22:37:41 GMT-6 From: Eliot Williams Subject: Chuck Berry on the R&B charts (was: Ike/Chuck) According to chart guru Joel Whitburn (Top R&B Singles 1942-1988) Chuck Berry ranks 71st all-time among R&B artists. He's ahead of Little Richard, Joe Turner and Muddy Waters but behind James Brown, Etta James and Rick James, to name a few. This ranking is based on the number of R&B chart hits he had and obviously is not neccessarily a reflection of Berry's popularity, or lack of it, among blacks. Chuck is credited with three #1 R&B hits: "Maybelline", "School Days", and "Sweet Little Sixteen". EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Tue, 26 Sep 1995 03:44:37 GMT From: Paul L Pearson Subject: Central Iowa Blues Update Bob Margolin at Sheffield's in Des Moines on the 27th Junior Wells at the M-Shop on the 6th of October. Chris Duarte at Electric Park in Waterloo on the 6th and at Roadhouse Ruby's in Des Moines on the 7th. -- Paul L. "Pro" Pearson President, Kurt Rambis Fan Club (unofficial) Ames, IA Chapter ========================================================================= Date: Mon, 25 Sep 1995 22:55:51 GMT-6 From: Eliot Williams Subject: When A Man Loves A Woman Here's a question for the soul music buffs out there: While watching tonight's episode of the PBS Rock & Roll series they played a little snippet of Percy Sledge's classic "When A Man Loves A Woman". It sounded distinctly different (and actually better!!) to my ears than the hit version, and I was left wondering if I'd heard the supposedly superior second take of this song that Peter Guralnick refers to in his book "Sweet Soul Music". Guralnick says that Sledge, Quin Ivy, Rick Hall et al made a fairly crude demo of the song and sent it to Jerry Wexler, who liked it and suggested that they re-record it for release as a single. They did, but for some reason Atlantic ended up releasing the demo version instead. Does anyone know if the second version has ever been released on record or CD? Was this what I heard tonight? EW Eliot Williams University of Wisconsin Medical School ecwillms@macc.wisc.edu ========================================================================= Date: Mon, 25 Sep 1995 22:34:00 -0400 From: Michael Abbott Subject: Re[3]: Searchin' for The Wolf song I have an album called "Taking Care of Business", which is, I think, a compilation. It's got a number of his classics - Taking Care of Business, Have You Ever Loved A Woman & Hideaway (wouldn't be much of a compilation album without that particular tune). Its the only Freddie King album I have (I'm almost as deprived as you are!), but it gets plenty of airplay. Michael Abbott ========================================================================= Date: Tue, 26 Sep 1995 04:37:44 GMT From: Robert Teeter Subject: Re: SF Blues Radio: was SF Blues Calendar Tom Mazzolini's show is now on Saturdays 11 a.m. to 1 p.m. on KPFA. You might turn on KPFA two hours earlier and hear Johnny Otis' show too with blues, R & B, and early rock 'n' roll. KFOG (104.5 in San Francisco, 97.7 in San Jose) has the House of Blues hour Sunday nights at 10 or 11. -- Robert Teeter rteeter@netcom.com ========================================================================= Date: Tue, 26 Sep 1995 05:21:28 GMT From: Robert Teeter Subject: San Francisco Blues Festival I don't see a review of the San Francisco Blues Festival, so I'll have to do it. The headliner was John Lee Hooker, who played at the end of the day Sunday. It was billed as a "tribute" ("John Lee Hooker and Friends") and, apparently, a farewell. The "friends" turned out to be a stellar group of musicians. Ry Cooder played with the Hook on "Crawlin' King Snake." Then JLH called out all the stars from back stage -- Charlie Musselwhite, Luther Allison, Roy Rogers, Zakiya Hooker (his daughter with a career of her own), and Vala Cupp (his usual singer). They did "Boom Boom" and a rambling boogie. JLH didn't play much, but he sang and kept the boogie going. The audience was on its feet. We had been waiting two days for this, but after about 20 minutes, JLH got up and went back stage. People refused to believe it was over. Producer Tom Mazzolini had to announce that there would be no more songs and that was Mr. Hooker's wish. It was a disappointment, but then Hooker hasn't been at his best for a long time. Nevertheless, it's always exciting to be there under his influence. Junior Wells was another disappointment, but I was somewhat prepared for that having read what people on this list have said. He mumbled all the words and played the same harp solo on every song. He either didn't care or had been drinking or both. But those were about the only disappointments. It was really one of the best SFBFs. Little Milton put on a polished show that reminded me of B. B. King's showmanship. Hank Ballard did his R & B hits ("The Twist," "Finger-poppin' Time"). He put on a good show, too, but I preferred some of the other things he and his band (including the Hollywood Horns) did, such as a Sam and Dave medley. Luther Allison put on a blistering guitar set. He's making a stateside comeback after living in Europe for 20 years. Joe Louis Walker did a mixture of contemporary styles, including bottleneck slide. I'd seen him in a small club about 6 or 7 years ago and didn't know what to expect. I think I didn't appreciate him enough then, but I like him much better now. I particularly enjoyed his new song, "Blues of the Month Club," a catalog of postal woes. Lavelle White was in fine voice, accompanying herself with bawdy hip swinging. Debbie Davies plays a mean guitar, showing the influence of his late boss, Albert Collins, and her hero, Albert King. The Fat Possum Mississippi Juke Joint Caravan included two traditional blues performers, R. L. Burnside and Junior Kimbrough (both seen in the documentary "Deep Blues"), and Dave Thompson, a young guitar player to watch. The audience didn't seem to appreciate the primal style of Burnside and Kimbrough, but it was a treat to hear that kind of juke music on the West Coast. Another performer to watch is the young zydeco player Gino Delafose. Preacher Boy (not a promising name, I know) does a kind of eclectic Elmore James-ish music on National steel guitar. Soul Drivers, a promising Santa Cruz band, got a boost when the unbilled Angela Strehli sang with them. I was able to catch a longer set Saturday night at Boz Skaggs' club, Slim's. Joe Louis Walker sat in at the end. All in all, a great festival. I'd like to hear from other Blues-lers who were there, either here or by e-mail. I saw some Blues-L T-shirts, but I was too shy to say hi. Let me know who you are, so I don't have to post unflattering descriptions of you! -- Robert Teeter rteeter@netcom.com ========================================================================= Date: Mon, 25 Sep 1995 23:43:39 PDT From: Michael Suffern Subject: Joliet--->Tampa connection Finally getting caught up on the important things... Two weeks ago Judith and I went to St Pete, FL, to see some of our friends from last years Royal Albert Hall, some of our old haunts and restaurants, E.C., and P.W. Fenton. Our friends had us to dinner and showed me a thing or two about entertaining. Jim and Cheri really are great hosts. They collect concert memorabillia and Jim made a replica of an HOB entrance as the door to the 'playroom' upstairs where everything from signed gold records of the Stones "Sticky Fingers" to Allman Brothers' set lists reside. E.C. play a great first third of a show (the acoustic stuff, R.J. thru electric Elmore James and Howlin' Wolf. The rest of the show was uninspiring, except for an emotional and pure performance of "Have You Ever Loved A Woman". The crowd was talking and getting up to buy beers and such and the sound people blew more than a few cabs during the show. He just put in his 2 hrs. and 3 min. for the last 2/3. Then we went to the Ringside Cafe on 4th St. in St. Pete. We used to live up the street and we never stopped in (it was mostly rock back then I think). We hoped to eat, hear some SRV covers and meet Russell and Nick, other slowhand list members from elsewhere in Florida. Russell showed up with a friend and we had a nice time. The band was good, but, I have finally decided that I'm not turned on especially by SRV style players. Stevie was Stevie and the rest of them remind me of Blues versions of Steve Vai and other rock technicians (probably know scales and modes and everything) ;-) Had some great fish dip and the first cuban sandwiches in years - turns out the best in SW Florida are 7-11, pressed and done up right! Friday night was the other hightlight. After eating Peach Empanadas at the "Tex Mex Cantina" on the causeway, we headed into Tampa for Ybor City and the Oak Barrel Tavern. Lots of micro-brews, lots of happy people (and traffic - a high density liquor license area), and lots of Blues. I was surprised to see how much the Blues scene grew in 6 years! Several Blues bars and many more that rotated Blues and Rock. The Oak Barrel was featuring none other than our own P.W. Fenton and the Second Ward. I told P.W. via e-mail before we left that I always carry my bag-o-harps when I go anywhere there may be music, and not to feel funny if he didn't feel comfortable calling me up during his Friday night gig. Well he didn't feel funny. We went up and introduced ourselves between sets and P.W. asked if I had my harps. I told him I had my best harps for the most common keys (I took out the unbalanced and bum harps so as not to be tempted to use them) and pulled a few out and wailed a few notes to test them and demonstrate. That was enough for the good natured and easy going P.W. (an imposter you say, not the one you know? Well, I guess you could sum it up by saying that the music must be very important to him, and when he's playing it, you could probably 'ask Daddy for that new dress'.). Then he asked if I wanted to sing one. Well, "Stormy Monday" in G is one of my fave standards so we agreed on that - One Blues, one Funk, and one Allmans version. P.W. recommended an Adams Octoberfest brew and I kept prompting Judith to drink it. She has never seen me play the Blues out. She has seen me play the piano years ago, when I was first learning, at a company Chirstmas party where the Glenleviet was flowing freely, and I made a speech about all of the funny problems we had had on our recent Wedding trip (Lake Tahoe tacked on at the end of a Job realted trip to Rolm in San Jose). Naturally she was *very* nervous about me playing with Paul. The band came back and played a few songs, one by P.W. that was very nice. P.W. has a great voice. Very powerful, wide range, and a lot of complexity in the upper partials. A good 'bedside manner' too. A happy band. Though they were playing with a new bass player, they were all pros and put on a good show. Then P.W. welcomed "our special guest, Mike from Joliet Illinois". Fact. I was born in Chicago, raised in Joliet, and, o.k. Tom, I live in the hip locality of Elk Grove Village' now, but *I'm from Joliet*. I grew up a bike ride from Stateville (we weren't too scared, the reining logic was that the first thing an escapee wanted to do was get as far away from there as possible). We launched into a midtempo tune together and Paul gave me several solos and vocal encouragement, ala Albert King. Judith and the audience were promptly forgotten as the music took me away. I wailed on top of the pulse P.W. and the band provided. A few cheers and hoots from the audience filtered thru and pushed me to try more. At one point during the funk number, I was quoting the lead guitar on alternate phrases which was great fun. When P.W. came back in with the vocals or the lead came in I came back to the stage from the Ether and played tasty fills. It was like being aware of where I was all of a sudden and that there was an audience and a wife out there. So, I'd start to boogie and play some fills and rythym and have a moment to feel self concious. I felt so comfortable with P.W. and the bands' groove, and the appreciative audience (and P.W.'s encouragement and validation), that those were the moments of conciousness that I was able to enjoy what was going on. I mean the solos were pure Nirvana - I just became one with the harp and the notes and the pulse and the physical sensation of inhaling and exhaling and bending those notes. The only time I've had a more into it time on the harp was playing "Smokestack Lightning" with a Southern boogie band during a jam (3rd through 10th weren't too far behind).Paul gave me a good send-off with the words, "Straight from the heart...". It was great fun. Check them out if you're in the area (and park at the city lot at the West end of 9th is it?). We extended our stay another day to enjoy the Gulf and the cuban sandwiches at 7-11 and were rewarded with one of those great St. Pete sunsets. So another blues-l meeting and jam to chalk up. Thanks Paul and thanks blues-l... Mike p.s Judith now says I can jam anytime and no longer worries about my 3rd appendage / bag-o-harps going out with us. She also says it made her horny, ('cause it was exciting and she loves me and I'm her man or something like that), anyone else have data to add to that? ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/25/95 Time: 23:43:39 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 01:08:36 PDT From: Michael Suffern Subject: Re: Harp help The Quick and Dirty Harp Primer ------------------------------- 0. Forget the crap that comes with harp about playing in the key the harp is in. That's straight harp and it's for folk ("Oh, Suzzanna"). You want to learn 'cross harp' or second position. You play a harp in a key that is roughly the fourth whole key higher than you are in - that's Blues harp. 1. Find a song to jam with in B... (for an E harp, better get a C and a D harp for songs in G and A. I think FTC has one) Draw on 1,2 and 3 and cue each tune till it sounds right. That's the root chord for that key in cross harp. 2. Pucker up into a comfortable, kinda' loose, O So you can play only one hole. Don't try too hard or force the note. 3. Play the 2 Draw on the I. The 2 Draw is your root (in cross harp) - the 3 Blow is also but can't make a chord for the I. This way if you hit a few adjacent notes . it still sounds o.k. 4. Play the Blow 4 on the IV. 5. Play the Draw 1 for the V. 6. Play the Blow 1 for the slide down to the IV on the turnaround. 7a. Learn a Tremolo (pitch modulation). The standard and easiest one is to alternate between two adjacent notes by moving the harp back and forth sideways. Very useful for the 4 to 5 chording vibrato (with bend!!!) 7b. Learn to bend. Bend by cramping the note while Drawing. Increase the volume of space in the mouth by... Pull the tongue down into the back of the mouth, curling it. Press a little harder with your lips, to the harp. Pull that note down as if you were starting to siphon gas. (It's very physical) This takes a while to get the hang of and each note requires a different amount of pulling to bend. The 1 is easy (this gives you the slide into the V - IV turnaround, try that first). The 2 is important to bend but a bit harder. This is the "I'm a Man" and many other Muddy waters tunes riff. The 3 will bend beyond one half step, bit may be hard. The 4 is harder to bend. The 5 is the wail note. Bend the 5 and release it and repeat and you have the essential emotion maker, the 'cry' phrase. 8. Learn to use your breath and tongue to stop the sound and stutter, etc. 9. Learn to use your breath for a vibrato (volume modulation) effect. This is really advanced, I still suck at it. 10. Go out to the park and sit in your car and jam after lunch. You'll meet new friends and learn at the same time. Beware the average car tape player does not play in tune. If you're lucky it will be exactly one half step off. 11. Get 4 or 5 harps for the common keys that guitarists play in and go jammin' - everybody needs a harp player. (For E get an A harp) (For G get a C harp) (For A get a D harp) (For B get a E harp) (For C get an F harp) 11. Above all, play what you heart tells you to. As you improve, your heart has more options. 12. Have Fun!!!!!!!!! Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/26/95 Time: 02:08:35 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 07:37:59 GMT From: Jef Jaisun Subject: Re: Imitation Blues Brenda Bogert (bogert@IGLOU.COM) wrote: : Another Tampa hit "Sweet Little Angel" is often presented as a : Robert Nighthawk or B. B. King original. Huh? On my copy of "Live at the Regal" it says (R. King--J. Taub, Modern Music Pub. Co - BMI). : find some great material to perform. *Everybody* covers SRV, Clapton, : Hendrix, Muddy, Howlin' Wolf but *nobody* can improve on those originals : (IMHO). If you must do covers, why not choose from the thousands of : great blues songs out there that the typical audience has not heard. Do : we really want to hear another rendition of "Texas Flood" by Little Bob : and the Basement Crawlers? Maybe their girlfriends do. : Great bluesmen are born -- not created! This is some of the most elitist, bullshit claptrap I've ever read! I understand your objection to the poseurs of the blues, but come on. Next thing you're gonna tell me is that only poor black men from cotton fields can really know enough about the blues to play them. Excuse me for being in a real pissy mood, but I'm fed up with this hooey. That's one reason I don't hang out on Blues-L like I used to... I'm just plain tired of all this "my blues idol is more authentic than your blues idol" garbage. It parallels comparisons with personal anatomical parts. To quote Freddy King, "Use what you got, it don't make no difference about your size." (Gee, I sure HOPE it was Freddy King who said that originally. I'd hate to reveal myself as being partial to imitators.) I know for a fact Frank Zappa said, "It's all just one big note." And Frankly, Scarlet, I don't give a damn who plays it as long as it sounds good. The rest of this stuff is just a lot of self-indulgent wanking. ============================================================================= Jef Jaisun, who will soon be switching to decaf eljefe@netcom.com "Let's get together, yeah yeah yeah..." Was originally performed by: A. Dino Valente B. H.P. Lovecraft C. The Youngbloods D. Jefferson Airplane E. The Beatles F. Hayley Mills Blues Band ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Tue, 26 Sep 1995 07:40:53 GMT From: Jef Jaisun Subject: Re: HOB and Tip's P.W. Fenton (pwfenton@GATE.NET) wrote: : My first trip to New Orleans all I wanted to see was the legendary : Tipitina's. When I got there I was very disappointed. Unbearably : hot, crowded, dirty, and un-accommodating. I didn't stay for the whole : show. My feeling then was that they were simply milking their : historical reputation dry. A bit like the town itself, n'est-ce pas? Jef Jaisun -- eljefe@netcom.com ========================================================================= Date: Tue, 26 Sep 1995 05:24:45 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 26th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BARTZ, GARY LEE (sax) b. 1940-0926, BALTIMORE, MD BRAZIER, GEORGE (b/tbn) b. 1913-0926, ST. LOUIS, MO BUCK, JAMES (v/COLD BLUE STEEL) b. 19 -0926, TX CHAMBERS, GEORGE E.(of THE CHAMBERS BROS) b. 1931-0926, FLORA, MS GABLER, SUSIE (co-founder: COMMODORE REC) d. 1979-0926, LONG BEACH, -- HALL, RENE (awesome g/arr/prod) b. 1912-0926, MORGAN CITY, LA HARE, AUBURN "PAT" (g) d. 1980-0926, ST. PAUL, MN 49 HECKSTALL-SMITH, DICK (sax/BLUES INC.) b. 1943-0926, LUDLOW, UK HOPE, LYNN (HAJJI AHMAD) (asax) b. 1926-0926, BIRMINGHAM, AL LORD MELODY (FITZROY ALEXANDER) (v/songw) d. 1988-0926, PORT OF SPAIN, TRIN 63 PUGH, JAMES (keybds/ROBERT CRAY BAND) b. 1954-0926, NEW YORK CUTY, NY ROBINSON, L. C. "GOOD ROCKIN'" (g/vln) d. 1976-0926, BERKELEY, CA 61 ROSAS, CESAR (of LOS LOBOS) b. 1954-0926, HERMOSILLO, MEXICO SHAW, ARNOLD (author) d. 1989-0926, LAS VEGAS, NV 80 SIMMONS, CHESTER (prod/STAX/CHESS REC) d. 1988-0926, SILVER SPRINGS, MD 50 SMITH, BESSIE (v) d. 1937-0926, CLARKSDALE, MS 43 STOCKMAN, SHAWN (of BOYZ II MEN) b. 1972-0926,?PHILADELPHIA, PA VADAS, ED (g/BLUES-L MEMBER) b. 1944-0926, MA VAUGHN, BILLY (arr/DOT REC) d. 1991-0926, PALOMAR, CA 72 WILLIAMS, RALPH (g/THE ORIOLES) b. 1921-0926, ST. LOUIS, MO ------------------------------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 05:24:45 +0000 From: "P.W. Fenton" Subject: Re: Joliet--->Tampa connection On 25 Sep 95, Michael Suffern had this to say: > them and demonstrate. That was enough for the good natured and easy going > P.W. (an imposter you say, not the one you know? Well, I guess you could > sum it up by saying that the music must be very important to him, and when > he's playing it, you could probably 'ask Daddy for that new dress'.). Hey, c'mon, Mike. You're gonna ruin my reputation with stuff like that. I had no idea that it was the first time Judith had seen you "play out". That's wonderful. I'm glad I could be a part of it. We rarely get to play with a harp. There's only a few good players in the Tampa Bay area. So, it was great fun for us to play with a traditional Chicago line-up. BTW everything we played besides "Stormy Monday" was a P.W. original. (I love it when folks think my songs are covers - lets me know I'm being true to my roots). Next time you're in the area be sure to bring your bag-o-harps. And if you go easier on the Tex-Mex chow line maybe you can show up before the last set ;-) P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Tue, 26 Sep 1995 09:25:52 +0100 From: Jean-Pierre Urbain Subject: Re: Living Blues .... magazines... Initially I didn't want to jump in this discussion, but let me just, as European, react and add my own thoughts in relation to some posts about Living Blues. First of all I'd like to say how much I do second Bonnie and Peter's comments. Living Blues does review white bands honnestly (IMHO) and at their policy is very clear and motivated! Nevertheless, I do somethime feel that the discussion is a bit too USA oriented (this is not a criticism, just an observation). Don't get me wrong, I DON'T WANT TO START a (ridiculous, useless and non-sense) European/USA discussion, but too often, I think that people who are discovering the blues these days tend to forget what European(s) (magazines, scholars, ....) have done for the promotion and discovery of the blues. Just think how many musicians were already touring in Europe years before they started to become more or less wellknown in the states (Burnside, Son Thomas, ...), how many artists get their career started again (or at least get more exposure) thanks to articles in Europeans mags or thanks to European releases (Cal Valentine, ...). With this respect, I truely think that the best blues magazine that has ever been on the market was BLUES UNLIMITED. I do very regularly look back at their old issues, and man, they were really doing a wonderfull job and I'm convinced that quite a number of old-timers on this list have learned a LOT from BU. BU still remains in 1995 an incredible source of usefull information and if the blues became more or less popular, if magazines like Living Blues and other do exists, I think IT IS because Blues Unlimited was there and motivated people to start their own mag. Now, BU has disappeard since years, BUT there's still BLUES & RHYTHM and IT MUST BE said there are some really excellent magazines outside the US which, althouhg they do not sell as much copies as ome US "blues" mags, have nothing to envy to US magazines. Just to name a few: B&R, SOUL BAG (in french OK, but they're doing some great work), JUKE BLUES, ..... A magazine like Living Blues has one obvious advantage which is clearly reflected in their interviews: the oppportunity of publishing long in informative interviews. For Europeans it's harder as a many interviews are done during tours while USA interviewers have much more opportunities to build their stories using information gathered during several metings/interviews they can do of the same artists oiver a reasonable period of time. On the other hand, what I could call the British tradition of historical research (here again, many non-UK researcher have contributed a lot) is really strong and makes mags like B&R ESSENTIAL to anyone interested in African-American culture. So stating that Living Blues is the best magazine (in the world) is I think something we could call an sympathetic USA-biased statement. Personnaly, I am unable to say which magazine is the BEST in the world, and I almost equally - altough for different reasons- enjoy Blues Access, Blues&Rhythm, Soul Bag, Juke Blues (altough I think they didn't succeed in becoming the new BU as some of us were expecting), Block, Living Blues, .... For me, B&R and LB are in some sense so complementary (and I tend to agree quite often with the reviews in B&R) that I would say that all bluezellers SHOULD be subscribers of these mags (and as many other magazines as they can afford). I already see people reacting to the fact that Blues Revue was not mentionned here. Well, for me BRevue is another story. They are clearly "commercially" oriented. Some people -including myself- are nostalgic of their first issues were they were mostly focussing on Traditionnal stuff and when someone like Walter Liniger was expressing his feeling there. They had their role! Now they've changed and took another direction. It's their right and apparently they assume very well their policy. But it also seems clear to me why the poet Sterling Plumpp has stopped publishing his poems in Blues Revue. Don't flame me, I just wanted to express here the feeling of a European bluezeller who learned so much (and still learns) from BLUES UNLIMITED (and also talking Blues, Blues World, ...), LIVING BLUES, SOUL BAG, BLUES ACESS, JUKE BLUES, BLOCK, .... A last point about African-American writters. I find it in some sense a shame that we don't see more AA writers in blues publications. OK, Many people will argue that AA writers don't have interest in wrtiting about blues. I don't think that this is entirely true. Just to quote an example, DEITRA FARR (singer of Mississippi Heat) has already written a number of very interesting things and in particular had a nice and long story about "Wommen behind the blues" (the forgotten role of the wifes of blues greats) which had to be published (actually I don't know it is has already appeared) in the Italian magazine IL BLUES (maybe some Italian bluezellers could tell us). Altough you may or not like their point of view, people like Julio Finn, Chicago BEau and others (including John Spencer) have also -sometimes controversials- things to say... In the case of Deitra, I know that she would certainly (at least that's what came out of an interview I did with her some 1 1/2 year ago) be interested to collaborate if she was asked for (and if she has time enough). Jean-Pierre Urbain P.S.1. I have no relation with any of the magazine mentionned above (except that I read them!) P.S.2. I'm myself since 6 years coordinating the blues material for a monthly jazz mag over here in Belgium and have also often been confronted to readers who didn't agree with our (my) policy (w.r.t. choice of material covered), and yes, some of them already labelled me "racist" for similar reasons as those evoked by people which are disagreeing with LB policy. .... And for LW (BTW, I received my LB yesterday and it was fine to see you there!) yes, we are a Non Profit Association (OK, it's basically a jazz mag...) :-) and sometimes -when we look at the bank account or our association- wished we COULD make some more money! ========================================================================= Date: Tue, 26 Sep 1995 07:13:45 -0400 From: Brenda Bogert Subject: Re: Imitation Blues On Tue, 26 Sep 1995, Jef Jaisun wrote: > Brenda Bogert (bogert@IGLOU.COM) wrote: > > : Another Tampa hit "Sweet Little Angel" is often presented as a > : Robert Nighthawk or B. B. King original. > > Huh? On my copy of "Live at the Regal" it says (R. King--J. Taub, Modern > Music Pub. Co - BMI). > Tampa Red released it as "Black Angel Blues" in 1934. B B was nine at the time. Robert Nighthawk also appropriated the lyrics & released it as his song in 1949. I own all three versions & know that they are the same. Tampa Red (Hudson Whittaker) wrote the song. You can't always believe what you read in songwriter credits. > : find some great material to perform. *Everybody* covers SRV, Clapton, > : Hendrix, Muddy, Howlin' Wolf but *nobody* can improve on those originals > : (IMHO). If you must do covers, why not choose from the thousands of > : great blues songs out there that the typical audience has not heard. Do > : we really want to hear another rendition of "Texas Flood" by Little Bob > : and the Basement Crawlers? > > Maybe their girlfriends do. Let's hope that they have enough girlfriends to pack a club on a regular basis! > > : Great bluesmen are born -- not created! > > This is some of the most elitist, bullshit claptrap I've ever read! > I understand your objection to the poseurs of the blues, but come on. > Next thing you're gonna tell me is that only poor black men from cotton > fields can really know enough about the blues to play them. Excuse me for > being in a real pissy mood, but I'm fed up with this hooey. That's one > reason I don't hang out on Blues-L like I used to... I'm just plain tired > of all this "my blues idol is more authentic than your blues idol" garbage. I said nothing of the sort & do not appreciate your tangential thinking. I have gone all over this state interviewing the relatives of Kentucky bluesmen and blueswomen who never made it into the definitive history books. They're stories are fascinating & I have been telling them for the past three years to the folks who receive my blues society's newsletter. Without exception, those relatives had this to say, "No one has ever asked us about these things before. It's so good to finally to be telling the story." A lot of truly talented men and women were never recorded & never will be because they are gone now. They played and sang the blues because it was part of their culture & heritage. It is people like you who read nothing more informative than B B King liner notes who anger me. If you love the music, read about it. When you are a little more educated, you may understand. When you've published your first song & the royalties go to the guy who steals your lyrics, come back & let us know! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Tue, 26 Sep 1995 13:11:16 +0100 From: Peter Gallagher Subject: Re: UK Blues (Ireland, actually) Scott, when in Ireland (presuming you will be in Dublin), got to the Temple Bar area just south of the river. Ask anyone immediatley after crossing O'Connell Bridge or the Ha'penny Bridge. Drop into Fitsimons (about 400 yards down Temple bar on the right. They have a blues session every week - I think on Tuesday's and you may spot some posters and stuff or enquire within. Have a pint of Guinness for me when you're there! Have a lot of fun! Regards, PeterG BTW there's a web-page "virtual tourist guide" to Dublin at: http://www.cs.tcd.ie/ud/www/dwbyrne/index.html > I'll be vacationing in England and Ireland for a couple of weeks starting > October 1, and am interested in any local blues action. Any ideas, > especially in London, from you dedicated UK blues-l'ers? Thanks. > > Scott > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 08:17:49 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Re: Living Blues .... magazines... > I already see people reacting to the fact that Blues Revue was not >mentionned here. Well, for me BRevue is another story. They are clearly >"commercially" oriented. Some people -including myself- are nostalgic of >their first issues were they were mostly focussing on Traditionnal stuff and >when someone like Walter Liniger was expressing his feeling there. They had >their role! Now they've changed and took another direction. It's their right >and apparently they assume very well their policy. But it also seems clear >to me why the poet Sterling Plumpp has stopped publishing his poems in Blues >Revue. > I'd like to echo the above reaction to the "new" direction BR has taken. After 4 years of subscribing I will not be renewing, but will most likely start subscribing to Living Blues. If I want to read about Jazz or Soul, I'll buy magazines dedicated to those genres. I buy blues magazines for blues. Jim Smith BTW- Does anyone have a phone # or address for Living Blues? ========================================================================= Date: Tue, 26 Sep 1995 13:20:19 +0100 From: Peter Gallagher Subject: Re: Little Red Rooster (help please!) Hi Rick, I always associate Little Red Rooster with Howlin' Wolf and if he didn't actually write it then Willie Dixon probably did. (How's THAT for an off the cuff invitation to get told I'm wrong again? :-) ) Anyway, most Wolf compilations have it on there and you might be able to pick one up cheaply. Good luck PeterG BTW - how's Patricia ? ;-) > > Hi guys....I beg your indulgence for a bit here.... > > My band keeps getting requests for the ol' classic "Little Red Rooster" and > we're always having to tell people we don't do it. We all know the song, but > we don't "KNOW" the song, know what I mean? Who wrote this tune and/or made > it famous? Everyone knows the Stones did it, but they changed the arrangement > all around, if I remember. Can somebody PLEASE send me the lyrics? What key > is it usually done in? Fast, slow, medium, shuffle, boogie? For the life of > me I can't find a cover of it anywhere in my collection and I don't want to > go buy an album just to get one song, my wallet doesn't floweth over green. :( > > Thanks blues-l'ers! 'preciate it muchly! > > Riffin Rick > > > > > > > (((( > oo-) > /- > > .....if you see a little red rooster, > send 'im over to Rick's house. > > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 08:20:45 -5 From: "P.W. Fenton" Subject: Re: Imitation Blues > > > Brenda Bogert (bogert@IGLOU.COM) wrote: > > > > : Another Tampa hit "Sweet Little Angel" is often presented as a > > : Robert Nighthawk or B. B. King original. > > > > On Tue, 26 Sep 1995, Jef Jaisun wrote: > > > > Huh? On my copy of "Live at the Regal" it says (R. King--J. Taub, Modern > > Music Pub. Co - BMI). > > > > Brenda Bogert (bogert@IGLOU.COM) wrote: > Tampa Red released it as "Black Angel Blues" in 1934. B B was nine at > the time. Robert Nighthawk also appropriated the lyrics & released it as > his song in 1949. I own all three versions & know that they are the > same. Tampa Red (Hudson Whittaker) wrote the song. You can't always > believe what you read in songwriter credits. Besides the fact it's really Tampa Red's song, the "J.Taub" sited on "Live at the Regal" was just one of the psuedonyms used by the owner of Modern Music (Bahari, I believe) to give himself 50% of the writer's royalties (on top of 100% the publishing royalties). P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Tue, 26 Sep 1995 13:31:03 +0100 From: Peter Gallagher Subject: Re: Living Blues Bonnie the K. wrote, among other things: > It seems that are still many more black blues artists than white > yet today, but it also seems to me, that almost half the discussion on Blues-L > is about the white artists. > > There are many reasons for this state of affairs, but I haven't > seen it change much at all in over twenty-five years. All we can do is hope > with the new popularity of the blues in the 90's that Magic Slim, et al. > will become as well-known as the Eric Claptons out there. I sincerely hope I'm not reopening the "black vs. white" can of worms, but frankly I'm hard-pressed to come up with a white blues-artist I'd bother to listen to. Hmmm.... a few exceptions would be Johnny Winter, Rory Gallagher.. regards, PeterG > > > -Bonnie > > -- ----------------------------------------------------------------------------- Peter Gallagher, Amsterdam, Netherlands internet: pega@xs4all.nl " I used to finish every sentence I started, but now I just ...." --my sister, Christine ----------------------------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 07:33:07 CST From: William Shute Subject: Booker T. Laury From: Bill Shute I was saddened to hear the news of Booker T. Laury's passing. As Bruce Roberts observed about the passing of Erbie Bowser, the great Barrelhouse tradition is dying along with these great men. I too do not see the number of persons carrying on this tradition who are around to keep alive various other guitar-related blues subgenres. Hearing Mr. Laury's music, which was always alive and vibrant and spontaneous, was akin to being able to step into some sawdust-floored dive in l929 and hearing the likes of a James "Stump" Johnson or Speckled Red or Jabo Williams, although Booker T. Laury had his own distinct style--a style that was always relaxed yet swinging and most always with an authoritative BOOGIE stamp on it. Laury was a proud man (as we saw from that wonderful remark posted yesterday about his asking to be "paid for what he knows!") and a man of strong opinions, some of which you or I would not accept and which seem to be rooted in bitterness; however, a person in his position certainly had a lot to be pissed about, and one can't blame him for being angry at those who he felt had breaks and favors given to them which were denied him. However, his REAL voice is heard in his music, and it's a music of celebration and a music rooted in bringing people together. Try listening to the live CD on the Wolf label (I presume most are familiar with his domestic CD on Bullseye Blues) BLUES ON THE PROWL Wolf CD 120.929 and you'll hear the enthusiasm of Booker T. Laury as he speaks to the audience, overflowing with the "boogie disease" (to quote Dr. Ross) and anxious to share it with a set of new friends-in-the-blues. This generous 75:13 (!!!) CD also has fine notes, a complete discography, and some nice live photos of the man in action. He can even do a song called "Disco Strut" (hint: it rhymes with "butt" and BTL is an admirer of feminine hindquarters) and get me singing along! With so many of the piano greats passing away and others (Grey Ghost, Katie Webster) being sidetracked by health problems, Booker T. Laury's discography becomes even more important and precious to us than before. He was and, through his recordings and the memories of those who had the privilege of seeing him in person, always WILL BE a distinguished ambassador of barrelhouse, boogie, and the blues--the REAL 3 B's (that line is borrowed from The Chamber Music Society of Lower BAsin Street, if anyone else remembers that show!). Without Booker T. Laury, the world will be a less interesting and less enjoyable place. The void he leaves CANNOT be filled. However, the recordings remain. Check out the Bullseye Blues album NOTHIN' BUT THE BLUES (BB 9542) and the Wolf album...after a moment of silence in honor of THE MAN>>>>>> Bill Shute San Antonio, TX ========================================================================= Date: Tue, 26 Sep 1995 12:41:29 GMT From: marc borms Subject: Kindhearted Woman Howdy, bluezeller ! I've a small question about Keb'Mo's first cd. Do you know what kinda tuning Keb uses in "KindHearted Woman" ? I think he plays in F, but with a capo on the first fret, so he can play in E. Is that correct ? But I think that he also plays in an "open" tuning. I can't find the fingerpositions.... Where can I find the original RJ-tabs ? Thanks, embee. ========================================================================= Date: Tue, 26 Sep 1995 08:49:57 EDT From: george morales Subject: blues on tv in penna. Public tv (PBS-12) will be showing "the Continuing Adventures of the Rolling Stones 25x5" on Thurs at 11 pm and the Austin City Limits retrospective on Stevie Ray Vaughn Wed. evening at 11 pm +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 26 Sep 1995 08:52:05 EDT From: george morales Subject: BB King on A&E cable program A program called "B.B. King: The Blues Summit" will be shown on Sept 28 at 9 p.m.The tv listing states that Robert Cray,Ruth Brown,Albert Collins and others will jam with BB. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Tue, 26 Sep 1995 08:07:24 -0500 From: Jeff Seale Subject: Re: Living Blues .... magazines... On Tue, 26 Sep 1995 Smith_James_B/atc_mail1-id@ATC.ALCOA.COM wrote: > I'd like to echo the above reaction to the "new" direction BR has taken. > After 4 years of subscribing I will not be renewing, but will most likely > start subscribing to Living Blues. > If I want to read about Jazz or Soul, I'll buy magazines dedicated to those > genres. I buy blues magazines for blues. I'm going to let my subscription expire as well. I get both BR and LB. I'm keeping LB. I don't want to read about Jazz in a blues rag. Also, if I want to read about Hendrix, Joplin, Clapton, I'll buy Rolling Stone ;-) -Jeff (Keri Leigh??? I'll take Rory Block...) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Tue, 26 Sep 1995 08:15:13 PDT From: rjbauman@IQUEST.NET Subject: Calling all Bloosiers I got this off the Purdue sports line, but as I know there are a lot of "Bloosiers" on this list who have counted on Von's for a great selection of blues LP's and Cd's, I thought I'd forward it. >>>>>>>>>>If you all thought Saturday's tie was bad news, brace yourself. About 8:40 last nite, Harry's and Von's caught on fire. Most of the fire damage was contained in the upper floors, and a fire wall spared the first floors from fire damage, but there is extensive smoke and water damage. The fire started in the exact spot where some roofing contractor was working yesterday with a propane torch. It was front page in the J&C, so you might see something about it on their web page.<<<<<<<<<<<< RJ Bauman (was just there on Saturday.) ========================================================================= Date: Tue, 26 Sep 1995 08:11:12 CDT From: L W Subject: Living Blues, Why I respect them First of all, IMHO when you call a publication a racist publication, then you are bascially calling it's founder, editor and contributors racists. We know there are a couple of LB contributors on Blues-l and I respect those contributors and take offense when someone implies that they are part of a racist magazine. While I don't know Jim O'Neal and Amy Van S. personally, I'd be willing to bet that they aren't racist. The magazine was doing blues, when a lot of blues fans were diggin Led Zep, the blues hasn't always been marketable. They employ plenty of white writers. I think they have done a commendable job of trying to preserve THE BLUES. I think they cater to a certian type of artist, not just black. I would be surprised to see Keb' Mo or Sugar Blue on their cover and they are BLACK. I subscribed to BRQ the first couple years of it's existence and enjoyed it, then I kept reading stuff about Living Blues not covering white people and in the same issue they would quote Living Blues in some of their articles. That didn't make any sense to me at all (I can provide the month/yr of issus) So I dropped my subscription, I thought it was a good publication then. It had an acoustic Buddy Guy issue, a slide issue with Johnny Winter, a Taj Mahal issue. I still read those old ones and enjoy them..... I don't recall all of the Living Blues award winners, but if someone has them could you tell us if any WHITE people won awards. I'd still like to know whether or not LB is Non-Profit I think there is a need for BOTH types of publications. One to preserve the past and it's performers and the other to promote and inform about the future BLUES perfromers....If we leave out one or the other, the BLUES is DEAD. Blues Access is another fine magazine, we need them all. So subscribe and read what you want, but support them all...... BEFORE YOU ACCUSE JIM O'NEAL OF RACISM TELL US WHAT YOU HAVE BEEN DOING THE PAST TWENTY FIVE+ YEARS TO PRESERVE/PROMOTE THE BLUES.... As blues fans we need unity and to bring race and division in to our mist is detrimental to that unity..(quick, where's my pulpit :-)) LW "My eyes see color, my heart knows no differrence' ========================================================================= Date: Tue, 26 Sep 1995 08:34:16 -0500 From: Roger Struve Subject: Re: Little Red Rooster (help please!) -Reply Thats right...willie dixon wrote little red rooster....another blues classic. Find many of them (blues classics) on the CD, I am the Blues....willie wrote em all, produced em all, sang em all, and played bass on em all. Now, that's talent....from memory(and yawl know i suffer memory lapses, so i am sure someone will fill in what i forgot): little red rooster back door man can't quit you, baby You shook me seventh son (?) ..... well, thats all i can remember....quite a list already, don't you think, to find it all on one album...and i found this (actually a friend found this and i bought it from him at a 400% profit to him) on the Target obsolete LP stack in 1971. Subsequently, i have purchased the CD.... I don't know, but i think the LP sounds smoother to me....not meaning to start a thread here on the pros and cons of digital remastered CD's versus analogue LP's....especially able to distinguish the difference on Little Red Rooster...man, the way that song starts...its like a huge wave of blues solace descending on you. regards, d.d.r. ========================================================================= Date: Tue, 26 Sep 1995 08:46:45 CDT From: L W Subject: Charles Brown in Indiana Because there are some folks on Blues-l who may be interested: Charles Brown in Elkhart Ind. Concert Club Performing Arts on Thurs Nov. 9th at 7:30.....for more info in Indiana (219)-293-0681 or (219) 295-6605 I told them what a GREAT blues society they have in Indiana (BluesIndy) Thanks LW 'sorry for those not interested' ========================================================================= Date: Tue, 26 Sep 1995 10:04:23 -0400 From: Rick Miller Subject: Found my Little Red Rooster! A-HA! Damn! I knew I wasn't pond scum after all! :) I have Little Red Rooster on my Willie Dixon compilation tape. I was searchin' thru my cd collection to find the song, and forgot all about my aging cassette collection for the car. Bingo, as it were. Riffin Rick (((( oo-) /- ps. btw, Danny Gatton's "Elmira Street Boogie" over coffee is a GREAT way to start a lethargic rainy day here in Massachusetts! :) F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 26 Sep 1995 11:13:56 GMT From: "Mark G. Reece" Subject: Re: Munich Records In article rshurman@CCS.NSLSILUS.ORG writes: > > The live Albert Collins CD on Munich is from '78, not '70. It's still > nice, though there's an ongoing debate about whether Albert agreed to do > a whole album. (There's a witness who says he did, but he told someone > else he didn't. My suspicion is that it was his way of saying "thanks" > to Barrelhouse and Job Zomer from Munich, who brought him to Europe for > the first time earlier that year.) Evidence was considering licensing it > but backed off because of the unsettled questions. > I like the album very much, although not as much as the Aligator and PointBlank live albums. To me it shows through that Barrelhouse were not Albert's regular band, although they do a great job: there isn't the same flow between the members of the band that is in the later live albums. I somtimes find this on studio albums where a working band gets joined by a group of brass players. Sometimes it works very well, but sometimes one person will mis-judge a cue, playing over the start of someone else's break and making the band sound less integrated. BTW, The original vinyl version of Albert Collins Live with the Barrelhouse had the second last track (I forget which it is - I'm at work) faded after about 4 minutes. The CD version lets it run to its end at about 10 mins, most of which is guitar work. However, the real purpose of this post is to ask after the backing band, Barrelhouse. I have three of their albums from about the time they backed Albert Collins plus a recent re-issue of a live album from the mid-80s. Does anyone know anymore about this band? I heard that they had got back together and were gigging and recording a new album. Does anyone know if this is the case? -- Mark Reece - East of Ealing (and also somewhat South) ========================================================================= Date: Tue, 26 Sep 1995 14:25:11 GMT From: David Goldstein Subject: John Hammond I really like his older album, "I Can Tell" with Rick Danko, Robbie Robertson, Bill Wyman, Duane Allman, et al. It's good blues covers with excellent guitar and a brass section. ========================================================================= Date: Tue, 26 Sep 1995 10:29:00 EDT From: edward c liu Subject: Re: Imitation Blues Howdy all, L W asks: >It doesn't have to be white, hell name a modern day blues peformer who is not >imitating someone.... Mr. Satan, of Satan and Adam. Maybe I'm just not up on my pre-war blues or haven't heard enough streetcorner performers, but he sounds like absolutely nobody *I'VE* ever heard. Adam Gussow is also one of my favorite living harp players, and he manages to do new, interesting, and surprising things with the instrument. Just trying to put a positive spin on this thread. Satan & Adam have 2 (?) CDs out on Flying Fish Records, who just posted here with their Internet address. I own _Mother Mojo_ and think it's way cool. Go get it. Now. =8^). -- Ed Edward C. Liu | "I never say what I mean but I always manage edwick@cc.bellcore.com | to say something similar." | -- Eugene Ormandy The opinions above are mine and not Bellcore's. Really! ========================================================================= Date: Tue, 26 Sep 1995 10:14:44 -0500 From: Bruce Roberts Subject: Blues-L World Eric Clapton, Gary Moore, and Chris Duarte setting at a table in the House of Blues eating BBQ and reading Living Blues magazine while discussing Rap music. Led Zepplin music is playing in the background. Roy Ames is tending bar and Keri Leigh is waiting tables. Bruce Roberts Austin, TX PS - Contents under pressure - Do not expose to open flame. ========================================================================= Date: Tue, 26 Sep 1995 11:11:38 -0400 From: Rick Miller Subject: Amping your National LW, I've been playing around with this same thing, trying to get my new Epiphone resonator into my stage act. In my (limited) experience, pickups really detract from the whole idea of the resonation and that unique swampy sound that is projected out of the guitar to the listener, by essentially picking up the vibration of the body part the pickup is attached to. I'm assuming your not using something that mounts under the strings (like an electric uses) 'cuz that would mean your pickup is sitting ON the resonator cover, and maybe defeating some of its tone. I'm using a Shure SM58 mic on a boom stand, the mic placed about six inches in front of the resonator. It accurately reproduces what you're putting out and is controllable for tone and vol from the PA board. If you're prone to a lot of arm movement, I guess this is a problem, but I always sit in a chair for "dobro" slide tunes and have to keep fairly still for the vocal mic anyway, so..... On Clapton's "Unplugged" video, the unholy-one basically uses this same setup, I believes. Good luck widit. Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 26 Sep 1995 10:27:16 CST From: William Shute Subject: hey, I LIKE Bob Margolin (reply) From: Bill Shute While I side with the defenders of Living Blues magazine, I don't feel that Blues Revue magazine is without value: what about Jas Obrecht's fine historical pieces? There's nothing blues-rock about Mamie Smith! What about David Evans' fine writings and reviews of Document releases? There's nothing blues-rock about ANY of Professor Evans' endeavors. What about Jimmy Dawkins' columns? Also, I do enjoy the columns of Bob Margolin, or as he was referred to yesterday, Bob "I played with Muddy Waters" Margolin. Hey, that's the POINT of his column. While some of you blues-l persons saw Muddy live (i never did) and others of you may have spoken with him or known him somewhat, few if any actually PLAYED IN HIS BAND FOR A NUMBER OF YEARS. The "insider's" view Bob provides is fascinating. I enjoy learning about Muddy's likes and dislikes, how he viewed himself and the band, etc. I have found Nick Gravenites' pieces so far to be not of much interest (unless you're a big enough fan of him to want to know about his childhood), and I don't have much use for Keri "My farts smell like roses" Leigh. Anyway, after the much-discussed (on blues-l even, in the past) distortions and, frankly, untruths in her well-intentioned book on SRV, her credibility as a writer is, shall we say, not too high...in my book at least. If I could only have one mag of the two, it'd be Living Blues with NO reservation at all. However, unlike Jeff I will NOT be letting my Blues Revue subscription lapse. One final thing: the jazz coverage so far has been superficial and dilettantish. It's always best to do one thing well, rather than four different things in a mediocre fashion. Let's hope they scrap it. Give Bob Margolin a break. Had I played with Muddy (had Muddy CHOSEN me to play with him!), I'd be damn proud of it. I've known people who had played with, say, Ellington or Basie or even Conway Twitty or Johnny Paycheck who were VERY proud of that connection and often talked about it. They ought to be. Bob has had enough of a career of his own that he's not JUST someone who once played with Muddy. If I could have had, say, Baby Dodds write a column in MY magazine about working with Louis Armstrong, I would've had him do it!!! Bill Shute (whose guitar John Lee Hooker HAS NOT played) San Antonio, TX ========================================================================= Date: Tue, 26 Sep 1995 10:37:50 -0500 From: Roger Struve Subject: John Hammond -Reply I Can Tell was issued on CD with, i think, 4 tracks from the legendary Southern Fried album. d.d.r ========================================================================= Date: Tue, 26 Sep 1995 12:15:11 -0400 From: Jacquelin Katz Subject: Re: orchestral arrangements On Mon, 25 Sep 1995, Jeff Seale wrote: > On the PBS history of Rock-n-Roll, they basically said that Leiber & > Stoller *invented* the use of orchestral arrangements in r-n-r with > the tunes they did for the Drifters (There Goes My Baby). > Can anyone tell me Stoller's first name? (I think it's Jerry Leiber) Thanks if anyone can help out. - Jackie > Did this preceed Dick Jacobs and Buddy Holly's use of orchestra on > True Love Ways, It Doesn't Matter Anymore, Raining in My Heart, etc? > > I always thought that the Drifters came around in the early 60's. > > -Jeff > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / As I was riding across the Mississippi > \ / I stopped there and I cried. > \( No use for a man to keep a mighty river > All dammed up inside. -Joe Ely > ========================================================================= Date: Tue, 26 Sep 1995 11:46:44 -0600 From: Ranko Vujosevic Subject: "Baby Please Don;t Go" On just released Eddie Taylor CD "Long Way From Home" (Blind Pig) (recorded live in Japan in 1977), credit for the song "Baby Please Don't Go" is given to McKinley Morganfield. If Big Joe was still alive, he would kick some ass for that, nasty he was. Ranko ps. BTW, if you never heard of McKinley Morganfield, he is most famous for being ex-boss of Bob Margolin. ========================================================================= Date: Tue, 26 Sep 1995 11:44:38 -0500 From: Rob Varak Subject: Re: Comin' in the back door Li'l Ed has been playing a few gigs around Chicago w/ his old bandmate Dave Weld. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 26 Sep 1995 16:58:47 GMT From: Rob Frantz Subject: Re: Stoller's first name Stoller's name is Mike, Mike Stoller ========================================================================= Date: Tue, 26 Sep 1995 12:00:53 -0500 From: Rob Varak Subject: Re: Joe LOUIS Walker While I don't want to get bogged down in this whole "innovator" controversy, I do have something to toss out. White/Black issues aside, does anyone else think that JLW is among the most vital and creative contemporary blues artists. The more I hear from him, the more he impresses me. His last few albums have been especially well done. His singing, guitar playing and his songwriting are all distinctive and creative. This guy is No. 1 on my "deserves more attention" list. Any ideas? Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 26 Sep 1995 10:05:52 -0700 From: Joe Lempkowski Subject: Re: Ike Turner on Chuck Berry Jeff writes: >Chuck said as much himself in his interview. He said he tried to write >"nice" songs about "nice" things - school, etc. I would have asked him if the following line from his song is considered "nice": "We did it in the kitchen, we did it in the hall I got some on my finger, so I wiped it on the wall." Joe ========================================================================= Date: Tue, 26 Sep 1995 12:03:35 -0500 From: Rob Varak Subject: Re: Ike Turner on Chuck Berry Dick Shurman wrote: Chuck Berry covers from the '60s were nastier than Chuck's versions, because Chuck was trying to sound as clean as he could to reach the white market, but the Stones were trying to sound like tough black blues artists. - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I was thinking the same think this w-end while listening to "Get Your Ya-Ya's Out". "Little Queenie" is far nastier there than Berry's version. It's also somewhat apparent in the "Hail Hail Rock'n'Roll" movie, where Keith plays Chuck better than Chuck. Rob Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu LaGrange, Il USA "Giving money and power to government is like giving whiskey and car keys to teenage boys"--P.J. O'Rourke ========================================================================= Date: Tue, 26 Sep 1995 10:09:35 -0800 From: Don Cicchetti Subject: Re: Living Blues >On Mon, 25 Sep 1995, Don Cicchetti wrote: > >> >> 2. If it were not for whites, the blues would be a little postscript in >> musicology and a few scratchy records at the Smithsonian. Several >> successive generations of African Americans have rejected the blues, and it >> was white and brown Americans (and others) who kept it alive, and provided >> the core audience for the great artists we all love for the last several >> decades. Pen Bogert said: >I think you give whites too much credit, Don. Sure, the older >"rediscovered" performers like Son House and Skip James were no >longer popular with younger blacks, but folks like Riley Puckett >and the Delmore Bros. weren't popular anymore with young >Southern whites either! I don't think that any generation of >African-Americans has rejected the blues, and actually, >African-Americans have been the "core audience" that has enabled >the blues to survive and develop.Even in good ol' Louisville -- >hardly Metropolis USA -- there are quite a few black blues bands >who play mainly at black-owned clubs, where, incidentally, there >are lots of young people in the crowd. Sadly, hardly any whites >go to clubs in black neighborhoods and very few blacks go to >clubs in white ones. Several of the musicians are only in their >20's and others have been gigging around town for over 40 years. >So, the blues has been, and is, appreciated in the >African-American community here and continues to thrive. >Louisville KY Great points Pen! I would say though, that I underestimated those black supporters of this art, rather than over-estimated the white supporters. My assumption was that the "core audience" meant the group that gave the blues its wide popularity today, and allowed for places like BB's club and others. This group is overwhelmingly white. I am glad Beeb and others can make a good living, get on TV, open clubs, be successful. I am VERY happy when Buddy G. sells lots of records, these things are significant, and they happened because of the wide popularity of the blues outside of the black community. Yes, there is a core black audience for the blues, and thank God for 'em!! BUT, the core audience that has made large-scale successes of these artists is mostly white. Which points out the real heart and soul of the Blues, and that is love, equality, and dignity. Listen, for black musicians who grew up in segregation to play audiences full of white people, and have them jumping and cheering and going "hey BB, please sign my guitar man, you're the greatest! (mea culpa) is validation as great in its own way as what Dr. King achieved. The Blues brings us together. You could not (if you have a heart at least) go out of a Muddy Waters show, and still see black people as objects of scorn and prejudice, What an accomplishment! So I am not saying "hey! thank whites for your success", I'm saying hey! the Blues WORKS, it does what it is supposed to do, it wins people over, it brings them together, it changes a little piece of the world. Lets not divide ourselves as musicians by our races. That's been done, it didn't work. Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 26 Sep 1995 17:31:17 +0000 From: Pat Hertel Subject: Re: hey, I LIKE Bob Margolin (reply) I'm with B.S. (unfortunate initials :):):) ) on this one Even if Bob Margolin had never touched a guitar or his only claim to fame was jamming at a POB with LW he WRITES well and that's all I ask. Contrast that to Keri Leigh who writes like a kid (how old is she anyway?). So far there is something missing from Jimmy Dawkins' column (I think its Jimmy Dawkins) but it has real possibilities. I have no large reservations about LB. Their dealing with the "black" side of the blues is merely a publishing policy like dealing with antique guns rather than all guns. I can't concieve of it being racist, heck, my understanding is that this is a bunch of "white" guys. However, if it is true that an interview about Muddy was rejected on the basis that the interviewee was "white" then I would find that rather myopic. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [26/9/95 13:08 PM] "Tuesday's just as bad..." ========================================================================= Date: Tue, 26 Sep 1995 13:10:05 -0500 From: "K. Kelly" Subject: Blues radio in CO. "The Blues Explosion", Iowa City's #1 blues show is expanding nationally!! My former co-host Dave Herda is starting his own Blues Explosion in Telluride, CO. and he need new releases to build the CD Library. KOTO c/o THe Blues Explosion P.O. Box 1069 Telluride, CO. 81435 Contact Dave Herda via e-mail at: Howlinblue@aol.com Tell him Cornbread sent you! Thanks kyle "Cornbread" Kelly ========================================================================= Date: Tue, 26 Sep 1995 10:12:47 PDT From: Michael Suffern Subject: Magazines: Juke Blues Juke Blues is a wonderful mag. Lots of text and many photos, it gives a great picture of what is going on on both sides of the Atlantic. Maybe not essential unless you travel to Europe like we do, but just seeing the enthusiasm that the writers have for the performers they see is is heartening. Their good coverage of the U.K. and Euro Blues festivals has widened my tastes. The coverage of the Chicago Blues Festival each year is, IMHO, the definitive reference. My Border's Books has stopped carrying most imports, so, as soon as I am re-employed, I'm going to subscribe. I love it. Our own Richard Shurman has been the U.S. subscription agent. Dick if you're around would you like to invite inquiries? [Dislaimer?/Advertisement?: Judith and I promote vacations to the above mentioned Blues festivals.] Mike ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/26/95 Time: 10:12:47 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 11:34:42 PDT From: Michael Suffern Subject: Re: Little Walter & Chromatics Chromatic is harder to bend, not impossible. I have to work hard enough with my 10 holes and their inconsistency between reeds (let alone hole sizes from trying different models and brands). I fell in love with Little Walter's playing on the early Muddy Waters stuff and I absorbed the swoops and swells. I play cross harp (2nd pos) and I'm not interested in duplicating him (just learning and being influenced *and* enjoying listening to), so I'm happy and stupid - and don't play a chromatic. I'm a hard core Chicago Blues guy and most chromatic players bore me. It's like Robben Ford on guitar. Excellent, technical, pretty, more notes and riffs than I would play or know how to play and somewhat devoid of raw emotion. *This thread has gotten me interested in trying 3rd position* - the "...that Chicago sound..." quote piqued my curiosity. I have no desire to try 1st pos again, though. That's why I gave up harp 20 years ago! Errata: I talked to Jerry Portnoy before the E.C. show at the United Center Sunday night and he pays $75.00 each - for a diatonic harp! I'll bet he never gets a bum harp - (is that like a bum rap?). Mike 'Bag-o-Harps' Suffern On Thu, 21 Sep 1995 14:36:08 CDT L W wrote: >I have a question, that is mainly geared toward the harp folks: > >Am I right that Little Walter played a chromatic harp most/a lot/some of >the time...? > >Why is it that most harp players I talk to say that Little Walter is their >favorite harp player, but they NEVER play chromatic harps. I have only seen >a couple of people play them... > >I know one of my friends who plays good harp and has done so for many,many >years, finally bougth a chormatic an he said no way. A totally different >instrument than regular (diatonic ?) harps. It would stand to reason that if >you wanted to sound & play like Walter you would become proficent on a chromatc > >I'm just curious..... > > >LW ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/26/95 Time: 11:34:42 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 12:33:14 PDT From: Michael Suffern Subject: M+S Stereo recording Michael G. is absolutely correct. I left out the specifications for a later post and thought afterwards that I should have mentioned the patterns. Phase cancellation will occur at some frequency, no matter how well aligned, unless the room in anechoic, which means why use M+S (I'm just nitpicking here, don't be offended) :) Most important is to keep the phase difference low at the lower frequencies where it causes a greater perceived loss of energy. Keep the mics close - one on my chest (PZM plate hanging on a *large* gold necklace) and one on my suspenders (the tie clip mic) [ 4 inches separation ] keeps the phase difference well below a quarter wave at 100 Hz. Either that, or keep them whole multiple waves apart [ at the most critical frequency, 60 Hz in my opinion where the meat of the bass is ]. In practice (personal concert taping), compromises are required and I have taken them perhaps to excess, with great results. A Radio Shack PZM is probably not the same quality as a Crown PZM, An omni-directional back electrec condenser mic isn't a figure eight pattern, but it's 35% of one - more if part of my body (shoulder) is blocking or attenuating/absorbing the direct sound or reflections from the back of the hall. This works great for me because I already have the mixing equipment. You need three channels of mix capability so you can send the Main signal down the middle (so you don't need a pan for this - you can even just split the signal with a Y cable and send down both sides of one channel of a D.J. mixer) and the side signal down the left and right (again a D.J. mixer's 2nd stereo channel strip can e used). Then you control the 'stereoness' and ambience by how much side mic you mix in. The *catch* is, you have to invert one of the side mic signals before you mix. That creates two conceptual signals Main+Side and Main-Side - that's were the magic happens. How to invert the signal. First you have to split it into 2 signals, a Y cable works. So does a half normalled patch bay, a mixer with aux sends, groups, or an insert with a 'non-breaking half way inserted out' function (Mackies are one). If your board has a polarity switch on the input, you can invert the signal with that (Mackies do not). If your board doesn't have a polarity switch, there are several options: 1. Build a unity gain inverting buffer with low noise op amps. $30.00 would buy all of the required parts, batteries, and a soldering iron at Radio Shack. Another $5.00 for a booklet on how to. And a little advice from an electronics guy (I could draw a circuit diagram for anyone that needs it). This gives you a cheap, clean, perfect, inverter. 2. Use a DSP/Reverb box that accepts a mono signal and inverts one of the signals (left or right) before outputting them on the left/right outputs. My Digitech DSP128 does this, so I use it on full on the dry setting to do my inverting (I'm going to build the inverter in #1 when I get around to it - 1998?). 3. Get any kind of a cheap mixer or a guitar stomp box (compressor, adjust it so it's basically not compressing, a splitter/buffer) that *doesn't* have a non-inverting circuit. That means that it will invert the signal 'cause they were too cheap to add another circuit to un-invert the signal. Bandwith can be a problem, guitar doesn't need 20Hz - 20KHz bandwidth. Newer boxes are usually designed to be non-inverting. you can test by sending a low bass note through the box and the same signal bypassing it, and mixing the two together. If the volume or bass drops when you mix the two (as opposed to listening to either one alone), your phase is inverted. A mixer is an o.k. solution if it isn't noisy. A stomp box might be noisier. Not the best solution. If you've got a live situation and the acoustics stink and you don't have a seat in the middle and you don't have a direct feed *and* great directional mics *and a mixing board or multitrack*, M+S gives you a chance *and* you have control in the studio (where you really have the most control). So, I guess this was the more later bit. Thanks, Michael G. for the details. Mike "M+S" Suffern On Mon, 25 Sep 1995 20:12:18 -29900 Michael Kaloyanides wrote: >I must offer a correction to Michael Suffern's description of the M-S >microphone technique. It traditionally employs a bidirectional or >figure-8 pattern microphone such as a ribbon microphone for the Side pattern >and a cardioid or hypercardioid microphone for the Middle pattern. To >avoid phase problems all the diaphragms or ribbons or elements must be >carefully aligned on the same vertical axis. The cardioid mic points >directly at the performer(s) and the figure-8 mic's axes are >perpendicular to the cardioid's axis and performers. This two microphone >technique can provide excellent stereo imagery if done right. > >Michael G. Kaloyanides >Department of Music & Sound Recording >University of New Haven > > > > > ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/26/95 Time: 12:33:14 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 10:26:24 PDT From: Michael Suffern Subject: Re: Little Red Rooster (help please!) Rick, It sounds like you *should* buy a CD and get a copy of the song. Your clients want to hear it, it's tax deductible as a business expense, and you owe it to the artist and publisher and your Blues heart. Really, if you're getting requests for it, it will pay for itself and I 'xpect you'll enjoy it, too. Get the "London Howlin' Wolf Sessions" if you can find it @ $8.88 (at Best Buy around here). That's probably the version most 'rock turned on to Blues' people would know. For more meat, get the Chess collection ($40?) or a reissue single LP of Howlin' Wolf's. Being a *big* Wolf fan, I have both of the above, plus a French collection that differs almost completely. One of my favorite songs, that really gets everyone excited by it's raw intesity (plus I can sing it really well) is "Commit a Crime" which is also on the London Sessions under a different name. Starts, "I'm gonna' leave you woman... 'Fore I commit a crime". Some great Hubert Sumlin guitar magic on the original. Highly recommended for tru Blues and Rock audiences, it shows how close the two genres were at times. SRV covered it, though I can't remember how well I liked his. Mike On Mon, 25 Sep 1995 16:27:00 -0400 Rick Miller wrote: >Hi guys....I beg your indulgence for a bit here.... > >My band keeps getting requests for the ol' classic "Little Red Rooster" and >we're always having to tell people we don't do it. We all know the song, but >we don't "KNOW" the song, know what I mean? Who wrote this tune and/or made >it famous? Everyone knows the Stones did it, but they changed the arrangement >all around, if I remember. Can somebody PLEASE send me the lyrics? What key >is it usually done in? Fast, slow, medium, shuffle, boogie? For the life of >me I can't find a cover of it anywhere in my collection and I don't want to >go buy an album just to get one song, my wallet doesn't floweth over green. :( > >Thanks blues-l'ers! 'preciate it muchly! > >Riffin Rick > > (((( > oo-) > /- > > .....if you see a little red rooster, > send 'im over to Rick's house. > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site Date: 09/26/95 Time: 10:26:24 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 12:42:11 PDT From: Michael Suffern Subject: Re: Harp help - Lesson #1 Maurice, Ah, yes! Keep at it, if you can bend the 1, then you'll get the rest. I still have trouble with 3 and 4 on a regular basis. Because each harp is built differently (even from the same production model) and the holes and reeds are different beyond models, the exact technique varies. One all harps the 1 is usually easy - I don't know why. I can't think of any reason why. The 1 hole on one harp should be the same pitch as the 2 hole of a lower harp (which key, I don't know offhand), so physics wise, there shouldn't be dif. Maybe the flexing of the reed plate has something to do with it. Also, you can bend the 3 farther than the 2 (I have trouble controlling that on the Lee Oskars). Here's what I do when a reed won't bend from my normal technique. If you can bend it just a little, see what makes it bend just a little bit more, and head in that direction. Make the O of your mouth a bit smaller or more tense. Pull your tongue down lower or farther back (or maybe *not* as much). Suck in your cheeks just a little more. *Make sure you're using both hands so you have *good* contact with the hole. Pull from your chest, maybe. You'll get it. Try the 2 and the 5 next, I find them easier for the natural... whatever it is that I do to bend. A better harp, designed to be easier to bend can help. Try a Hohner Blues Harp, the old smaller ones that small town music shops have in their dusty display case are my favorites. Realize that the variation may mean that some are duds as far as bending. TEST THE HARP on their tester, which will have lots of duct tape on it because the vinyl dried and cracked years ago. The best you can do is make sure that all of the reeds work, draw and blow. THEORY: ---------------------------------------------------------------- The I, IV, V are common chordal notation for the root note/chord of the song. The first, fourth, and fifth. In the key of E, E is I, A is the IV, and B is the V. These three chords make up most traditional Blues songs. The chords played for a 12 bar Blues could be (for each bar): I I I I 1 | 2 | 3 | 4 | IV IV I I 5 | 6 | 7 | 8 | V IV I V 9 | 10| 11| 12| Learn to bend the 2 (and the 1), and play a whole Blues like the above with just drawing and bending the 2, drawing 1 and bending it down to the blow 1. LESSON # 1 -------------------------------------------------------------- Slow to Medium Tempo Twelve Bar Blues with 2 Holes (1 & 2) Here it is step by step: DrawBend the 2 twice as a sort of 'toot' (start drawing with your mouth parts all set for the bent note and then stick you tongue up against the roof of your mouth to stop it the draw/air - staccato), then DrawBend it the same without stopping it, rising up and ending with a Draw 2, for all pairs of measures of the I chord and the IV chord (this excepts measures 9 - 12). ------ _ _ _ / Toot Toot To-Wahhhhh Draw then Bend then Release (Draw w/o Bend) the 1 (a 'swoop') for the V in measure 9. _ _____ \ _ / To-Woo-oo Draw then Bend the 1 down to the Blow 1 for the IV (a 'dive') in measure 10. _ \ _ \ _________ To-Wah-Ohhhhhh DrawBend the 2 rising up to and ending with a Draw 2 (as you did in the first 2/3 of the song) for the 11th measure. ------ _ _ _ / Toot Toot To-Wahhhhh Draw then Bend then Release (Draw w/o Bend) the 1 (a 'swoop') for the final V in measure 12 (same as measure 9). _ _____ \ _ / To-Woo-oo Practice each line above until you get a bit of the hang of it, until you hear what the possibilities are. I wrote this down using the phenomes (vocalizations, whatever), that I hear, and slightly form in my mouth, when playing this riff. Remember that you can make the harp go "Wah" by sort of saying Wah while playing. Hope this helps and explains. Mike On Tue, 26 Sep 95 10:49 BST Maurice Flood wrote: > >Hi Mike, > >I found a few helpful points in your mail - thanks! > >2 things: > >I have started to learn on a (cheap) plastic harp. If I >can improve, then I will invest a bit more. However, I >am having a very hard time bending. I can only bend on the >first position - which you say is easy anyway. Will I >eventually get it, or would I be better off getting a >decent harp? > >Forgive my ignorance here - but what does the I, IV, V >etc in your mail signify ?? > >Cheers, > >Maurice ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more options. Date: 09/26/95 Time: 12:42:11 ------------------------------------------------------- ========================================================================= Date: Tue, 26 Sep 1995 11:47:23 -0700 From: Mary Katherine Aldin Subject: Re: Stoller's first name Rob Frantz wrote: > >Stoller's name is Mike, Mike Stoller > I thought it was Mike LIEBER< and JERRY Stoller?? Mary Katherine ========================================================================= Date: Tue, 26 Sep 1995 14:56:03 -0400 From: Steve Levine Subject: Good luck streak I read with envy in the past about fellow blues-elers who were given guitars by their wives and all kinds of nice things like that. Well, I don't have a wife and I don't play guitar, but I'm happy to report some good luck in my blues life. It started Sunday when I found out that my step-sister could do promo photos (needed for a New Year's festival gig) for one of the bands I play with for free (instead of shelling over $100 for a $100 gig). Then Sunday night I won tickets for a Little Charlie and the Nightcats show tomorrow. Last night I went to a jam at the City Blues Cafe in DC. Usually at this jam I sit in with the house band for a few songs. This time a friend of mine who plays guitar and sings showed up, and we did a half hour set of acoustic blues. We're going to get a gig out of last night's jam since the management liked us so much. I also talked to one of the booking people about the acoustic band I usually play with and she's probably going to book us too. Today I found out that one of the bands I'm playing with has been selected for the Fleetwood's Foundation/Tower Records amateur blues contest! There are three finalists, and we'll be competing at the Taste of DC festival on October 7. I hope my lucky streak lasts through the contest finals! -Steve ========================================================================= Date: Tue, 26 Sep 1995 13:01:08 -0600 From: Watterworth Jay Subject: Re: Ike Turner on Chuck Berry It is my understanding (through a friend who actually called the Chess offices -- this must have been over 25 yrs ago) that Chuck was interested in recording blues (note the early lps such as "One Dozen Berrys on Top") but was told to stick to the more sales oriented rock music by the guns at Chess. As an aside, it has always been my feeling that rather than Elvis, Chuck Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he performed em. When Elvis went into the army and radically changed his approach, Chuck stuck to his guns. Jay Watterworth CU Boulder On Tue, 26 Sep 1995, Rob Varak wrote: > Dick Shurman wrote: > Chuck Berry covers from the '60s > were nastier than Chuck's versions, because Chuck was trying to sound as > clean as he could to reach the white market, but the Stones were trying > to sound like tough black blues artists. > - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > > I was thinking the same think this w-end while listening to "Get > Your Ya-Ya's Out". "Little Queenie" is far nastier there than Berry's > version. It's also somewhat apparent in the "Hail Hail Rock'n'Roll" > movie, where Keith plays Chuck better than Chuck. > > Rob > > Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu > LaGrange, Il USA > "Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke > ========================================================================= Date: Tue, 26 Sep 1995 14:15:05 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: Blind Pig address in San Francisco Does anyone have a street address for Blind Pig records in San Francisco? I have a P.O. Box address for them, but I'm looking for a street address. Thanks. Shannon ========================================================================= Date: Tue, 26 Sep 1995 12:08:20 -0700 From: Eric LeBlanc-CISTI Subject: FRENCH BLUES RESEARCHERS Re: Living Blues .... magazines.. I COULDN'T AGREE MORE. I WOULD ALSO INCLUDE BOB GROOM'S WONDERFUL "BLUES WORLD" MAGAZINE IN THE SAME LEAGUE AS "BLUES UNLIMITED". JEAN-PIERRE IS BEING A LITTLE MODEST HERE BECAUSE THOSE OF US WHO HAVE BEEN FANS FOR A LONG TIME, WILL KNOW THE FOLLOWING FRENCH BLUES RESEARCHERS. JACQUES DEMETRE (his photos of Chicago blues players are legendary) (the late) MARCEL CHAUVARD, KURT MOHR (truely an awesome discographer!) EMMANUEL CHOISNEL, SEBASTIAN DANCHIN (who's PH.D. on Earl Hooker still needs to be published!), JACQUES LACAVA (movie director of SWEET HOME CHICAGO) ROBERT SPRINGER, ANDRE FANELLI (founder of BLUES & SWING MAGAZINE) and of course, ROBERT SACRE :-) UNCLE eRIC Nevertheless, I do somethime feel that the discussion is a bit too USA oriented (this is not a criticism, just an observation). Don't get me wrong, I DON'T WANT TO START a (ridiculous, useless and non-sense) European/USA discussion, but too often, I think that people who are discovering the blues these days tend to forget what European(s) (magazines, scholars, ....) have done for the promotion and discovery of the blues. Just think how many musicians were already touring in Europe years before they started to become more or less wellknown in the states (Burnside, Son Thomas, ...), how many artists get their career started again (or at least get more exposure) thanks to articles in Europeans mags or thanks to European releases (Cal Valentine, ...). ========================================================================= Date: Tue, 26 Sep 1995 17:42:45 GMT From: Han Willemsen Subject: Re: "Baby Please Don;t Go" Ranko Vujosevic wrote: > ps. BTW, if you never heard of McKinley Morganfield, he is > most famous for being ex-boss of Bob Margolin. I assume you don't like him (or his music) ????? ]-[an. -- ======================================================= Han Willemsen Lelystad - The Netherlands ======================================================= ========================================================================= Date: Tue, 26 Sep 1995 19:14:28 GMT From: "John M. Saylor" Subject: Kiss Me Baby Recently -I wrote asking for the words to this song which our band is going to cover by Mike Morgan and the Crawl. In lieu of any response I copied it from the CD myself, Give these guys a listen - they are great -john Kiss Me Baby - Mike Morgan blues in C Now Kiss me baby, tell me that you love me so Now Kiss me baby, tell me that you love me so Cause there ain99t nothin I won9t do for ya baby Ain9t no place I wouldn9t go Now throw your arms around me baby, honey hold me tight Now throw your arms around me baby, honey hold me tight When I get to feelin lonesome, Make me feel alright Refrain Now I9m gonna give ya anything baby, Anything money can buy Now I9m gonna give ya anything baby, Anything money can buy But I swear ya walk out that door9 I9m gonna lay right down anddie Refrain Instrumental- long!!!!!!!!! Refrain ========================================================================= Date: Tue, 26 Sep 1995 15:20:21 -0400 From: Rick Miller Subject: Muddy's "Complete Plantation Recordings" query In a special bargain basement section of the Columbia House offering this month is the '41 -'42 Library of Congress Field Recordings by Muddy Waters called "The Complete Plantation Recordings", for $1.99 on CD. Anybody have this? Is it good stuff?..or something Muddy recorded on his front porch through a tin can and string arrangement? It's out on Chess label. I know it's cheap, but there's a lot to pick from, so for my 2 bucks + shipping, I wanna get a bunch of stuff I know I'll listen to. Besides, there's this Howlin Wolf cd with Red Rooster on it that about a thousand Blues-lers told me I MUST have. :) Lastly: Debbie Davies. I have none. But I heard a great jumpin' tune by her called (I think) "Picture This". Or maybe that's the album title? DJ was talkin' fast so I didn't get it.. Can someone enlighten me on this? It was great, I'd like to buy it. Thanks 'zellers! Riffin Rick (((( oo-) /- .....too lazy to crow for day. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Tue, 26 Sep 1995 13:11:04 -0700 From: Rob Frantz Subject: Re: Stoller's first name You're probably right. Sorry for the misinformation. Rob On Tue, 26 Sep 1995, Mary Katherine Aldin wrote: > Rob Frantz wrote: > > > >Stoller's name is Mike, Mike Stoller > > > > I thought it was Mike LIEBER< and JERRY Stoller?? > > Mary Katherine > ========================================================================= Date: Tue, 26 Sep 1995 20:39:35 GMT From: Somebody Subject: TEST MESSAGE TESTING 1 2 3 ========================================================================= Date: Tue, 26 Sep 1995 21:03:07 GMT From: Art Schuna Subject: Re: Song "Go Now" In article <199509250323.UAA04445@ix.ix.netcom.com>, Garry Segal says: The Leiber and >Stoller tune 'GO NOW' was originally recorded by a R&B group whos name >I missed. The song hit big when the Moody Blues covered it. The >original version played on the show sounded great and I want to get a >copy of it. Anybody know who that R&B group was ? The artist is Bessie Banks and I believe the original may have been issued on the Wand or Scepter label. I'd also be interested in a source for this version. Someone said it might be on a Rhino comp but I have no idea which one. Art Schuna ========================================================================= Date: Tue, 26 Sep 1995 20:55:19 GMT From: Art Schuna Subject: Re: percy strother in FW In article <9509230929.0DC2I00@chrysalis.org>, Don O says: > He also told me he has one out > on Black > Magic but was sold out. I must have missed this somehow. Has > someone reviewed > that one here and if so could you send me a copy of the review?? I own both the Blue Moon and Black Magic CDs. I really enjoy both of these, but if I had to pick only one, I prefer the Black Magic. The band seems somewhat tighter. I would put both Percy Strother's and Lee Shot Williams' Black Magic discs in a Top 10 of 1995 list, regardless of what else comes out between now and the end of the year. I only wish I had your opportunity to see a live show. Since he's based in Minneapo- lis, he ought to come to Madison at least once in a while. Don't recall ever seeing an ad for his show here. He would probably draw at least as big of a crowd here and he wouldn't have to spend so much on gas!! Check out the Black Magic disc, you won't be disappointed. He's definitely an artist worthy of greater recognition. Art Schuna ========================================================================= Date: Tue, 26 Sep 1995 14:26:36 -0800 From: Don Cicchetti Subject: Re: M+S Stereo recording Not to get TOO far off the track here, but I want to add my .02 on the M-S mic discussion. Mid-side mic technique requires pretty tight attention to detail, and subbing an omni for a figure 8 is not gonna cut it. Also, please don't ever put the limited bandwidth and noise of a guitar "stompbox" in any mic circuit! yikes!! Radio Shack PZM's are not "PZM's" they're toys (like all Radio Shack stuff) Oh and even the real PZM's (Crowns) are pretty much a dead issue for most pros today. I haven't used them in years, but in certain places they work fine. Now that I've been a complete equipment snob, and ticked several people off... ;-] Let me qualify this by saying that, hey, if you get results you like with these techniques and equipment, great! Just realize that there are some extreme sonic compromises in these ways of doing things. I hope no one takes this as criticism, it is not meant as such. And what's wrong with phase cancellation anyway? Guess how we hear stereo?? that's right, good old phase cancellation! We do not get stereo information (placement of sources in the stereo field) primarily by relative volume, we get those "placement cues" primarily from phase relationships. Did you ever notice that there is distance between your two ears? Guess what that causes? Phase cancellations. Phase cancellations are GOOD, not bad. That is how we hear things with two ears. I've been recording orchestras, choirs, soloists, and bands for many years, and I've tried it all, M-S, A-B, X-Y, Blumlein, you name it. You know what has consistently beaten all other methods? Spaced omni's, carefully placed are the best sounding micing technique of them all, hands down. Phase cancellations, and all, just like in real life, and sound so real and inspiring the group seems to climb out of the speakers. There is only ONE drawback to spaced mics... mono compatibility... And I have one response! to hell with mono, it simply is not an issue in 1995. When recording amplified music live, there is only one way to get great results, and that is an active or (Jensen trannies only please) passive split at the mics and DI's and record to multitrack and mix later. Since this never happens for amateur recordists, second best is a feed from the FOH mixer. If they won't give you one, and you have to record the actual sound from the PA system, then all bets are off and use whatever works best for you (stompboxes included) At that point I'll put the gear away and enjoy the show. good luck Don ____________________________________________________ Don Cicchetti La Sierra University Library Media Services Audio/Video/Computer/Satellite Event Services & Studio Production dcicchet@vega.lasierra.edu There was a time, within the memory of some of us, when American popular music was full of exaltation, pain & wit... The raw intensity of Muddy Waters, or the virile inventiveness of Duke Ellington.... - Robert Hughes ____________________________________________________ ========================================================================= Date: Tue, 26 Sep 1995 16:36:48 -0500 From: David Silberberg Subject: Re: Ike Turner on Chuck Berry At 01:01 PM 9/26/95 -0600, Watterworth Jay wrote: >It is my understanding (through a friend who actually called the Chess >offices -- this must have been over 25 yrs ago) that Chuck was interested >in recording blues (note the early lps such as "One Dozen Berrys on Top") >but was told to stick to the more sales oriented rock music by the guns >at Chess. I had thought that Chuck really wanted to play in more of a country style - wasn't Maybelline a reworking of a country song called "Ida Red"? >As an aside, it has always been my feeling that rather than Elvis, Chuck >Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he >performed em. When Elvis went into the army and radically changed his >approach, Chuck stuck to his guns. When Elvis went into the army, didn't Chuck go to jail on the (supposedly) trumped up Mann Act charge? He (like Jerry Lee) had a lot of dry years after his "scandal", as I recall. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Tue, 26 Sep 1995 17:30:31 -0500 From: William A Morgan Subject: Re: HOB and Tip's On Tue, 26 Sep 1995, Jef Jaisun wrote: > P.W. Fenton (pwfenton@GATE.NET) wrote: > > : My first trip to New Orleans all I wanted to see was the legendary > : Tipitina's. When I got there I was very disappointed. Unbearably > : hot, crowded, dirty, and un-accommodating. I didn't stay for the whole > : show. My feeling then was that they were simply milking their > : historical reputation dry. > > A bit like the town itself, n'est-ce pas? > > Jef Jaisun > -- > eljefe@netcom.com > Except for the following statement, I'll take the high road about the disparaging remark made by Jef Jaison about my hometown: I was under the impression that this was a blues list. I have some biases about other cities, states, regions or countries. But this is hardly the place for snide comments about them. And my feeling about Blues-L is that we are like members of a club drawn together by a common love for the blues. I see nothing blues-related in the Jaison comment. Furthermore, I understand that there are members from nearly forty countries, probably every state in the U.S. and maybe hundreds of cities on Blues-L who automatically deserve some respect from the other 1000+ members. As someone stated earlier, this isn't an AOL chat room. There is a New Orleans list, to which I also subscribe. I could give you the address if you wish to join us and share your impressions about the Crescent City. You'll find that there are many New Orleanians on that list who are very critical of their city or more tolerant than I am about such criticism. Now back to the high road. **************** Bill Morgan ========================================================================= Date: Tue, 26 Sep 1995 17:28:16 -0500 From: dwhite Subject: Re: Blues-L World >Eric Clapton, Gary Moore, and Chris Duarte setting at a table in the >House of Blues eating BBQ and reading Living Blues magazine while >discussing Rap music. Led Zepplin music is playing in the background. >Roy Ames is tending bar and Keri Leigh is waiting tables. > > >Bruce Roberts >Austin, TX > >PS - Contents under pressure - Do not expose to open flame. > I can see it now. Stubbs in the kitchen. Huey Meaux in charge of personnel. Don Robey in the box office. Of course myself in charge of soundboard security. And a good attorney on retainer. Dwhite Austin, TX ========================================================================= Date: Tue, 26 Sep 1995 18:07:05 -0400 From: Barry Silverberg Subject: Re: Muddy's "Complete Plantation Recordings" query Rick Miller (MILLER@SCI.WFEB.EDU) wrote: : In a special bargain basement section of the Columbia House offering this : month is the '41 -'42 Library of Congress Field Recordings by Muddy Waters : called "The Complete Plantation Recordings", for $1.99 on CD. : Anybody have this? Is it good stuff?..or something Muddy recorded on his : front porch through a tin can and string arrangement? It's out on Chess label. Rick, CH's bargain basement is good. It's a nice set of important and solid sides. But beware, I have owned two copies of this CD. The first was totally unlistenable. I thought that was the deal with these field recordings until my neighbor who's a researcher said her copy was relatively good sounding. It occured to me that the differences between the 2 may just be in the playback equipment we each used - mine being the bet- ter of the two. Anyway I gave CH a call and they replaced it and lo and behold the second copy was much clearer sounding. Their policy is if you don't like the qulaity of the sound - they'll replace it or return your money. Anyway - for $1.99 it could turn out to be your best trading CD. Just my $1.99 + S&H worth. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Tue, 26 Sep 1995 18:43:02 -0500 From: Joel Slotnikoff Subject: Death of Vernell Townsend Vernell Townsend, wife of St. Louis bluesman Henry Townsend, passed away this past Thursday, September 21, 1995, of old age and infirmities. Funeral services were held this evening, Tuesday September 26, at Ted Foster Funeral Home. Vernell was a blues singer herself and accompanied Henry often during live performances and on records. Joel Slotnikoff ========================================================================= Date: Wed, 27 Sep 1995 01:55:54 GMT From: "Linda L." Subject: Re: Need help in Nashville Check out the Bluebird Cafe ... it has been there a long time and many now well-known people played there when first starting out. If memory serves, it does not specialize in any one type of music, so call and find out who's playing if you don't want to chance it. Other places that were there when I lived there...but I don't know if they still are: Bogart's Springwater (this is/was a total dive, but sometimes good music) Also, a club on Elliston Street (near Vanderbilt University); I can't remember the name of it but Charlie Daniels owned it for awhile. Also, Nashville has 'revitalized' its waterfront area so I would guess that there is probably some good music to be found around there. Of course, there's always the Opry, but beware, it's not the original Opryhouse you may have seen on old TV movies. The Opry is now held in a huge auditorium at Opryland on the outskirts of town. The Opry is an OK experience .... once. After that it is tedious unless you truly like country music. In article <444a7q$a5p@ping1.ping.be>, Patrick Cusse wrote: > Going to Nashville with friends in November. Can anyone give me a few > suggestions, bands to check out, clubs to go to... -- Linda L. sac62628@saclink.csus.edu ========================================================================= Date: Wed, 27 Sep 1995 02:10:49 GMT From: David Goldstein Subject: Searchin' for the Wolf song I think it's "I'm Leaving You" that's on the Twofer CD by MCA. It's got both his Howlin' Wolf and Moanin' in the Moonlight albums on it. By the way, why do they always leave off the g? ========================================================================= Date: Tue, 26 Sep 1995 22:37:55 -0400 From: Curtis Hewston Subject: Muddy's Cabin Woes Well, mama always said be careful what you ask for. Just as I thought Muddy's Cabin (the one on The Blue Highway) was really becoming an excellent thing, it has suddenly become over-run by some seriously maladjusted kids who render it purposeless. I apologize for those of you who have had to tolerate the booger slinging and bathroom profanity, and it breaks my heart that some of the most priviliged our world's youth can be so spiritually bankrupt. By the way, if I ever had any doubts about the integrity of Blues-L as a forum for expression, after the last few days, I never will again. So excuse me as I vent a little, as Cat and I ponder the future of Muddy's Cabin. My current thinking is that we'll have to take it down except when the guest chats are scheduled. We'll keep you posted. This will not, by the way, affect our plans to bring an outstanding line-up of guests from the King Biscuit Festival. You'll be hearing much more about that any minute or two. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Tue, 26 Sep 1995 10:33:00 PDT From: Meridith Farnworth Subject: Re: John Hammond >I really like his older album, "I Can Tell" with Rick Danko, >Robbie Robertson, Bill Wyman, Duane Allman, et al. >It's good blues covers with excellent guitar and a brass section. My apologies for posting a "me too" message, but I have to say it since I just picked up the cd this past weekend, in addition to a few others. The JH disk has taken many spins in the ol' player since Sunday. The cd includes 4 "bonus tracks" that were not on the original release. The whole disk is so very fine! --Meri (listening to it again right now) ========================================================================= Date: Wed, 27 Sep 1995 03:03:39 GMT From: Weidel Subject: Re: HOB and Tip's In article , William A Morgan wrote: > On Tue, 26 Sep 1995, Jef Jaisun wrote: > > > P.W. Fenton (pwfenton@GATE.NET) wrote: > > > > : My first trip to New Orleans all I wanted to see was the legendary > > : Tipitina's. When I got there I was very disappointed. Unbearably > > : hot, crowded, dirty, and un-accommodating. I didn't stay for the whole > > : show. My feeling then was that they were simply milking their > > : historical reputation dry. > > > > A bit like the town itself, n'est-ce pas? > > > > Jef Jaisun I can't believe the shots you guys are taking at Tips. When I was there in '89, I found it wonderfully hot, crowded, dirty and very accommodating. What's better than the Sunday afternoon fais-do with free red beans n' rice, plenty of Dixie beer, and Bruce Daigrepont? 'Nawlins has great food and a musical heritage that is the envy of most cities. You sound like you need HOB and a dose of "McBlues" ========================================================================= Date: Wed, 27 Sep 1995 00:27:30 -0600 From: Watterworth Jay Subject: Re: Ike Turner on Chuck Berry On Tue, 26 Sep 1995, David Silberberg wrote: > At 01:01 PM 9/26/95 -0600, Watterworth Jay wrote: > >It is my understanding (through a friend who actually called the Chess > >offices -- this must have been over 25 yrs ago) that Chuck was interested > >in recording blues (note the early lps such as "One Dozen Berrys on Top") > >but was told to stick to the more sales oriented rock music by the guns > >at Chess. > > I had thought that Chuck really wanted to play in more of a country style - > wasn't Maybelline a reworking of a country song called "Ida Red"? My understanding was that he wanted to play the blues. That may have been with a country flavor, but he did a lot of strange stuff back then. > > > >As an aside, it has always been my feeling that rather than Elvis, Chuck > >Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he > >performed em. When Elvis went into the army and radically changed his > >approach, Chuck stuck to his guns. > > When Elvis went into the army, didn't Chuck go to jail on the (supposedly) > trumped up Mann Act charge? He (like Jerry Lee) had a lot of dry years > after his "scandal", as I recall. > Chuck Berry was found guilty of violating the Mann Act and did spend some time in prison. As a matter of obscure trivia (not that that never happens here :-) ), I saw his first NY concert (at the Paramont Theather shortly after his release. He was great, a true professional. The show was one of those typical "reviews" of the early/mid sixties. It included the Hondels, the Ronnie and the Daytonas, and other pop rock groups of the time. It also introduced to the USA that famous English blues band (said with tongue in cheek) the Animals. It was just as their version of "House of the Rising Sun" was peaking on the charts. Dwelling in the words of Mr. Silberberg I remain, Jay Watterworth CU Boulder > > > David Silberberg Woman I love has two teeth > davidis@interaccess.com Solid Gold > Got a lien on my body > Mortgage on my soul > > Johnny Shines > ========================================================================= Date: Wed, 27 Sep 1995 02:26:59 -0400 From: Claudio Caponi MARNR Subject: John Hammond in Venezuela! In one of the very rare blues shows here in Venezuela (we just had JH in 1991 and BB King in 1993...), last friday John Hammond produced 90 minutes of great Delta Blues in one of the more absurd settings: a 5 star hotel ballroom, with half the people (there were approx. 600) being more interested in being seen there than in the music itself. Actually there was so much noise at times that it seemed like listening to a musician in a subway station. When you consider that tickets were 40 US$, you may imagine the frustration of the few blues lovers there. To make it worse both the sound man and the ligth man (illumination man? how do you call him?) deserved a life sentence rather than a job. Well, JH was truly professional, showing no signs of how pissed off he must have been, and even managed to get full attention from the crowd for some of the highligths of the show: Come on in my kitchen, Frattenin' frogs for snakes, Kind Hearted Woman Blues, Walking Blues, and in particular a great version of Sleepy John Estes' Someday Baby. The Blues Gang, my brother's band, was supposed to open for him, but JH insisted to go first, as he felt that being a solo acoustic set, it might have been something of an anticlimax to come after an electric band (Blues Gang is two saxes, lead & rhythm guitars, harmonica, bass & drums)! The highlight of the night was when halfway through Blues Gang's set JH came back surpringly to the stage with his harmonica to sing an electrifying version of Howlin' Wolf Baby how long, all the more spontaneous as half of the band didn't know the song. Even with all the shortcomings it was a great evening of blues, thanks to the great personality and nice persona of John Hammond (and, of course, his superb slide). If the trend continues, we can look forward to BB in 1997... P.S.: After writing the above I went throgh the blues-l digest of last week (I am always lagging behind...) and realized that there was a thread going on on talking during shows. And I thought that it was a sign of musical ignorance from an unappreciative venezuelan crowd! I agree with LW on preferring to hear John Hammond in my porch, I just don't think the local promoter who brought him down here would be very pleased...:-) ========================================================================= Date: Wed, 27 Sep 1995 02:49:12 -0400 From: Jacquelin Katz Subject: Re: Stoller's first name On Tue, 26 Sep 1995, Rob Frantz wrote: > You're probably right. Sorry for the misinformation. > > Rob > > On Tue, 26 Sep 1995, Mary Katherine Aldin wrote: > > > Rob Frantz wrote: > > > > > >Stoller's name is Mike, Mike Stoller > > > > > > > I thought it was Mike LIEBER< and JERRY Stoller?? > > > > Mary Katherine > > > Thanks, folks :) Whether it's Mike or Jerry Stoller, it's not the Stoller I thought it might be (Al - a long ago musical friend's father from NYC about whom I knew little else: so much for that idea) Jackie ========================================================================= Date: Wed, 27 Sep 1995 02:14:10 -0500 From: Dave Daubard Subject: Blues Cruise Playlist 9/22 Artist- Title- Release- Label- Rod Piazza & MF- Rockin' Robin- Harp Burn- Black Top Dirty Dozen Brass- Don't You Feel My Leg-New Orleans Album- Columbia Candy Cane- I'm On a Bender- Knockout- Antones Gary Primisch- The Poodle Bites- Travelin' Mood- Flying Fish Studebaker John- title tune- Outside, Lookin' In- Blind Pig Eddie Taylor- Blow Wind Blow- Long Way From Home- " " Ronnie Earl- Okie Dokie Stomp- Jimmy Rogers/Ronnie Earl Bullseye " " - Blues in D Natural- " " " " " Memphis Slim- Going Back to Memphis-Memphis Blues- Milan " " - Do You Think I've Got the Blues " " " Dave Specter- It's Too Late Brother- Live in Europe- Delmark Chris Cain- Steppin' On a Highwire-Somewhere Along the Way- Blind Pig " " - Don't Let the Same Dog Bite You Twice-" " " " " Mark Hummel- Blues Man- Married to the Blues- Flying Fish " " - Title Tune- " " " " " " James Solberg-Baby,When Ya Commin' Back-See that my Grave is Kept-Atomic Th Lee McBee- Get Your Mind Out of the Gutter- "44" Red Hot Rec. Cooler Kings-Just Too Good- Looks Like Trouble- Slippery Noodle " " -title tune- " " " - " " The Crawl-The Blues Have Come My Way-Full Moon Over Dallas- Black Top B.B./Lowell Fulson-Little By Little- Blues Summit- MCA B.B./Ruth Brown- You're the Boss- " " " Larry Garner- Another Bad Day- You Need to Live A Little- Verve Koko Taylor- Flamin' Mamie- Queen of the Blues- ALCD Gary Primisch-Slap You Silly- Mr. Freeze- Flying Fish " " -Jenny Brown- " " " " Debbie Davies-This Man is Killing Me-Loose Tonight- Blind Pig " " -I Get the Blues So Easy- " " " " Al Miller- I Don't Play- Wild Cards- Delmark Studebaker John-Circumstances- Outside, Lookin' In- Blind Pig " " -You Done Me Wrong- " " " " " Maria Muldar-Send the Man Back Home-Meet Me at Midnight- Black top Al Miller- Stuck in Chicago- Wild Cards Delmark Little Milton-You've Been Gone Too Long-I'm a gambler- Malaco ========================================================================= Date: Wed, 27 Sep 1995 08:27:59 GMT From: "Ian K. Mckenzie" Subject: Re: Little Red Rooster (help please!) Rick Miller wrote: >Hi guys....I beg your indulgence for a bit here.... > >My band keeps getting requests for the ol' classic "Little Red Rooster" and >we're always having to tell people we don't do it. We all know the song, but >we don't "KNOW" the song, know what I mean? Who wrote this tune and/or made >it famous? Everyone knows the Stones did it, but they changed the arrangement >all around, if I remember. Can somebody PLEASE send me the lyrics? What key >is it usually done in? Fast, slow, medium, shuffle, boogie? For the life of >me I can't find a cover of it anywhere in my collection and I don't want to >go buy an album just to get one song, my wallet doesn't floweth over green. :( > >Thanks blues-l'ers! 'preciate it muchly! > >Riffin Rick > It depends if you want to do an accoustic or electric version of the song. There's a nice electric version on the 'London Howling Wolf Sessions' in which Wolf plays with EC and a number of other British Musicians. If you send me your mailing address I'll send a cassette to you. Key open G (with slide) speed slowish. Nice riff!! Ian M. ********************************************************* >From the Kitchen of Tricia McKenzie Portsmouth England ******************************************************* ========================================================================= Date: Wed, 27 Sep 1995 05:01:38 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 27th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BENSKIN, SAMMY (p/ROY HAMILTON) b. 1922-0927, BRONX, NY BOWEN, BILLY (of THE INK SPOTS) d. 1982-0927, NEW YORK CITY, NY 70 BRANNON, TEDDY (p/TAB SMITH) b. 1916-0927, MOULTRIE, GA CARTER, JOHN (g) b. 1914-0927, NASSAU, BAHAMAS EDWARDS, RAYMOND (of THE SILHOUSETTES) b. 1922-0927, PHILADELPHIA, PA HALL, ARCHIE "SKIP" (p/BUDDY TATE) b. 1909-0927, PORTSMOUTH, VA HEARD, J. C. (d) d. 1988-0927, ROYAL OAK, MI 71 LOCKETT, JAMES (tsax) d. 1991-0927, UTAH, CA -- MAYWEATHER, GEORGE "EARRING" (hca/HUTTO) b. 1927-0927, TILLY'S MILLS, AL NIX, DON (prod/songw) b. 1941-0927, MEMPHIS, TN RESER, HARRY F. (bjo) d. 1965-0927, NEW YORK CITY, NY 69 RODNEY, RED (ROBERT CHUDNICK)(tpt/PARKER) b. 1927-0927, PHILADELPHIA, PA SHAKESPEARE, ROBBIE (b/SLY & ROBBIE) b. 1953-0927, KINGSTON, JAMIACA SHAPIRO, NAT (author/prod) b. 1922-0927, NEW YORK CITY, NY WEST, CHARLIE (p) b. 1914-0927, ANDALUSIA, AL WHITE, MELVIN "SLAPPY" (mc/comedy) b. 1921-0927, BALTIMORE, MD WILLIAMS, EDGAR (p/tpt) d. 1979-0927, DETROIT, MI 65 ------------------------------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 05:01:37 +0000 From: "P.W. Fenton" Subject: Re: HOB and Tip's On 27 Sep 95, Weidel had this to say: > > I can't believe the shots you guys are taking at Tips. When I was there in > '89, I found it wonderfully hot, crowded, dirty and very accommodating. > What's better than the Sunday afternoon fais-do with free red beans n' > rice, plenty of Dixie beer, and Bruce Daigrepont? > 'Nawlins has great food and a musical heritage that is the envy of most cities. > You sound like you need HOB and a dose of "McBlues" > Wait a minute here. All I said was that I was very disappointed the first time I went to Tipitina's. I wasn't taking shots at my favorite city in the whole world. Please don't lump what I had to say together with Jef Jaisun's jabs at the "Big Easy". P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Wed, 27 Sep 1995 06:57:33 -0400 From: Stew Crossen Subject: Re: Blues-L World I think Homer Simpson should be in there, sitting at the bar singing "Born Under A Bad Sign." Beef Stew - WHUS Radio Eric Clapton, Gary Moore, and Chris Duarte setting at a table in the House of Blues eating BBQ and reading Living Blues magazine while discussing Rap music. Led Zepplin music is playing in the background. Roy Ames is tending bar and Keri Leigh is waiting tables. Bruce Roberts Austin, TX PS - Contents under pressure - Do not expose to open flame. I can see it now. Stubbs in the kitchen. Huey Meaux in charge of personnel. Don Robey in the box office. Of course myself in charge of soundboard security. And a good attorney on retainer. Dwhite Austin, TX ========================================================================= Date: Wed, 27 Sep 1995 06:01:00 CDT From: Joe Mayes Subject: SRV 6th Annual Birthday Jam The Texas Blues Club proudly presents: ------------------------------------------------- The 6th Annual SRV Birthday Jam - October 3, 1995 ------------------------------------------------- Blue Cat Blues, 2617 Commerce St. [Deep Ellum] Dallas, Texas 4:30pm to 2:00am Featured Entertainment: Dave Altice Rocky Athas Tracy Conover Hippie Dogs Andy Timmons Matt Snow Shawn Phares The Roadrunners Kirby Kelley Randy Surley Reserved Seating $10, General Admission $5 For advance tickets and info, please call (214) 651-0710 Come celebrate and enjoy a night of superb Texas Blues. Hope to see you there! Best Regards, Joe Mayes Dallas, The Republic of Texas ========================================================================= Date: Wed, 27 Sep 1995 07:02:42 -0400 From: Stew Crossen Subject: Re: Death of Vernell Townsend I was saddened to hear of the passing of Vernell Townsend. I still get a chill every time I hear Vernell and Henry sing the duet on "Can't You See", (on the Mule album.) Does anyone know her birth date? Beef Stew - WHUS Radio Vernell Townsend, wife of St. Louis bluesman Henry Townsend, passed away this past Thursday, September 21, 1995, of old age and infirmities. Funeral services were held this evening, Tuesday September 26, at Ted Foster Funeral Home. Vernell was a blues singer herself and accompanied Henry often during live performances and on records. Joel Slotnikoff ========================================================================= Date: Wed, 27 Sep 1995 06:03:52 -0500 From: Roger Struve Subject: Amping your National -Reply John Hammond uses the Shure SM58 too. Who was that guy who had a band (i think he died a couple of years ago) and he played a National with a pickup on it? He was described as a blend of jim morrison, robert johnson, and muddy waters, and had a very gravely voice. Wondered what he was using? d.d.r. ========================================================================= Date: Wed, 27 Sep 1995 07:09:02 -0400 From: Stew Crossen Subject: Blues-L World And I forgot. How about Bill Clinton on Sax doing "Whitewater Blues?" Beef Stew WHUS Radio ========================================================================= Date: Wed, 27 Sep 1995 11:58:01 GMT From: Art Schuna Subject: Re: Little Milton - Bobbin sides? In article Eliot Williams writes: >Date: Sun, 24 Sep 1995 14:50:07 GMT-6 >From: Eliot Williams >Subject: Little Milton - Bobbin sides? >Some time back someone on the list (Dick Shurman I think) mentioned >that Little Milton's Bobbin material was going to be or had been >released on the Collectables label. I've been unable to find these >CDs anywhere. The two Little Milton discs I've found on Collectables >consist of material he recorded for the Glades label, after leaving >Chess and before signing with Malaco. Can anyone provide me with >titles or catalog numbers for the Bobbin discs? I have "The Bobbin Blues Masters, Part 1" with Little Milton and Clayton Love. The catalog number is COL5474. Sorry, don't own part 2 and haven't seen it listed anywhere so I can't tell you the catalog number. Part 1 has 8 sides by Little Milton and 3 by Clayton Love. Blue Records lists only 12 sides by LM so either Part 2 has only a few recordings or there are a lot of unreleased sides not listed in the book. It's a shame they didn't include all of the Little Milton sides on one disc - either in place of or in addition to the Clayton Love sides. Collectables tends to be pretty skimpy in playing length. Art Schuna ========================================================================= Date: Wed, 27 Sep 1995 06:56:24 -0500 From: dwhite Subject: Re: HOB & Tips My experiences at Tips in the late '80's were pretty good. One of the Black Top Blues-a-Rama's I went to there was just great. Tip's is a bar in an older building not the tea room at Neiman Marcus. Compared to some of the establishments I've been to it's a veritable palace. The blues doesn't; until recently anyway, have a history of being presented in tony venues. Dana ========================================================================= Date: Wed, 27 Sep 1995 08:06:49 -0400 From: Neil Cassidy Subject: PBS rock special While watching a fairly entertaining rock special, there's nothing like being smacked in the face with a blatant historical inaccuracy. In a high dollar high profile production like this how can they say that EC was covering 'Crossroads' which was recorded "sometime in the 20's" by Robert Johnson? Ouch. LEt's check our facts folks. I'm sure other bluezellers took notice here also. Neil Cassidy ========================================================================= Date: Wed, 27 Sep 1995 08:13:30 EDT From: "Eric C. Shoaf" Subject: Re: Ike Turner on Chuck Berry D. Silberberg wrote: > >As an aside, it has always been my feeling that rather than Elvis, Chuck > >Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he > >performed em. *************************************************************************** Right idea, wrong word. Chuck Berry is the FATHER of rock'n'roll for the reasons stated. You'll never convince the legion of Elvis followers that there is another king, and that's okay because Berry was much more influential in the *birth* of this musical form. Yours in semantics, E. Shoaf ========================================================================= Date: Wed, 27 Sep 1995 08:21:31 EDT From: "Eric C. Shoaf" Subject: Re: Amping your National -Reply R. Struve typed: Who was that guy who had a band (i think he died a couple of years ago) and he played a National with a pickup on it? He was described as a blend of jim morrison, robert johnson, and muddy waters, and had a very gravely voice. Wondered what he was using? ************************************************************************** You're referring to John Campbell of course. And trust me, LW knows who he is! My recollection is that he used some sort of pu *and* a mic. Perhaps mixing them both. Aside to LW: mics are the only way to get the true "grit" out of a resonator. E. Shoaf ========================================================================= Date: Wed, 27 Sep 1995 07:25:34 -0500 From: Jeff Seale Subject: Re: Ike Turner on Chuck Berry On Tue, 26 Sep 1995 TommyR@aol.com wrote: > In my opinion Chuck Berry was a great artist. I f you've heard his stuff on > Chess then you know he really jams. Who cares if Ike Turner thought it was > white folks music? I doubt if many blacks respect Ike Turner more than Chuck > Berry. Berry combined blues, country, and rockabilly and made great music > that many artists of both races have copied since. Don't put much stock in > bitter has beens like Ike Turner. You obviously didn't read my posting very well. I never said CB was not a great artist. I simply wanted to know if there were data that supported Ike's claim. As for bitter has beens, why don't you get the Charly collection of Ike Turner and his Kings of Rhythm and maybe you'll see that Ike Turner was probably more influential on early rock-n-roll than you imagine. Maybe Ike is bitter because his groups made a significant contribution to the FOUNDATION of rock-n-roll, while Chuck got more credit. -Jeff (when do your 10 free hours expire?) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 27 Sep 1995 08:44:26 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: Amping your National -Reply >Who was that guy who had a band (i think he died a couple of years >ago) and he played a National with a pickup on it? > >He was described as a blend of jim morrison, robert johnson, and >muddy waters, and had a very gravely voice. > >Wondered what he was using? > >d.d.r. > That was probably John Campbell. There's a great bootleg of him out called "Voodoo Performance". It's hard to find but well worth the search. ========================================================================= Date: Wed, 27 Sep 1995 08:07:03 -0500 From: Cathi Norton Subject: Hammond Poise Re: Claudio Caponi MARNR's review of John Hammond's concert in Venezuela... "Even with all the shortcomings it was a great evening of blues, thanks to the great personality and nice persona of John Hammond." I think it's important to say good things about deserving people...it costs nothing and it sure contributes to the world. I had to say, after readying Caponi's review of Hammond's poise in adverse circumstances, that he (Hammond) was one of the first people I ever met who really took me aback with his gentlemanly behavior in adverse circumstances. In Halifax, Nova Scotia, several things went wrong at a concert, including the fact that afterwards, the promoter had "lost" Hammond's check. At the time, I thought for certain Hammond would grow angry at this final straw...but he barely raised an eyebrow. Instead he just sat down, smiled and said he would "wait." Let me tell you we tracked that promoter down. But that simple graceful handling of a night full of quirky bad luck, really impressed me. I didn't forget it...in fact, it's one of the things I like to remember when I run into similar situations, or into "stars" who are busy showing you their tattoos. I haven't seen Hammond for awhile, but from this report, I guess he hasn't changed. Cathi N. ========================================================================= Date: Wed, 27 Sep 1995 09:05:52 -0500 From: Erica Wissolik Subject: Re: Need help in Nashville -Reply The Bluebird Cafe has a homepage at http://www.hidwater.com/bluebird/bluebird.html They list their schedule as well as a warning that you must call for reservations if you want a table -especially on the weekends. Erica >>> Linda L. 09/26/95 08:55pm >>> Check out the Bluebird Cafe ... it has been there a long time and many now well-known people played there when first starting out. If memory serves, it does not specialize in any one type of music, so call and find out who's playing if you don't want to chance it. >>>>>>>>>>>>>>>>... ========================================================================= Date: Wed, 27 Sep 1995 09:20:44 -0400 From: CATBAUER Subject: LUTHER ALLISON IN MUDDY's CABIN LUTHER ALLISON IN MUDDY'S CABIN Luther Allison, who just released his new album BLUE STREAK on Alligator Records, will appear in Muddy's Cabin on The Blue Highway, Friday, October 6th at 9 pm EST (8pm CST, 6 pm PST, and 2 am Greenwich Mean Time). Luther Allison will be available to answer your questions live from the backstage area of the King Biscuit Blues Festival, which takes place October 6-8 in Helena, Arkansas. Other artists to be joining Luther Allison at different times during the festival include Robert Jr. Lockwood, Dr. John, Charlie Musslewhite, Anson Funderburgh, Joe Louis Walker, Lonnie Shields, and several more surprise guests. Please check Muddy's Cabin at The Blue Highway for dates and times. If you can't make it to Muddy's Cabin during these times, we are accepting advance questions for all of the above artists. Please e-mail them to catbauer@vivanet.com or catbauer@aol.com. The Blue Highway and Muddy's Cabin -- a virtual chat room -- are accessible by almost all web browsers and through any commercial service with web access, including CompuServe, America Online, and Prodigy. http://www.vivanet.com/~blues/ ========================================================================= Date: Wed, 27 Sep 1995 06:31:03 -0700 From: "Emile Carter "@INTERSERV.COM Subject: Summit Trading Cards! What a wonderful opportunity we can afford you! Summit Trading Cards are a fantastic means of advertising your musical services. Musicians: picture yourself on the front of a trading card, with a list of your talents and contact information on the back; in beautiful color and fully laminated; ready for circulation. Bands: put a picture of your group on the front; contact information and a list of tour dates on the back so fans can keep track of your gigs. Maybe have a trading card for each group member to entertain you fan club! Service providers: trading cards make great business cards! Put lists of services, phone numbers, and hours on the back. Customers will keep these impressive cards, and this means future business. These trading cards are great for mass mailings or for personal use. Please feel free to contact me for additional information regarding this fantastic marketing tool. For FREE information via E-mail, send request to edc@interserv.com or contact us at: Trading Faces Trading Card Co. 6114 LaSalle Ave Suite #361 Oakland, CA 94611 (510) 531-1454 or (800) 988-7852 (510) 531-9080 (fax) AUTHORIZED SUMMIT DISTRIBUTOR ========================================================================= Date: Wed, 27 Sep 1995 08:06:03 -0500 From: Richard Shurman Subject: Re: Munich Records Yes, Barrelhouse did reunite and released a new CD last year on Munich; I have it but it's at home and I'm at work and can't remember the title. ========================================================================= Date: Wed, 27 Sep 1995 08:19:15 -0500 From: Richard Shurman Subject: Re: Magazines: Juke Blues I don't like to use this forum for commercial purposes, but since this was a request-- I am indeed the U.S. agent/correspondent for Juke Blues. Samples are $6 postpaid. Subscriptions for four issues (which appear about three times a year) are $25 for surface mail, $30 for air mail. All checks should be payable to me; write to me at 3S 321 Winfield Road, Warrenville IL 60555-3145, USA. This applies to U.S. subscribers only; people from other places should contact Juke Blues, P.O. Box 148, London W9 1DY, England to find out who their local agent is. And no, I don't bill for subscriptions, so include a check with your order. Some Towers carry it and so do Jazz Record Mart in Chicago and a few other retail outlets around the country. The points about the contributions of European blues scholars are well taken. The recently published book (published by Soul Bag) about the 1959 trip to the U.S. by Jacques Demetre and Marcel Chauvard has been plugged by me here before. I still think Mike Leadbitter was the best English-language blues researcher and also in England, Ray Topping knows more than anyone else today about postwar blues discography-- if only he'd share more of his information! ========================================================================= Date: Wed, 27 Sep 1995 09:13:54 -0500 From: David Silberberg Subject: Re: Ike Turner on Chuck Berry At 08:13 AM 9/27/95 EDT, Eric C. Shoaf wrote: >D. Silberberg wrote: > >> >As an aside, it has always been my feeling that rather than Elvis, Chuck >> >Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he >> >performed em. >*************************************************************************** > Careful, Eric, those are Jay Watterworth's sentiments, NOT mine. I do know how dificult it is sometimes to figure out who said what.... IMO, Elvis WAS the "King of Rock N Roll" because he brought it and popularized it to a mass white audience. Whatever you think about the racial aspects of that, I do believe he was the guiding force - as well as being certainly the best white rock n roller (in a strictly rock 'n roll sense - he wasn't a blues performer, not IMO), if not the best period. David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Wed, 27 Sep 1995 09:29:45 -0500 From: "music-chgo.pub.lib" Subject: NEW BLUES SHOW ON CABLE We are forwarding the following announcement. The Outdoor Channel is set to launch "Chicago Blues Jam", a new one-hour weekly music series recorded live at Buddy Guy's Chicago south side nightclub "Legends," it was announced by Executive Producer John Sink. Set to debut October 6th at midnight (Pacific time), "Chicago Blues Jam" will run for thirteen consecutive nights. "We're on a mission to show the world the passion and excitement of nightclub blues, Chicago style!" explains Sink. "The blues is 'Daddy' to jazz, rock, soul and rap. It's about time the music and musicians receive the recognition they deserve." The roster for "Chicago Blues Jam" reads like a who's who of modern blues greats. Acts will include Buddy Guy, Magic Slim and the Teardrops, Junior Wells, Lonnie Brooks, Son Seals, Maria Muldaur, Billy Branch and crowd favorite, Rod Piazza. Hosted by colorful entertainer and blues artists Buzz "Mud Creek" Kilman, each show will include two feature artists along with short performances from emerging young talent. In addition to the musical performances, "Chicago Blues Jam" will feature brief interviews with both artists and the audience adding to the spontaneous nature of the show. "Chicago Blues Jam" is produced by Edge Multimedia, a Chicago-based production company. !!! THE OUTDOOR CHANNEL, A NATIONAL CABLE NETWORK IS AVAILABLE THROUGH YOUR LOCAL CABLE CARRIER. IF YOU DO NOT CURRENTLY HAVE ACCESS TO THE OUTDOOR CHANNEL, PLEASE CONTACT YOUR REGIONAL CABLE OPERATOR AND REQUEST THEM TO CARRY THE OUTDOOR CHANNEL AND THE "CHICAGO BLUES JAM." For further information, contact: Donna Smith Edge Multimedia 804 Burr Oak Drive Westmont, IL 60559 708 920-1005 Fax 920-1067 ========================================================================= Date: Wed, 27 Sep 1995 08:06:01 -0700 From: Mary Katherine Aldin Subject: Re: PBS rock special Neil Cassidy wrote: > >While watching a fairly entertaining rock special, there's nothing >like being smacked in the face with a blatant historical inaccuracy. >In a high dollar high profile production like this how can they say >that EC was covering 'Crossroads' which was recorded "sometime in the >20's" by Robert Johnson? Ouch. LEt's check our facts folks. I'm sure other bluezellers took notice here also. > The strange thing is that Robert Palmer (the author of "Deep Blues," not the pop singer) was the chief consultant on this project. Bob certainly knows how to fact-check; I can only assume that this got past him somehow, or that he wasn't in direct charge of the narrated script. Mary Katherine ========================================================================= Date: Wed, 27 Sep 1995 16:39:24 +0100 From: Roadrunner Tour Management Subject: R.T.M. Re:UK Blues At 20:18 25/09/95 -0400, Scott Bohon wrote: >I'll be vacationing in England and Ireland for a couple of weeks starting >October 1, and am interested in any local blues action. Any ideas, >especially in London, from you dedicated UK blues-l'ers? Thanks. > >Scott > Hi Scott, well, I can give you some Ireland dates if that helps you. Here are the dates for *David Brewer* (long time sideman for Albert Collins): Date Venue Time Address Tue 03/10 Roisin Dubh 21:30 Galway Wed 04/10 TBA Thu 05/10 Heneghans 21:30 Westport Fri 06/10 TBA Sat 07/10 Northern Bar 23:00 Armagh Sun 08/10 The Globe 21:30 Greignemanagh Mon 09/10 TBA Tue 10/10 TBA Wed 11/10 TBA Thu 12/10 Connaly's 21:00 Leap Fri 13/10 Paddy Blues 21:00 Gorey Sat 14/10 Mojo's 21:00 Cork Sun 15/10 Mojo's 12:30 Cork And here are some dates for T.W. Henderson & Big Time: Date Time Venue Address 30/09/95 21:30 Roisin Dubh Galway 01/10/95 20:30 Gig Rig Ballinasloe 02/10/95 22:00 The Royal Spa Lisdoonvarna 03/10/95 21:00 Heneghan's Westport 04/10/95 21:30 Monroe's Galway 05/10/95 21:30 Castle Inn Castlebar 06/10/95 TBA 07/10/95 23:00 O'Mally's Ballinasloe 08/10/95 TBA 09/10/95 TBA 10/10/95 21:00 Heneghan's Westport 11/10/95 TBA 12/10/95 21:30 Castle Inn Castlebar 17/10/95 21:00 Heneghan's Westport 18/10/95 21:30 Monroe's Galway 19/10/95 21:30 Castle Inn Castlebar 28/10/95 21:30 Mojo's Cork * 29/10/95 12:45 Mojo's Cork * 29/10/95 21:30 Mojo's Cork * 30/10/95 21:30 Mojo's Cork * * Cork Fazz & Blues Festival; Oct.27th - Oct.30th Cheers, have fun Carsten ROADRUNNER TOUR MANAGEMENT 3 Idrone Terrace Blackrock County Dublin Ireland Tel&Fax: +353 1 2834390 Mobile: +353 88 619758 ========================================================================= Date: Wed, 27 Sep 1995 11:41:13 -0400 From: Rick Miller Subject: A funny slide dilemma Now here's one you may not hear every day. I've been working pretty hard on my slide technique on my new Epiphone dobro that you've heard me mention about oh, say a million times :) ....and in the last week or so I started noticing it was sounding funny, like off key, muted, out of tune or something, and I couldn't put my finger on it (pun intended). I kept checking the tuning and it's always bang on, so I was wondering, jeez, is it me? Has my fingering mutated into something funky or what? Well, guess what, it's my brass slide. I looked carefully at it's shape and it's no longer a tapered cylinder! Its walls are now worn away from the heavy wound strings and it actually curves inward at the center of its length, like one of those nuclear plant cooling towers! Thus, not enabling me to get good pressure/contact with strings in the middle, like 3rd, 4th, 5th strings, and making my open tunings sound way off. So, if you put the slide on its side on a counter top, it makes contact with the surface of the counter only near the ends, and there's an arched gap worn away at the middle. Son of a b---! Mind you, I didn't do all this in the month or so I've had my Epi, I've had the slide for several years. Any slide players out there ever experience this phenomenon?? I'm bumming, 'cause this slide was made for me and I won't be able to buy another one like it. Is this par for the course in brass slides? BTW, I don't use glass on the dobro, it's not bright enuff, but I do use a coricidin bottle on my electric. Thought I'd share this oddity wif youse. Slide player feedback welcomed! Oh, and if you can recommend a good tapered brass slide to replace it? :) Riffin Rick (((( oo-) /- It's 3 o'clock in the morning and all the pretty women are gone. F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Sep 1995 11:48:53 -0400 From: Rick Miller Subject: Portnoy's harps $$$ Mr. Mike Bag-o-harps....you forgot to tell us what brand of harps he's playing, at seventy-five bucks a whack! I'm sure my harp player would love to know, the way he goes through harps! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Sep 1995 09:01:42 PST From: Mike McCourt Subject: Re: Ike Turner on Chuck Berry Actually, it's been long enough CB is now the GRANDfather of R' n R'. Semantically yours, :) Mike mmccourt@acuson.com ______________________________ Reply Separator _________________________________ Author: "Eric C. Shoaf" at ccUnix Chuck Berry is the FATHER of rock'n'roll for the reasons stated. Yours in semantics, E. Shoaf ========================================================================= Date: Wed, 27 Sep 1995 11:57:44 -0400 From: Peter Welch Subject: Re: NEW BLUES SHOW ON CABLE According to music-chgo.pub.lib: > > We are forwarding the following announcement. > > The Outdoor Channel is set to launch "Chicago Blues Jam", a new one-hour > weekly music series recorded live at Buddy Guy's Chicago south side > nightclub "Legends," it was announced by Executive Producer John Sink. > Set to debut October 6th at midnight (Pacific time), "Chicago Blues Jam" > will run for thirteen consecutive nights. > This show sounds excellent...Does anyone out there have the Outdoor Channel on their system? There's no way in hell my local monopoly is going to listen, so if you receive this channel let me know, I'd be interested in tapes. -Peter ========================================================================= Date: Wed, 27 Sep 1995 10:31:28 CDT From: Scott Schiller x2554 Subject: Re: Summit Trading Cards! > What a wonderful opportunity we can afford you! Summit Trading Cards are a > fantastic means of advertising your musical services. [delete,zap,pow] Somebody is DEFINITELY going to have a bird because of this one. PW, you seem to be blues-l's official self-righteous flamer; go to town. --scott ========================================================================= Date: Wed, 27 Sep 1995 11:16:26 -0600 From: Ranko Vujosevic Subject: Re: Death of Vernell Townsend While I am trying to prepare budget for the folk and blues fest we want to put here in Iowa City in February (still in feasibiity evaluation stage), I was playing with a list of performers trying to figure out roughly what we want and can afford. Henry and Vernell Townsend were on all my lists. That was a must. I was really suddened to hear she died. I don't have the Mule album, but that one song she sang alone on Henry's (with Piano Slim adding some sides) St. Louis Blues (Wolf) made me want find out more about her. Still hope Henry will make it if we get this through. Ranko > > I was saddened to hear of the passing of Vernell Townsend. > > I still get a chill every time I hear Vernell and Henry sing the duet on > "Can't You See", (on the Mule album.) > > Does anyone know her birth date? > > Beef Stew - WHUS Radio > > Vernell Townsend, wife of St. Louis bluesman Henry Townsend, passed away > this past Thursday, September 21, 1995, of old age and infirmities. Funeral > services were held this evening, Tuesday September 26, at Ted Foster > Funeral Home. > Vernell was a blues singer herself and accompanied Henry often during live > performances and on records. > > Joel Slotnikoff > ========================================================================= Date: Wed, 27 Sep 1995 11:06:23 PDT From: Michael Suffern Subject: Re: Magazines: Juke Blues Plus, you can read the ramblings of a certain Chicago correspondent, Dick somebody... Shurman, I think, all in one place. The most insightful view of the Chicago scene I've read anywhere - I mean not just reporting, there's heart in there everytime! And it comes to us from the U.K. Mike On Wed, 27 Sep 1995 08:19:15 -0500 (CDT) Richard Shurman wrote: >I don't like to use this forum for commercial purposes, but since this >was a request-- I am indeed the U.S. agent/correspondent for Juke Blues. >Samples are $6 postpaid. Subscriptions for four issues (which appear >about three times a year) are $25 for surface mail, $30 for air mail. >All checks should be payable to me; write to me at 3S 321 Winfield Road, >Warrenville IL 60555-3145, USA. This applies to U.S. subscribers only; >people from other places should contact Juke Blues, P.O. Box 148, London >W9 1DY, England to find out who their local agent is. And no, I don't >bill for subscriptions, so include a check with your order. Some Towers >carry it and so do Jazz Record Mart in Chicago and a few other retail >outlets around the country. > The points about the contributions of European blues scholars are >well taken. The recently published book (published by Soul Bag) about >the 1959 trip to the U.S. by Jacques Demetre and Marcel Chauvard has been >plugged by me here before. I still think Mike Leadbitter was the best >English-language blues researcher and also in England, Ray Topping knows >more than anyone else today about postwar blues discography-- if only >he'd share more of his information! ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 11:06:23 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 13:08:58 -0400 From: Steve Levine Subject: Re: Portnoy's harps $$$ *Mr. Mike Bag-o-harps....you forgot to tell us what brand of harps he's playing, *at seventy-five bucks a whack! I'm sure my harp player would love to know, *the way he goes through harps! He's probably playing Joe Filisko harps, which most pros agree are the best diatonic harps available. His customized Marine Bands start at $55 and his brass body harps start at something like $95. ========================================================================= Date: Wed, 27 Sep 1995 10:20:46 -0700 From: Eric LeBlanc-CISTI Subject: RONNIE WHITE, OF THE MIRACLES, DIES AT 57 "Ronnie was probably the most serious of the group. He was very businesslike ... Ronnie was serious, a perfect gentleman" ~ Kim Weston, Sacramento Bee, August 29, 1995 Baritone singer & songwriter RONNIE WHITE has died. An original member of The Miracles (formerly The 5 Chimes, The Matadors), he & William "Smokey" Robinson recorded a rare duet in 1959 as RON & BILL, which was leased to Argo Records (a Chess subsidiary) before being released on Berry Gordy's own Tamla label. As a songwriter, he co-wrote with Smokey Robinson, Mary Wells' "You Beat Me To The Bunch", The Temptations' "My Girl", and The Miracles' "Come On Do The Jerk" & "Bad Girl". He was also credited (by Berry Gordy) in discovering Stevie Wonder. After Smokey Robinson left The Miracles in 1972, the new Miracles continued to record (with Bill Griffin, lead) until 1978. In his last years, Ronnie White worked as a real estate agent. RONALD ANTHONY WHITE JR. was born April 5, 1938, Detroit, MI., and died at the Henry Ford Hospital on Saturday, August 26, 1995, Detroit, MI. He was survived by his wife Gloria, son Ronnie White II., daughter Pamela White DasGupta, and his fellow Miracles, William "Smokey" Robinson, Robert "Bobby" Rogers, Claudette Rogers Robinson, Warren "Pete" Moore, William Griffin, and their longtime guitarist, Marvin Tarplin. Very Selective Discography ========================== MOTOWN 636334 SMOKEY ROBINSON & THE MIRACLES - 35TH ANNIVERSARY COLLECTION RHINO 71181 SMOKEY ROBINSON & THE MIRACLES - MORE OF THE BEST ========================================================================= Date: Wed, 27 Sep 1995 17:26:44 +0000 From: Pat Hertel Subject: Re: Summit Trading Cards! On Wed, 27 Sep 1995, Scott Schiller x2554 wrote: > > What a wonderful opportunity we can afford you! Summit Trading Cards are a > > fantastic means of advertising your musical services. > > [delete,zap,pow] > > Somebody is DEFINITELY going to have a bird because of this one. > > PW, you seem to be blues-l's official self-righteous flamer; go to town. > > --scott > Are you sure you got that right? I've seen him more often as a flamee than flamer. humm phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [27/9/95 13:23 PM] "Wednesday's worse..." ========================================================================= Date: Wed, 27 Sep 1995 11:52:00 -0400 From: "charles (c.f.) board" Subject: Re: SONY SONY/LEGACY 66913 : FROM PHILLY WITH LOVE Eric writes: >This CD is a good sampler of the PIR sound & will have to do until the > promised PIR boxset becomes a reality. Just thought I'd mention that there _is_ an 8 cd box set on the Philly International label out in Europe. I bought it several years ago and it's fantastic. ========================================================================= Date: Wed, 27 Sep 1995 13:23:10 -29900 From: Michael Kaloyanides Subject: Re: M+S Stereo recording Michael Suffern wrote about wearing a PZM mic on a LARGE GOLD NECKLACE and another mic on suspenders. I see an interesting fashion trend developing here. Pop filters built out of clothes hangers and panty hose might make a provocative addition. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 27 Sep 1995 12:43:08 -0500 From: Jeff Seale Subject: Re: Summit Trading Cards! On Wed, 27 Sep 1995, Scott Schiller x2554 wrote: > PW, you seem to be blues-l's official self-righteous flamer; go to town. Come on now, that was totally unfair. Paul Fenton has been a productive member of the list for quite a while. Why couldn't you have done this in mail only to him? -Jeff (you flamed him in public, I defend him in public) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Wed, 27 Sep 1995 13:28:08 -29900 From: Michael Kaloyanides Subject: Re: Stoller's first name It's definitely Jerry Leiber and Mike Stoller. Michael G. Kaloyanides Department of Music & Sound Recording University of New Haven ========================================================================= Date: Wed, 27 Sep 1995 13:31:02 -29900 From: Michael Kaloyanides Subject: Debbie Davies "Picture This" is on Debbie's album of the same name. Michael ========================================================================= Date: Wed, 27 Sep 1995 14:05:07 -5 From: "P.W. Fenton" Subject: Re: NEW BLUES SHOW ON CABLE On 27 Sep 95, music-chgo.pub.lib had this to say... > We are forwarding the following announcement. > > The Outdoor Channel is set to launch "Chicago Blues Jam", a new one-hour > weekly music series recorded live at Buddy Guy's Chicago south side > nightclub "Legends," it was announced by Executive Producer John Sink. > Set to debut October 6th at midnight (Pacific time), "Chicago Blues Jam" > will run for thirteen consecutive nights. The dubious connection between Buddy Guy's "Legends" night club, and the great outdoors makes me suspicious of this post. Sure seems like the object of the post is to get people all over the country to ask for the Outdoor Channel. Can anyone confirm that this "Chicago Blues Jam" program exists? P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 14:05:07 -5 From: "P.W. Fenton" Subject: Re: A funny slide dilemma On 27 Sep 95, Rick Miller had this to say... > Now here's one you may not hear every day. I've been working pretty hard on > my slide technique on my new Epiphone dobro that you've heard me mention about > oh, say a million times :) ....and in the last week or so I started noticing > it was sounding funny, like off key, muted, out of tune or something, and I > couldn't put my finger on it (pun intended). I kept checking the tuning and > it's always bang on, so I was wondering, jeez, is it me? Has my fingering > mutated into something funky or what? > > Well, guess what, it's my brass slide. I looked carefully at it's shape and > it's no longer a tapered cylinder! Its walls are now worn away from the heavy > wound strings and it actually curves inward at the center of its length, like > one of those nuclear plant cooling towers! Thus, not enabling me to get good > pressure/contact with strings in the middle, like 3rd, 4th, 5th strings, and > making my open tunings sound way off. So, if you put the slide on its side > on a counter top, it makes contact with the surface of the counter only near > the ends, and there's an arched gap worn away at the middle. Son of a b---! > > Mind you, I didn't do all this in the month or so I've had my Epi, I've had the > slide for several years. Any slide players out there ever experience this > phenomenon?? I'm bumming, 'cause this slide was made for me and I won't be > able to buy another one like it. Is this par for the course in brass slides? > BTW, I don't use glass on the dobro, it's not bright enuff, but I do use a > coricidin bottle on my electric. > > Thought I'd share this oddity wif youse. Slide player feedback welcomed! > Oh, and if you can recommend a good tapered brass slide to replace it? :) Rick, I really doubt you did this, even with years of playing. The slide was probably made this way, and you only noticed it now. Most guitar bridges (and nuts) are arched and the strings rarely are arranged in a flat straight line. Hence, many slides are made to fit that arch and allow all the strings to be played all at once. I'd look for other possible causes for the "out of tune" sound. Try putting a piece of cloth behind the strings between the nut and the tuning pegs. They may be vibrating. If that isn't it, try being carefull to mute the strings behind the slide (the side you are not picking - along the neck). They also vibrate, and if you are playing a very resonant guitar, they will be audible and naturally out of tune. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 14:29:37 -0400 From: Rick Miller Subject: BB King on PBS for Massachusetts I called WGBH, PBS ch.2 in Boston today after having read here on Blues-L that there's a BB King "Blues Summit" airing around the country tomorrow, the 28th. The Boston channel is *NOT* airing this show. They didn't even know anything about it. When I asked them about the future Austin City Limits show with BB, taped recently, they said no, it isn't on their schedule in the foreseeable future. WGBH told me they do not pick up all the ACL shows, though they try to get as many as possible. They were happy to take my request for these shows and this BB King "Summit" show, and are really glad to hear of the viewing requests of the public/membership. If you're in the viewing area of Boston's PBS on ch. 2, please give 'em a call at (617) 492-2777 and voice your requests for more blues programming! Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Wed, 27 Sep 1995 13:37:38 CDT From: Scott Schiller x2554 Subject: Re: Summit Trading Cards! Sorry to everyone and especially to PW for my smartass comment. --scott P.S. Does anyone know if the listowner is alive? ========================================================================= Date: Wed, 27 Sep 1995 14:41:10 -0400 From: Saint Bob Subject: DC area contact requests Howdy blues-l'ers. I'm looking for some contacts in the DC area. 1) The DC Blues Society 2) Teachers. a) Guitar - fingerpicking acoustic country blues - a little better than beginner. b) Blues/jazz piano - beginner level Thanks lots. E-mail stbob@krylon.org or reply on the list, either one is fine. ========================================================================= Date: Wed, 27 Sep 1995 19:46:02 GMT From: Dennis Miele Subject: Re: Comin' in the back door In article <950924153721_27954870@emout06.mail.aol.com> Joe Norris writes: >Can anybody tell me what's happened to Li'l Ed and the Blues Imperials? >Seems like it's been three years since "What You See is What You Get" came >out, but I'm not seeing anything new show up in the "L" section of my local >record bins. And Bruce hasn't breathed a word about him in that little >letter he does in Living Blues. >Did Ed go back to the carwash or what? I heard that they recently broke up. ========================================================================= Date: Wed, 27 Sep 1995 13:41:28 -0500 From: Richard Shurman Subject: Re: NEW BLUES SHOW ON CABLE Yes, "Chicago Blues Jam" is for real and has been for awhile. I suspect that its airing on The Outdoor Channel has more to do with the difficulty of getting blues air time even on cable than with any great affinity between Legends and the wondrous world of nature since the show has been looking for an outlet for quite awhile. ========================================================================= Date: Wed, 27 Sep 1995 15:24:51 -0400 From: Marcia Grodsky Subject: Invitation from Delta Blues Museum I received the following invitation, addressed to Blues-L c/o me: Silver Rights, by Constance Curry with an introduction by Marian Wright Edelman Algonquin Books of Chapel Hill and Clarksdale Blues Museum invite you to join in celebrating the publication of SILVER RIGHTS by Constance Curry Sunday, Oct.8, 2.p.m. 114 Delta Aveenue Clarksdale, Mississippi (Music by the Drew High School Band. Barbeque by Fairs Restaurant.) RSVP to John Rusky 601-624-4461 ----------------------------------------------------- The front of card says "Silver Rights: The triumphant story of one family's struggle to claim their right to a better education." If there are any Blues-L members who are in the area and wish to attend, I gather you should give John a call. ---Marcia Grodsky ========================================================================= Date: Wed, 27 Sep 1995 16:20:31 -0400 From: Steve Levine Subject: Return of the DC Blues Society Jam The DC Blues Society monthly jam will start up again (now that the picnic and festival season is over) this Sunday, October 1. Here is the announcement, from the Society's www site: JAM RETURNS SUNDAY OCTOBER 1 The Society's monthly jam returns to Food For Thought Restaurant, Sunday October 1. The jam, which runs from 4:00 to 8:00PM, has become a local blues institution and many have been waiting for them to resume after the annual summer hiatus. The jams, held the first Sunday of each month, are open to musicians and vocalists of all levels. They provide a means for musicians to get to know each other and to let everyone enjoy what is the biggest monthly house party in town. Florette Orleans and Melvin Lavert host the jam so, if you want to play, see them when you arrive. The October jam will start with acoustic artists and then switch over to electric blues as the evening progresses. Food For Thought is located on Connecticut Avenue, a few blocks north of the Dupont Circle Metro station on the Red Line. If you want to sit back and simply enjoy the good music and good times, you can do that too. ========================================================================= Date: Thu, 28 Sep 1995 08:43:48 +1300 From: MIKE GARNER Subject: blues harp In an excellent contribution - a sort of curriculum for harp teachers and students, Michael Suffern said "Forget the crap that comes with harp about playing in the key the harp is in. That's straight harp and it's for folk ("Oh, Suzzanna")." Although this is largely true, there are some important exceptions. eg Jimmy Reed style, you can have the A harp on a brace and play cross harp in guitar key E and straight harp (at the top, squeeky, end) in A, without changing harp! Also, listen to James Cotton on Muddy Waters' "I Want To Be Loved" - it's very bluesy, but it's C harp in guitar key of C, all played on the bottom 4 holes - when you can spot it there's other examples of that technique in the classic blues harp repertoire... I only discovered 3rd and 1st positions recently after years of cross harp - and they really allow you some extra variety in your "chops" - happy harping! Mike Garner New Zealand ========================================================================= Date: Wed, 27 Sep 1995 15:50:31 -0500 From: danallen Subject: Chicago club action A networkless friend is goin' to the Windy City Saturday Aug 23 and was wonderin' who's playin' where. If anybody would like to offer some info, I and he'd be much obliged. Thanks. -dan ========================================================================= Date: Wed, 27 Sep 1995 14:23:49 PST From: Mike McCourt Subject: Re: listowner is alive?/Summit Trading Cards! If he is, he has ignored my last 4 messages sent to him. Maybe his address has changed and it's not in the FAQ correctly? mmccourt.acuson.com ______________________________ Reply Separator _________________________________ Author: Scott Schiller x2554 at ccUnix P.S. Does anyone know if the listowner is alive? ========================================================================= Date: Wed, 27 Sep 1995 15:05:27 PDT From: Michael Suffern Subject: Re: A funny slide dilemma Diagnosed this one in 2 seconds. Maybe a Brass alloy with a bit of harder metal in it? Check a Machine Shop for custom turning. Mike On Wed, 27 Sep 1995 11:41:13 -0400 Rick Miller wrote: >Now here's one you may not hear every day. I've been working pretty hard on >my slide technique on my new Epiphone dobro that you've heard me mention about >oh, say a million times :) ....and in the last week or so I started noticing >it was sounding funny, like off key, muted, out of tune or something, and I >couldn't put my finger on it (pun intended). I kept checking the tuning and >it's always bang on, so I was wondering, jeez, is it me? Has my fingering >mutated into something funky or what? > >Well, guess what, it's my brass slide. I looked carefully at it's shape and >it's no longer a tapered cylinder! Its walls are now worn away from the heavy >wound strings and it actually curves inward at the center of its length, like >one of those nuclear plant cooling towers! Thus, not enabling me to get good >pressure/contact with strings in the middle, like 3rd, 4th, 5th strings, and >making my open tunings sound way off. So, if you put the slide on its side >on a counter top, it makes contact with the surface of the counter only near >the ends, and there's an arched gap worn away at the middle. Son of a b---! > >Mind you, I didn't do all this in the month or so I've had my Epi, I've had the >slide for several years. Any slide players out there ever experience this >phenomenon?? I'm bumming, 'cause this slide was made for me and I won't be >able to buy another one like it. Is this par for the course in brass slides? >BTW, I don't use glass on the dobro, it's not bright enuff, but I do use a >coricidin bottle on my electric. > >Thought I'd share this oddity wif youse. Slide player feedback welcomed! >Oh, and if you can recommend a good tapered brass slide to replace it? :) > > >Riffin Rick > > > > > > > (((( > oo-) > /- > > It's 3 o'clock in the morning > and all the pretty women are gone. > > > > > >F.J.(Rick)Miller >Senior Research Assistant, >& Marine Facilities Manager >Worcester Foundation for Biomedical Research >"Miller@Sci.WFBR.Edu" >*************************************************************************** ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 15:05:27 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 15:18:18 PDT From: Michael Suffern Subject: Re: A funny slide dilemma P.W. has a point about the curved shape. I should have said in the first reply that I diagnose the problem as the slide, specifically, corrosion. The sound you describe it exactly the sound of strings getting old. When they corrode, they still tune accarately, but they no longer sound right, especially when they are fretted. I think the rich harmonics of the new string gives a spread of root and harmonics centered around the root and these diminish as the strings age. Sounds like your slide has aged. Try polishing. Otherwide, as P.W. says, worry about something coming loose, like the bridge! They will resonate out of phase with the strings and ruin the tone. If you're using an open tuning and standard string guages, you could be putting too much tension on the system. Of course, have you changed your strings? Mike On Wed, 27 Sep 1995 14:05:07 -5 P.W. Fenton wrote: . . . > >Rick, I really doubt you did this, even with years of playing. The >slide was probably made this way, and you only noticed it now. Most >guitar bridges (and nuts) are arched and the strings rarely are >arranged in a flat straight line. Hence, many slides are made to >fit that arch and allow all the strings to be played all at once. > >I'd look for other possible causes for the "out of tune" sound. Try >putting a piece of cloth behind the strings between the nut and the >tuning pegs. They may be vibrating. If that isn't it, try being >carefull to mute the strings behind the slide (the side you are not >picking - along the neck). They also vibrate, and if you are playing >a very resonant guitar, they will be audible and naturally out of tune. > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 15:08:06 PDT From: Michael Suffern Subject: Re: M+S Stereo recording I'll let you know if I start seeing others picking up the trend, on the street or in studio. :) The PZM really looks sharp with Black! Mike On Wed, 27 Sep 1995 13:23:10 -29900 Michael Kaloyanides wrote: >Michael Suffern wrote about wearing a PZM mic on a LARGE GOLD NECKLACE and >another mic on suspenders. > >I see an interesting fashion trend developing here. Pop filters built out >of clothes hangers and panty hose might make a provocative addition. > >Michael G. Kaloyanides >Department of Music & Sound Recording >University of New Haven ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 15:08:06 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 15:31:46 PDT From: Michael Suffern Subject: Re: Little Walter & Chromatics Yeah on Cary. I've got Filisko's number somewhere... But, no, it was like two last names. I checked the BR Article and he doesn't mention the brands, sigh. I'm gonna check on harp-l, and as a last resort, call him. Do you have the harp-l subscription info? Mike On Wed, 27 Sep 1995 09:45:21 -0700 Joe Lempkowski wrote: > >Mike, > >Have you ever had an opportunity to check out Carey Bell? He plays some >pretty wicked chromatic stuff. Billy Branch's work on chromatic is pretty >good too. > >It sounds like Jerry Portnoy buys his harp from somebody like Joliet Joe >Filisko. > >Since you live near Chicago, have you seen anything good lately? > >Joe ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 15:31:46 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 17:09:43 -0500 From: T-Bone Subject: Re: Living Blues On Mon, 25 Sep 1995, Bruce Roberts wrote: > > The wounds caused by racism in this country may be healing but they > > are still sensitive and sore. > > Racism is gouging new wounds on a daily basis. We've got a long way > to go. As long as there are morons in this world, there will be somebody who will use racism to get money and power. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 27 Sep 1995 17:14:22 -0500 From: T-Bone Subject: Re: Imitators When I was a young lad and learning to play guitar and harmonica from my nextdoor neighbor, I complained once that I didn't wasnt to sound like everyone else. He told me that no matter what I did I'd probably sound a little bit like one other person, so not to worry about it and just play. T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 27 Sep 1995 17:21:52 -0500 From: T-Bone Subject: Re: Summit Trading Cards! On Wed, 27 Sep 1995 Emile Carter @INTERSERV.COM wrote: > What a wonderful opportunity we can afford you! Summit Trading Cards are a > fantastic means of advertising your musical services. [SNIP] Hoboy! Is there any other Mystery Science Theater 3000 fan out there who thinks this would make good fodder for the show? T-Bone, tbone1@io.com (on the web at http://www.io.com/~tbone1/) "Kiddies, don't try this at home. Because it hurts like buggery!" - Sir Adrian Dangerous ========================================================================= Date: Wed, 27 Sep 1995 17:24:14 PDT From: rjbauman@IQUEST.NET Subject: Re: blues harp =====================Forget the crap that comes with harp about playing in the key the harp is in. That's straight harp and it's for folk ("Oh, Suzzanna")." Although this is largely true, there are some important exceptions. eg Jimmy Reed style, you can have the A harp on a brace and play cross harp in guitar key E and straight harp (at the top, squeeky, end) in A, without changing harp!=============== I hope this is immediately obvious. It's STILL cross harp. Do tell? :-) Cross guitar? :-) :-) RJ Bauman ========================================================================= Date: Wed, 27 Sep 1995 15:31:41 -5 From: "P.W. Fenton" Subject: listowner On 27 Sep 95, Scott Schiller x2554 had this to say... > P.S. Does anyone know if the listowner is alive? We exchanged some e-mail this morning. You must use this address: blzlynx@polaris.net (Alan C. Rollins) His other address is not working. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 16:06:00 -0700 From: Ned Kraft Subject: Re: Bad sign/E harp Item Subject: Re: bad luck Jimmy Reed did several tunes with the A harp in A. (in first position). There are some pretty cool licks in first position in the upper register unless you are married to the big (holes 1-4) tone. Then again, you may want to cheat and try it anyway. Dirty Ned Also, a note from the person who requested the info on Born Under a Bad Sign - a non- Bluezeller. No, he didn't buy any Clapton. ....................................................................... Item Subject: Re: bad luck > > How'd you like Albert? > I bought the "Utilimate Albert King Collection" (2 CDs on Rhino) and it is absolutely fantastic!!! In addition to "Born Under A Bad Sign" it includes many other cuts that are top rate. I've been jammin' those CDs at home, in the truck, and at work. Can't seem to get enough of it. Thanks for the tip. +-------------+----------------------------------------+------------+ | AT&T | Vandoren P. Outten | Enterprise | | Global | Manager, DBS V2 Port Group | Solutions | | Information | Solutions & Technolgy Engineering | Division | | Solutions | Vandoren.Outten@ElSegundoCA.ATTGIS.COM | | +-------------+----------------------------------------+------------+ ========================================================================= Date: Wed, 27 Sep 1995 19:23:18 -0400 From: "Scott E. Jeffcote" Subject: Baton Rouge Blues Festival The following is a list of the stage schedule for the 1995 Baton Rouge Blues Festival. Saturday, October 14, 1995: LA Lottery "Get Lucky" Stage 12 noon - 1:00 Oscar "Harpo" Davis 1:15 - 2:15 Bernie Pearl and Harmonica Fats 2:30 - 3:45 J Monque D' 4:00 - 5:00 Luther Kent Trick Bag Big Band 5:15 - 6:30 Johnny Adams Bazooka's River Road Stage 12 noon - 1:00 Rudi's Shoes 1:15 - 2:15 Chick Willis 2:30 - 3:30 Debroah Coleman 3:45 - 4:45 David Thompson and Big Love 5:00 - 6:30 Luther Allison Burger King "Legends" Stage 12 noon - 1:00 Rudi Richard 1:10 - 2:00 Sweet Miss Coffy 3:30 - 4:45 Tabby Thomas 5:15 - 6:30 Henry Gray Blockbuster Headline Stage 2:00 - 3:30 Clarence "Frogman" Henry 6:30 - 8:00 Ivan Neville Sunday, October 15, 1995: LA Lottery "Get Lucky" Stage 12 noon - 1:00 Kenny Mitchell & Vocies of Praise 1:15 - 2:15 Roscoe Chenier Inner City Blues 2:30 - 3:45 Big Luchus Brown 4:00 - 5:00 Long John Hunter 5:15 - 6:30 CC Adcock w/ Guitar Gable and King Karl Bazooka's River Road Stage 12 noon - 1:00 John Sinclair and His Blues Scholars 1:15 - 2:15 Jackie Neal 2:30 - 3:30 Chris LeBlanc 3:45 - 4:45 Sonny Landreth 5:00 - 6:30 Kenny Neal Burger King "Legends" Stage 12 noon - 1:00 Big Bo Melvin 1:10 - 2:00 Fruteland Jackson 3:30 - 4:45 Chuck Mitchell and Blue Notes 5:15 - 6:30 Raful Neal Budweiser Headline Stage 2:00 - 3:30 Charles Brown 6:30 - 8:00 John Mayall and the Bluesbreakers Admission to the Festival is $5.00 per day - You can receive $2.00 off of your admission if you bring a canned good for the Food Bank. Children 10 and under get in free. No ice chests or pets are allowed. For more information call 1-800-LA-Rouge. ========================================================================= Date: Wed, 27 Sep 1995 19:28:27 -0400 From: Patti Bowman Subject: Fort Lauderdale Question Anyone on the list from Ft Lauderdale? I went gone to the Riverwalk blues fest a few years ago ( 92 and 93) and was thinking about making the trip agin this year. It's a three day outdoor fest in Nov. Just wondered who was playing? Also, Is Sushi Blues in miami still open? Gotta love a place that has a great sushi chef AND a live blues band! -Patti dreaming of a vacation................... ========================================================================= Date: Thu, 28 Sep 1995 09:44:29 +1000 From: Richard Holliday Subject: Stoller's first name Hi all, I'm pretty sure that Rob Frantz was right, ie that it is Jerry Leiber and Mike Stoller. Will need to check a few records first, though. Richard R.Holliday "One good thing about music, "When it hits, you feel no pain". R.N. Marley ========================================================================= Date: Wed, 27 Sep 1995 19:54:58 -0400 From: Ross Whitwam Subject: Re: Ike Turner on Chuck Berry No, no, no: Soul control, BEAT is the father of your rock 'n' roll. and keep in mind: Beat is for Sonny Bono, beat is for Yoko Ono, Beat is for Eric B. and L.L. as well, Hell, wax is for Anthrax, still it can rock bells. time for me to Terminator X-it :) ... Ross Whitwam rew4@psu.edu Dept. Biochem + Molec Biology Penn State University "Eric C. Shoaf" wrote: > >Right idea, wrong word. Chuck Berry is the FATHER of rock'n'roll for the >reasons stated. > > Yours in semantics, E. Shoaf ========================================================================= Date: Wed, 27 Sep 1995 20:54:01 -0400 From: Zig Zag Wanderer Subject: Re: BB King on PBS for Massachusetts In article <01HVRV6GEK3M0003IM@SCI.WFEB.EDU> Rick Miller writes: >Date: Wed, 27 Sep 1995 14:29:37 -0400 >From: Rick Miller >Subject: BB King on PBS for Massachusetts >I called WGBH, PBS ch.2 in Boston today after having read here on Blues-L >that there's a BB King "Blues Summit" airing around the country tomorrow, >the 28th. The Boston channel is *NOT* airing this show. > Riffin Rick (((( > oo-) > /- The "Blues Summit" is being showed on A&E not PBS. > ========================================================================= Date: Thu, 28 Sep 1995 00:55:35 GMT From: Rennie Selkirk Subject: Re: Imitation Blues In article Jef Jaisun writes: > > > "Let's get together, yeah yeah yeah..." > > Was originally performed by: > A. Dino Valente > B. H.P. Lovecraft > C. The Youngbloods > D. Jefferson Airplane > E. The Beatles > F. Hayley Mills Blues Band I'll take a swipe at that one, Jef. It's got to be "F". By one of the greatest blues bands ever BORN (at least in Anaheim.) Theme song from the band's first movie, wasn't it? And wasn't that the film that inspired the McGuinn et al. (and everybody else too) to try to become rock stars? Keep drinking the caffeine; I enjoyed the quiz. And judging from the surfeit of drive-by espresso joints in your town, doing anything else has got to be damn near impossible. And speaking of caffeine and covers, here's a vote for Mississippi John's Coffee Blues. And, no, I guess one shouldn't even THINK of trying to say "Maxills House". Got to be cruisin' on down lonesome hiway 2-8-oh, Henry J. Boogie ========================================================================= Date: Thu, 28 Sep 1995 01:23:44 GMT From: David Goldstein Subject: Lee "Shot" Williams (was percy strother in FW) I just got both the Strothers & Williams CD's. I really like Strothers; his voice is very unique. However, it seems to me that Lee Shot's voice is shot; I keep hearing his voice break down throughout the CD. Am I wrong? ========================================================================= Date: Wed, 27 Sep 1995 20:18:30 -0500 From: "Henry Busse Jr." Subject: birthdays 9/28/95 GILMORE, JOHN E Born:1931 SUMMIT, MS Died:1991 Age:60 Occupation:TENOR SAX Worked with:EARL HINES / SUN RA / ART BLAKEY / FREDDIE HUBBARD / PAULA BLEY / CHICK COREA Style:JAZZ KIRKLAND, KENNY ( KENNETH DAVID ) Born:1955 NEW YORK, NY Occupation:KEYBOARDS Worked With:MICHAEL URBANIAK / ELVIN JONES / WYNTON MARSALIS Style:JAZZ STACKHOUSE, HOUSTON Born:1910 WESSON, MS Died:09 23 1980 HELENA, AR Age:70 Occupation:GUITAR / SINGER Worked With:SONNY BOY WILLIAMSON(RICE MILLER) JOE WILLIE WILKINS KING BISCUT BOYS Style:BLUES TAYLOR, KOKO ( CORA WALTON ) Born:1935 MEMPHIS, TN Occupation:SINGER Worked With:HOWLIN WOLFE / MUDDY WATERS / BUDDY GUY Style:BLUES WRIGHT, LAMMAR JR Born:1927 KANSAS, CITY, MO Died: 07 08 1983 LOS ANGELES, CA Age:56 Occupation: TRUMPET Worked With LIONEL HAMPTON / CHARLIE BARNET Style: JAZZ / BIG BAND ========================================================================= Date: Wed, 27 Sep 1995 21:21:13 -0400 From: RICH HIGGASON Subject: Blues in Pitt. I'm new in Pennsylvania (I'm studying at IUP). Can anyone tell me of any good Blues Clubs in Pitts. (I'm generally fond of Chicago-style Blues but I'm open to most anything). Thanks. ----------------------------------------------------------------------------- Rich Higgason XDJF@GROVE.IUP.EDU ========================================================================= Date: Wed, 27 Sep 1995 14:05:07 -5 From: "P.W. Fenton" Subject: Re: Summit Trading Cards! On 27 Sep 95, Scott Schiller x2554 had this to say... > > What a wonderful opportunity we can afford you! Summit Trading Cards are a > > fantastic means of advertising your musical services. > > [delete,zap,pow] > > Somebody is DEFINITELY going to have a bird because of this one. > > PW, you seem to be blues-l's official self-righteous flamer; go to town. > > --scott Actually, I read this guys post, thought about whether or not I could use his services, then deleted it when I decided I wasn't interested. Didn't bother me at all. YOUR post on the other hand, calling me a "self-righteous flamer", stopped me in my tracks. With a pleasant line like that one, I wonder just who you wanted me to go to town on. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 21:35:10 -0600 From: David Silberberg Subject: Re: listowner At 9:36 AM 9/27/95, P.W. Fenton wrote: >We exchanged some e-mail this morning. You must use this address: > > blzlynx@polaris.net (Alan C. Rollins) > >His other address is not working. Can't we just use blues-l-request@brownvm.brown.edu to contact Alan? David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Thu, 28 Sep 1995 02:55:00 GMT From: Lucy Dueck private account Subject: Anson, Sam, & the Rockets Tour Schedule Here's the latest itinerary for Anson Funderburgh's upcoming tour. Sorry, but I didn't get most venue names; you'll have to check local listings, or I'll try to post them for you later: ----------------------------------------------------------------- Date Place Venue ---- ----- ----- 10/6 Dallas 10/7 Helena, Arkansas King Biscuit Festival 10/13 Arlington, TX Fatso's 10/14 Dallas 10/20 Tyler, TX 10/21 Alexandria, LA 10/27-28 Atlanta, GA 10/30 New Orleans, LA 11/4 Castleberry, Fla 11/5 Ft. Lauderdale, Fla festival 11/6 Tallahasee, Fla 11/10 Raleigh, NC 11/11 Washington, DC 11/13 Matunuck, RI 11/14 Boston, MA HOB? 11/16 NYC Manny's Car Wash 11/17 Univ. of Conn. 11/18 Long Island, NY 11/24 Dallas 11/30 Ft. Collins, CO 12/1-2 Steamboat Springs, CO 12/3 Evergreen, CO 12/7 Denver, CO 12/15-16 Kansas City, MO 12/17 Wichita, KS --------------------------------------------------------------- Their band consists of Anson on guitar, Sam Myers on harmonica/ vocals, Mike "Cold Shot" Kindred on keyboard, Pat Whitefield on bass, and Danny Cochran on drums. Enjoy! --- a friend of the family ========================================================================= Date: Wed, 27 Sep 1995 22:47:51 -0500 From: Craig Edmundson Subject: Early Howlin' Wolf Does anyone know if Howlin' Wolf was ever recorded prior to his arrival in West Memphis in 1948? I understand he was fairly well known in Mississippi before he was drafted in 1941. Thanks. ][ Craig Edmundson ][ cedmunds@netserv.unmc.edu ][ ========================================================================= Date: Fri, 29 Sep 1995 00:33:04 GMT From: Andrew Gregg Subject: Re: Amping your National -Reply In article , Roger Struve wrote: >John Hammond uses the Shure SM58 too. In his Guitar Player interview he claims that he uses SM57's. ********************************************************************** * Andrew Gregg * * * Dept of Primary * I see angels on Ariels * * Industry * in leather & chrome * * ooOO00OOoo * Swooping down from heaven * * Email : * to carry me home * * mpagregg@aries.dpi.tas.gov.au * * * * - Richard Thompson * ********************************************************************** ========================================================================= Date: Thu, 28 Sep 1995 00:43:21 -0400 From: Jacquelin Katz Subject: Re: NEW BLUES SHOW ON CABLE On Wed, 27 Sep 1995, Peter Welch wrote: > According to music-chgo.pub.lib: > > > > We are forwarding the following announcement. > > > > The Outdoor Channel is set to launch "Chicago Blues Jam", a new one-hour > > weekly music series recorded live at Buddy Guy's Chicago south side > > nightclub "Legends," it was announced by Executive Producer John Sink. > > Set to debut October 6th at midnight (Pacific time), "Chicago Blues Jam" > > will run for thirteen consecutive nights. > > > > This show sounds excellent...Does anyone out there have the > Outdoor Channel on their system? There's no way in hell my > local monopoly is going to listen, so if you receive this > channel let me know, I'd be interested in tapes. > > -Peter > Our cable co (Time-Warner) doesn't carry this either. Must be some young upstart trying to create a demand: hope it works! Wonder what else they'd show...trout fishing? Jackie ========================================================================= Date: Wed, 27 Sep 1995 23:09:52 PDT From: Michael Suffern Subject: Jimmy Page was BLUES! Jimmy used to be the Bluesiest guitarist around. Led Zepellin I was unbelievably emotional. He had that Robert Johnson sense of timing, he'd push the beat so hard or lay back that he wouldn't even be in time until the end of the measure, but it was great. Jeff Beck used to be real good at that, too. E.C. hardly ever. It's that abandon, when the fingers just go with the flow and damn the beat or the chord, that represents the height of Blues expressivness - no uptown smoothness. It's raw and sexual. Keith Richards has always had it. Albert King and Otis Rush sometimes. Buddy Guy when he goes nuts. Jimmy Vaughn 'cause he's sloppy. Hubert Sumlin! I think Zep I was the height of Blues guitar art - and I'm a hard core '50's Chicago fan. Jimmy's sense of timing, which wasn't reliable, was the best. I wish I could get a hold of New Yardbirds material! Mike On Thu, 14 Sep 1995 23:50:22 -0500 Rob Varak wrote: > Jimmy has his bluesy moments, but he's best summed up by Nuno >Bettencourt. Nuno once said that he'd like to kill Pagey b/c he wrote >_all_ the riffs. > >Rob Varak home:robbiev@interaccess.com school:5varak@stu.jmls.edu >LaGrange, Il USA >"Giving money and power to government is like > giving whiskey and car keys to teenage boys"--P.J. O'Rourke ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 23:09:52 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 23:27:30 PDT From: Michael Suffern Subject: Re: Musician question (not weird) Lenny, Going thru *real old* msgs before deleting... I have the Sabine AX50? And it doesn't work if the bass player is playing. Otherwise, it's great. Minor tune ups between songs are quick an easy. I use mine on a Stat, so there may be more difficulty with an acoustic. Then again, an acoustic body will vibrate more than a solid body, so it might be better! I paid $50.00 at Guitar Center and wouldn't live without it. You shouldn't have to retune a well made/setup guitar with good tuners, nut, bridge, and broken in fresh strings. Are you using new strings and are you stretching them before you play? Mike On Fri, 15 Sep 1995 13:11:18 CDT L W wrote: >I have some problems tuning with all the noise that happens on stage. If >my pickup will fit the Duolian I'll be ok..(I don't think it will) > >Anyone offer tips on tuners/tuning in a less than quiet atmosphere...I'm >mainly talking about METAL body guitars... > >Do those over priced stick on tuners work well in that kind of situtation. >One of my biggest fears is being out of tune and with my ears, I probally >wouldn't noitce it unless it was really bad..... > >Pointers/Tips would be welcomed >Thanks > >Bad Ear Lenny ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 23:27:30 ------------------------------------------------------- ========================================================================= Date: Wed, 27 Sep 1995 23:55:12 PDT From: Michael Suffern Subject: Everyone Spread Y'er Blues! (RE: Ebb & Flow) Going through old messages, etc... The Blues Wave is rising! It will take a while for it to reach the regular clubs. Witness, Blues in commercials on T.V. Witness, HOB (commercial, but getting better) Witness, in Chicago, more professionals are stopping in after work just to drink and listen to the taped music, some come back for shows, they bring women who haven't heard the Blues (except in T.V. ads). They bring their girlfriends. It's spreading. Witness, the tourist-y Blues club growth. Notice the fact that Rock was born of the Blues and thirty-something's are looking for a music to believe in again - Blues. That's a large swell in the population that's going to want more Blues. I could go on, and I will someday, but, it is swelling and will be for a decade or more I think. Anybody in the biz, needs a strategy to not only hang on, but to capitalize on the interest. In a smaller town without great Blues roots, you have your work cut out for you. But if you get the word out, we'll all benefit. One thing to do is to talk about the Blues, and what a good time it is to go to the better clubs, all the time. Anyone who looks remotely like they might be hip is a target. At the grocery store, tell your dentist, the cabbie, the people at 7-11. Spread the Gospel for cryin' out loud. Get people from work to go! I had more people that wanted to go hear me jam than I could shake a stick at (some ego thing I guess or a safe introduction to the foriegn world of the Blues Bar - there's a new thread). Steer the company party planners into a Blues party. Help the handicapped! Get a band started at work! More than a few companies I know of have Blues bands. Get free publicity for the scene. Write an article for the entertainment section of the newspaper about the local scene, Blues society, or the coming 'hip-ness' of the Blues. Get proactive. Start a side business related to the Blues. If you've got the passion, it will be apparent when telling others. Many of us lead boring existences at times and the chance to do something new and something cool (and the Blues is becoming cool!) is enticing. The Blues is raw, nasty, and sexual too. It's kinda' forbidden, like Peggy Sue's boyfriend going to the black club across the tracks to hear some *real* music and Peggy getting up the nerve to go. It holds the promise of unfulfilled dreams, rebellion, the chance to loosen up (that tight white butt). The chance to be special - 'cause, "I went to a Blues Club last night and man it was cool! The house was rockin' and I think I'll get some Blues shades and start hanging out (somewhere other than that same old scene you guys are into - so passe)". The Blues is music from the heart, the soul, *and* the booty. That's 2 more organs than Disco, and 1 more than Rock (2 5/8 more than... never mind). You can get passionate about the Blues, it's... o.k. to be passionate about the Blues, it moves you. (But you know, Judith and I haven't really danced together since Disco. I'm gonna' take Michael Frank up on his offer to tour the South Side clubs, where they dance). Get passionate about it and let that out all over the person next to you. Get some on their pants! Sing that song that's going through your head as you leave the car and go into the 7-11/K Store. Sing it loud. Belt it out. Let then hear the joy and sorrow in it (If you can't sing it too well, better just hum, I guess). ;-) Get a harp and play it while walking down Michigan Ave. in a $900 Bill Blass suit on your way to a meeting. smile, and spread y'er Blues! Everyone, vow that you will get 1 person to go to a Blues show for their first time, before the year's out. Mike p.s. For Cathi's last question, I think the singer-songwriter phase is gone. The new phase is charismatic, attractive and quirky, female leads, in new sounding pop bands with more production added. But in Blues, you can chart your own course, because it's going to be pretty unrewarding financially anyway. Excellence in any area, vocals, guitar, lyrics, is noticed, and brilliance will get you to the top - if you're really tuned in to your heart and can entertain or connect. You need the business personnel to get you there, too. On Wed, 20 Sep 1995 09:13:43 EWT CATHI N. wrote: >Loved what P. Fenton had to say about people who talk during performances, and >was very interested in Willy E's thread about smaller crowds in blues clubs, >and they both got me to thinking about something that I've been mulling over >for some time. > >I've heard musicians theorize that styles of music come and go...you >know...even disco had it's shot. But you can't be in the business very long >before you see something like this. One year there are a thousand clubs that >want to hear blues; the next year, it's peanut butter and jelly time...they're >all into folk, heavy metal, rap, whatever. The theory goes that each style >goes in waves...in today, out tomorrow, back in the day after etc., and it is >best to get good at catching the wave just as it's beginning to swell to make >the most of it before it dies out again. > >What do you all think of this? Do you think the blues is about to ebb once >more? I know...it will never die. It never does, but it does take vacations. >Do you think this relates at all to the increasing number of clubs you see >almost empty of audience(s)? > >People say the singer/songwriter "wave" is hitting the peak now and about to >begin the decline. What say ye -- oh faithful ones? Players and listeners >alike? > >Cathi N. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/27/95 Time: 23:55:12 ------------------------------------------------------- ========================================================================= Date: Thu, 28 Sep 1995 01:46:17 GMT From: Graham Hynes Subject: Texas/New orleans info needed... Hello All, At long last I'm getting to the states. My girlfriend and i will be in Austin from the 7th-12th Oct. and back again on the 16th to the 24th Oct. We will be going to New Orleans on the 13th-15th Oct. Any information regarding blues gigs/ venues would be much appreciative. Its my first time!!! I heard from one of the bluezellers a while back about a festival in New Orleans on the 14/15th Oct. (I think its the Baton Rouge Festival??) Does anyone know if it still on?? Also to Don O. i still have your list of all the Dallas venues etc..much appreciated, we will be in Dallas from the 24-28th Oct. Finally , Are there any jam sessions etc over there in either of the above places I would love to be able to say I jammed in Texas!!! Im a blues guitarist (yes another one!!!) Again All info would be very much appreciative, Thanks, Graham "ten days to go......." ========================================================================= Date: Thu, 28 Sep 1995 02:24:52 GMT From: Graham Hynes Subject: Re: uk/irish blues >Scott, >when in Ireland (presuming you will be in Dublin), got to the Temple Bar >area just south of the river. Ask anyone immediatley after crossing >O'Connell Bridge or the Ha'penny Bridge. >Drop into Fitsimons (about 400 yards down Temple bar on the right. They >have a blues session every week - I think on Tuesday's and you may spot >some posters and stuff or enquire within. Have a pint of Guinness for me >when you're there! >Have a lot of fun! >Regards, >PeterG > I'll be vacationing in England and Ireland for a couple of weeks starting > October 1, and am interested in any local blues action. Any ideas, > especially in London, from you dedicated UK blues-l'ers? Thanks. > > Scott > > Hi Scott, The blues session that Peter kindly mentioned above is on every Tuesday night in Fitzsimmons bar. It is presented each week by the newly formed I.B.C. (Irish Blues Club) which i am a member of. It consists of 3 blues bands playing from 9:30pm till 1:30am, and a jam session for the last half hour. You should also find a new Irish blues lettter which has been started by some friends of mine, containing a full guide to all blues venues..bands that are playing for the particular month. You will find this in most record stores and in Fitzsimmons bar. If any queries etc don't hesitate to send me mail.. Have a good bluestime!!!! Graham. ========================================================================= Date: Thu, 28 Sep 1995 09:14:04 +0200 From: T P Uschanov Subject: Re: Ike Turner on Chuck Berry On Wed, 27 Sep 1995, Mike McCourt wrote: > Actually, it's been long enough CB is now the GRANDfather of R' n R'. I wonder what that makes Louis Jordan? (; T P Uschanov (Mr), University of Helsinki, Finland, European Union. "Art is dearer than sausages, dearer than women, dearer than anything else ... Art is a chemist's article for idiots." (Francis Picabia, _391_ #10, March 1920) ========================================================================= Date: Tue, 26 Sep 1995 00:40:45 -0400 From: Claudio Caponi MARNR Subject: John Hammond in Venezuela! In one of the very rare blues shows here in Venezuela (we just had JH in 1991 and BB King in 1993...), last friday John Hammond produced 90 minutes of great Delta Blues in one of the more absurd settings: a 5 star hotel ballroom, with half the people (there were approx. 600) being more interested in being seen there than in the music itself. Actually there was so much noise at times that it seemed like listening to a musician in a subway station. When you consider that tickets were 40 US$, you may imagine the frustration of the few blues lovers there. To make it worse both the sound man and the ligth man (illumination man? how do you call him?) deserved a life sentence rather than a job. Well, JH was truly professional, showing no signs of how pissed off he must have been, and even managed to get full attention from the crowd for some of the highligths of the show: Come on in my kitchen, Frattening frogs for snakes, Kind Hearted Woman Blues, Walking Blues, and in particular a great version of Sleepy John Estes' Someday Baby. The Blues Gang, my brother's band, was supposed to open for him, but JH insisted to go first, as he felt that being a solo acoustic set, it might have been something of an anticlimax to come after an electric band (Blues Gang is two saxes, lead & rhythm guitars, harmonica, bass & drums)! The highlight of the night was when halfway through Blues Gang's set JH came back surpringly to the stage with his harmonica to sing an electrifying version of Howlin' Wolf Baby how long, all the more spontaneous as half of the band didn't know the song. Even with all the shortcomings it was a great evening of blues, thanks to the great personality and nice persona of John Hammond (and, of course, his superb slide). If the trend continues, we can look forward to BB in 1997... P.S.: After writing the above I went throgh the blues-l digests of last week (I am always lagging behind in my lurking) and realized that there was a thread going on on talking during shows. And I thought that it was a sign of musical ignorance from an unappreciative venezuelan crowd! I agree with LW on preferring to hear John Hammond in my porch, I just don't think the local promoter who brought him down here would be very pleased...:-) ccaponi@dino.conicit.ve | Claudio Caponi | I've had my fun... Ministerio del Ambiente | Caracas - Venezuela | Otis Spann ========================================================================= Date: Thu, 28 Sep 1995 08:02:44 GMT From: joel slotnikoff Subject: new blues website You are invited to check out my new little e-mag, BLUES WORLD at http://www.inlink.com/~joelslot It has articles and photos on St. Louis and New Orleans topics, a rare 78 blues record auction and other interesting resourses. Be sure to check out the interview with harp player Arthur Williams who played all the harmonica on the Frank Frost Jewel album. Thanks Joel Slotnikoff ========================================================================= Date: Thu, 28 Sep 1995 04:30:09 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 28th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- BURKE, KENI (of THE 5 STAIRSTEPS) b. 1953-0928, CHICAGO, IL CHENIER, C. J. (asax/acc/zydeco) b. 1957-0928, PORT ARTHUR, TX DAVIS, MILES (tpt) d. 1991-0928, SANTA MONICA, CA 65 FALCON, JOSEPH C. (acc/cajun) b. 1900-0928, RAYNE, LA FOSTER, JAMES (BLUES-L MEMBER) b. 1964-0928, ALBUQUERQUE, NM GANZ, JEFF (b/JOHNNY WINTER) b. 1953-0928, WASHINGTON, DC GERSHWIN, GEORGE[JACOB GERSHWIN](p/songw) b. 1898-0928, BROOKLYN, NY GREEN, NORMAN "GUITAR SLIM" (g) d. 1975-0928, LOS ANGELES, CA 68 HARRINGTON, JOHNNY (b/4 KEYS/ELLINGTON) d. 1989-0928, PHILADELPHIA, PA 75 HOGGARD, JAY (vibes) b. 1954-0928, WASHINGTON, DC KIRKLAND, KENNY (p/MARSALIS) b. 1955-0928, NEW YORK CITY, NY LEVERT, SEAN (of LEVERT) b. 1968-0928, CLEVELAND, OH LINCOLN, CHARLIE (g) d. 1963-0928, CAIRO, GA 63 MACPHERSON, FRASER (tsax) d. 1993-0928, VANCOUVER, BC 65 MILLINDER, LUCIUS "LUCKY" (bandleader) d. 1966-0928, HARLEM, NY 66 MORELAND, MANTAN (v/comedy) d. 1973-0928, HOLLYWOOD, CA 72 PALEY, WILLIAM S. (ceo/CBS REC) b. 1901-0928, CHICAGO, IL PHILLIPS, DEWEY MILLS (dj/ELVIS PRESLEY) d. 1968-0928, MILLINGTON, TN 42 RAY, EUGENE "TEXAS" (hca/LAURIE REC) b. 1937-0928, OMAHA, TX REITZ, ROSETTA GOLDMAN (owner:ROSETTA REC)b. 1924-0928, UTICA, NY SCOTT, FRANK (prod/ROOTS & RHYTHM/ADVENT) b. 1942-0928, LONDON, UK SIRONE (NORRIS JONES) (b) b. 1940-0928, ATLANTA, GA STACKHOUSE, HOUSTON (HOUSTON GOFF) (g) b. 1910-0928, WESSON, MS SULLIVAN, ED (TV host) b. 1902-0928, HARLEM, NY TAYLOR, KOKO (CORA WALTON) (v) b. 1938-0928, MEMPHIS, TN WEBB, WILLIE "JITTERBUG" (g/JOHNNY OTIS) b. 1941-0928, SAN ANTONIO, TX ------------------------------------------------------------------------------- ========================================================================= Date: Thu, 28 Sep 1995 05:19:47 CST From: Ted Gurley Subject: Re: Outdoor Channel I've been off for the summmer finishing up a book. But, as many of you know, I work in broadcasting and yes the Outdoor channel is real. This is yet another of cable channels trying to make it (remember the Blues Network). The channel features local festivals and events (outside) around the country. ------------------------------------- 09/28/95 05:19:47 Ted Gurley - Dallas, TX E-mail: tgurley@.onramp.net http://rampages.onramp.net/~tgurley ------------------------------------- ========================================================================= Date: Thu, 28 Sep 1995 10:48:18 +0000 From: Pat Hertel Subject: Lonnie Brooks I saw Lonnie Brooks in Montreal last night and my ears are still ringing. At times it was so loud you couldn't make out a single word of the vocals. He wasn't entirely happy with the volume either. There is where all complaints end. He has a very good, very together backup band that cooks, and a knack for hitting those notes that just bring tears to your eyes....damn, how does he do that? I can play those notes but I just can't DO that. For the guitar weenies amongst us :) he used a 335 on on stage and a Nighthawk to go walkabout. There is something ugly, both visualy and aurally(sp?) about that guitar. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/9/95 6:34 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 28 Sep 1995 00:23:31 GMT From: Boyd Martin Subject: Blues Legends Gallery expands... The Cascade Blues Association's website has expanded its "Blues Legends" Gallery of pics/bios/sounds/links. There are now THREE galleries and nearly 40 different artists. The URL: http://www.teleport.com/~boydroid/blues/legends.htm There is an ftp site to download the GIFs and JPGs from: ftp://ftp.teleport.com/users/boydroid Click on "blues_legends" Enjoy! boyd CBA Webmaster P.S. If anyone has any GIFs or JPGs they'd like to donate to the site, please let us know! ========================================================================= Date: Thu, 28 Sep 1995 07:32:12 -0400 From: robert barclay Subject: REPEAT POSTS I am new to the blues-L and I am having a great time evesdropping on the latest blues news. I REALLY hate to complain BUT, in the few weeks I have been subscribed I have been getting a large number of repeat posts. Tonight I collected my mail and got 205 postings, about 2/3rds of them being repeats with new posting times. Is it really necessery for senders to do this? having a great time. RB. ========================================================================= Date: Thu, 28 Sep 1995 08:15:54 -5 From: "P.W. Fenton" Subject: Re: REPEAT POSTS On 28 Sep 95, robert barclay had this to say... > I am new to the blues-L and I am having a great time evesdropping on the > latest blues news. I REALLY hate to complain BUT, in the few weeks I have > been subscribed I have been getting a large number of repeat posts. Tonight > I collected my mail and got 205 postings, about 2/3rds of them being repeats > with new posting times. Is it really necessery for senders to do this? > > having a great time. RB. I'm not getting repeats. Perhaps it's your local mailserver. Normally it's impossible to post the same message to the listserv twice. If the listserv detects a message which is substantially the same as a message already posted, it refuses it and kicks it back to you with that explanation. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 28 Sep 1995 08:13:08 GMT From: "DUTTWEILER.J" Subject: Blues Confession TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Blues Confession I have a blues confession to make - I just got my *first* Son Seals CD, "Midnight Son," as part of my fullfillment for CH membership. Now, I had heard Son on the radio before so I knew I would like his music. What I would like to know, is now that I have "Midnight Son," which has been touted as his best work, what other titles would any of you recommend? Are there any "live" CD's of his? Any suggestions would be appreciated. Jon Duttweiler (wondering why more isn't said about Son Seals) ========================================================================= Date: Thu, 28 Sep 1995 08:59:08 -0400 From: "Abe W. Mathews" Subject: Re: A funny slide dilemma Here's my take on this slide problem. P.W. writes: >Rick, I really doubt you did this, even with years of playing. The >slide was probably made this way, and you only noticed it now. Most >guitar bridges (and nuts) are arched and the strings rarely are >arranged in a flat straight line. Hence, many slides are made to >fit that arch and allow all the strings to be played all at once. I think you're on to something, PW. Rick, didn't you say that this was on a new guitar that you first noticed this problem? I think you said that. This is what I think. The slide has always been like that. It's the *instrument* that made the difference. If I'm right, and this is on a guitar that you haven't had for very long, I think that the curvature of the strings is probably different. I have 3 electrics, and all of them have a very different curvature to the action. Let's say that your old guitar had a curvature like this: X X X X X X And the slide had a curvature that matched that pretty well. If you got a new instrument with a curvature like this: X X X X X X The slide would still make proper contact with the outer strings, but not the inner ones. Get it? Of course, if I'm wrong, and this isn't a new guitar, feel free to let me know how stupid I really am. I have a friend who's doing master's work in the machining characteristics of brass, and I could ask her, but in *my* limited experience, you probably haven't worn the slide down too much. Unless, of course, you see brass shavings on the fretboard. Now that would be a good indicator. Good luck- Abe awmathew@mtu.edu ========================================================================= Date: Thu, 28 Sep 1995 08:23:02 -0500 From: Jeff Seale Subject: Buddy Holly - Texas Monthly Sorry for the lack of blues content but there are several people here who would be interested. This month's Texas Monthly (Oct) has a cover story on Buddy Holly. It is a nicely written article. There is also a mention of a new biography that will soon be released. This new book is a piece of TRASH. I've met the guy who is a source for this book. He claims to have started the Crickets (much to the surprise of Jerry Allison and Joe B. Mauldin) as well as to have written That'll Be the Day. The author also apparently claims that Buddy was bisexual and had trysts with Little Richard. get real! Please don't support this kind of garbage. It's about as truthful as the movie. -Jeff (back to your regularly scheduled Blues list) ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Thu, 28 Sep 1995 08:32:06 PDT From: rjbauman@IQUEST.NET Subject: Re: REPEAT POSTS > I am new to the blues-L and I am having a great time evesdropping on the > latest blues news. I REALLY hate to complain BUT, in the few weeks I have > been subscribed I have been getting a large number of repeat posts. Tonight > I collected my mail and got 205 postings, about 2/3rds of them being repeats > with new posting times. Is it really necessery for senders to do this? > > having a great time. RB. Could you be subscribed twice? I think that *could* happen. ========================================================================= Date: Thu, 28 Sep 1995 09:34:23 -0400 From: Tom Morgan Subject: New CDs that have come into the station I haven't had the time to keep up with posting the new CDs that come into the station as I had previously promised I would, sorry about that. :( Here are some of my recents adds though: Mr. B Shining the Pearls Blind Pig Chris Cain Somewhere Along the Way Blind Pig Eddie Taylor Long Way From Home Blind Pig Jay Owens Movin' Around Code Blue Luther Allison Blue Streak Alligator Bob Margolin My Blues & My Guitar Alligator Deep Blues 25 years of Blues on Rounder Blues Power Wolf Records presents The Best of the Blues Tom ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Thu, 28 Sep 1995 09:43:59 -0400 From: Tom Morgan Subject: looking for writers I know this ain't quite blues but pardon me as I am hoping that someone on the list can help me. I am looking for writers with a good feel for and knowledge of gospel music. I am in the midst of writing, editing and finding writers to do entries for the Dictionary of 20th Century Culture. I have a list of 9 Gospel entries that I will e-mail anyone who is interested in knowing more about this project as well as tell them what I need in length and deadline. It's a good chance for a couple of people to get a good publishing credit. Private e-mail please! Now back to the blues. :) Tom PS I am looking for some people to do rap/hip hop entries too. ----------------------------------------------------------------------------- My homepage: http://poe.acc.virginia.edu/~tm4q Program Director WTJU-FM-------------Author--From Cakewalks to Concert Halls Asst. Editor-- African-American Volume: Dictionary of American Culture ========================================================================= Date: Thu, 28 Sep 1995 08:16:17 -0500 From: Richard Shurman Subject: Re: Lee "Shot" Williams (was percy strother in FW) Gee, somehow we got through the whole Lee "Shot" project thinking his voice was in fine shape and wasn't breaking down; it certainly isn't "shot" as anyone who's heard him live (or on the CD) should be able to testify. ========================================================================= Date: Thu, 28 Sep 1995 08:21:53 -0500 From: Richard Shurman Subject: Most recent Barrelhouse CD Someone asked for the title and catalog number of the most recent Barrelhouse CD on Munich. It's FORTUNE CHANGES (Munich MRCD 171). ========================================================================= Date: Thu, 28 Sep 1995 09:47:48 -0400 From: Steve Levine Subject: Harp-l *Do you have the harp-l subscription info? To subscribe to the Harp-L list, send a mail message to majordomo@garply.com that contains a line like this: subscribe Harp-L ========================================================================= Date: Thu, 28 Sep 1995 06:56:39 -0800 From: Michael Hewitt Subject: Re: REPEAT POSTS At 7:32 AM 9/28/95, robert barclay wrote: > I am new to the blues-L and I am having a great time evesdropping on the >latest blues news. I REALLY hate to complain BUT, in the few weeks I have >been subscribed I have been getting a large number of repeat posts. Tonight >I collected my mail and got 205 postings, about 2/3rds of them being repeats >with new posting times. Is it really necessery for senders to do this? > >having a great time. RB. RB, I find the only time that I get repeat posts are when someone repies to one of my posts ans their mail client software sends a copy directly to me AND the multiple recipients of the list. Otherwise, I only get one copy of everything. I, too, suspect that the difficulty is on your end. Now if you want to talk about endless threads or posts with subject lines that nowhere near match the actual subject of the post (as happens when people keep hitting the reply button instead of writing a new, more accurate subject line), well...that is a different matter;-) Michael Hewitt mhewitt@telis.org Region 7 Telementor MDH1953@aol.com California Technology Project Troutbusters - Modesto, CA "Flyfishing for trout is the closest thing to Heaven on Earth." - M. Hewitt "Nobody loves me but my mother, and she could be jivin' too." _ B.B. King ========================================================================= Date: Thu, 28 Sep 1995 09:53:55 -0500 From: Erica Wissolik Subject: Speaking of Leiber & Stoller..... On the PBS home page (they've got a bunch of stuff on the current Rock n Roll documentary), there are some "Backstage Interviews" and one of them is with Leiber & Stoller. Also one with the Chess boys. http://www.pbs.org/ ========================================================================= Date: Thu, 28 Sep 1995 08:50:06 CDT From: L W Subject: Re: A funny slide dilemma ----------------------------Original message---------------------------- The slide problem and 'board radius sounds close to the trouble I had when going from the Dobro to the National. The Dobro has more of a radius (curve) fretboard and the National is much flatter. I would tend to get a sound like "fetting out", but after playing around I saw that with the flatter neck I had to hold the slide even/flat, whereas on the Dobro the slide could be tilted some and be OK....Now I have to be more careful and hold that sucker level/flat I also use my glass slide more than my socket....That took me some getting used to, but I think I'm comfortable with it now... LW ========================================================================= Date: Thu, 28 Sep 1995 14:53:04 +0000 From: Pat Hertel Subject: Re: Harp-l On Thu, 28 Sep 1995, Steve Levine wrote: > *Do you have the harp-l subscription info? > > To subscribe to the Harp-L list, send a mail message to > majordomo@garply.com that contains a line like this: > > subscribe Harp-L > This info used to be in the FAQ .... maybe someone should take note and put it back in phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/9/95 10:50 AM] "Thursday's always sad..." ========================================================================= Date: Thu, 28 Sep 1995 10:04:00 CDT From: Bonnie Kalmbach Subject: REPEAT POSTS REPEAT Well, I'm gettin' em!! And a big welcome to Robert Barclay and Joel Slotnikoff!! Hope you'll stick around a little time! -Bonnie the K. ========================================================================= Date: Thu, 28 Sep 1995 10:11:00 CDT From: Bonnie Kalmbach Subject: REPEAT WELCOME From: WIRCS2::KALMBACH "Bonnie Kalmbach" To: IN%"blues-l@brownvm.brown.edu",KALMBACH Subject: REPEAT POSTS REPEAT Well, I'm gettin' em!! And a big welcome to Robert Barclay and Joel Slotnikoff!! Hope you'll stick around a *little* time! **what I intended to say was "for a little while" - that'll teach me to skip breakfest... -Bonnie the K. ========================================================================= Date: Thu, 28 Sep 1995 15:45:03 -0500 From: Howard Coy Subject: The Silver Strings of Putnam City The Silver Strings of Putnam City is a group of orchestra students from the three Putnam City High Schools (the Putnam City School district is an independent public school district located in Oklahoma City). This group of students has, in a very short number of years, become the premier strolling string group in the United States. They have received international recognition for their performing excellence by being the only group, out of one hundred and twenty who auditioned, chosen to entertain at the dedication of the Wall of Liberty in Caen, France during the summer of 1994. This excellence is reflected in everything these students do. Participation in the Silver Strings is strictly voluntary. The only requirement is that the student be an active member of the orchestra in his or her local Putnam City high school. This organization meets one night each week for a two-hour rehearsal. In order to memorize the program of 15 to 18 numbers and to play with the excellence that the public expects, each student must spend many hours outside of the normal rehearsal times. Indeed, these members all exhibit a level of self-discipline not normally found in the teenagers of today. The Silver Strings of Putnam City have performed at many social, political and fund-raising functions over the state and nation. Some of these events include: the Oklahoma City Mayor's Ball, Speaker of the House Glenn Johnson's inaugural ball, Earnest Istook's fund raising dinner, the grand opening of the new conference center at the Cowboy Hall of Fame, the Regional Naval Recruiters Ball in Dallas, the Southern Governor's conference, and many other functions. The group has now received an invitation to perform in Vienna, Austria during the summer of 1996 as part of America's musical tribute to Austria's millennium. While there, these musicians have the honor of being the only group invited to entertain at a banquet given by the mayor of Vienna. These students earned their way to the Wall of Liberty dedication without the benefit of grants or help from outside the state of Oklahoma. At a time when these talented young musicians could have been raising funds for their trip, they were concentrating their efforts toward helping victims and families of victims of the Oklahoma City bombing. The people of Oklahoma have continually supported this group and have provided funds to make prior trips. These same people have shown outpourings of care, concern, and money toward the victims of this senseless act and toward the rescue workers. These students are reluctant to go back to the people of Oklahoma requesting help on something so trivial as a trip when they have given so much already. Indeed, these students are considering canceling their trip and foregoing the honor offered them in order that they might not burden the people of Oklahoma any more than they have already been burdened. Perhaps you could personally donate or direct the group to some sources of funds that have not been as affected by the Oklahoma disaster as we have locally. This trip will cost about $2300 per student and there is a total of 110 students in the group. We are also receiving items to be used in a celebrity auction which will be held early next year. If you or your acquaintances would like to donate items to be auctioned off, we would greatly appreciate it. All donations are tax deductible and a tax receipt will be provided upon request. Your consideration of these matters would be greatly appreciated. Your reply can be directed to me personally, or you could contact the Silver Strings directly. My address is: Howard L. Coy (COYHL@OHS.COM) 8108 N.W. 80th Street Oklahoma City, OK 73132 The Silver Strings address is: The Silver Strings of Putnam City 5430 N.W. 40th Street Oklahoma City, OK 73122 Sincerely Yours, Howard L. Coy ========================================================================= Date: Thu, 28 Sep 1995 11:58:12 CST From: JBards Subject: Re: Kenny Wayne Shephard??? Kenny Wayne is local out of (Here) Shreveport, Louisiana. He's quite a proficient guitarist, /very/ much in the SRV mode. I'm more interested to see (hear) if he ever develops his own style. He also appears to be a very nice kid, for what that's worth. -Jim _______________________________________________________________________________ Subject: Kenny Wayne Shephard??? From: Robert Rubino at INTERNET-SH Date: 9/25/95 8:12 PM I don't know if I spelled his name correctly... Anyhow, does anyone know anything about this guy. Supposedly he's some 17 yr. old phenom. I've only heard one song on the radio (103.9 WRCN New York). They've been playing it frequently. It's pretty good, VERY Stevie Ray -ish. Any info on him would be greatly appreciated. Rob. -rubino@li.net- ========================================================================= Date: Thu, 28 Sep 1995 12:56:07 -0400 From: bob unger Subject: Blues-l Tape #3 UPDATE OK...Here's where thing's stand as of today. 11 people will be contributing their talents to the tape. So far, I have recieved material from 2 people. The deadline is early November. We also have Marc Borms (better know as embee) contributing his talents as an illustrator to do the art work. Rob Hutten will be doing the j-cards. If everything keeps to schedule, by the end of November I should be distributing the tapes to all who request one. Just so I can get an idea, I would appreciate it any and all who would like a copy of this tape to send me private e-mail. In the subject line, write "Count Me In" and in the body of the message, your e-mail address. At this time, please do not add any thing else to this message as I expect to get alot and I really wont be reading them...I will be filing these messages for reference. From this, I should be able to get a ballpark figure on how each is going to cost. We have some very talented people appearing on this tape...it's gonna be killer stuff!!! BU bob@sun.bnkst.edu p.s. - If anybody needs more info or whatever, please DO NOT ask me anything in 'Count Me In' message....send me a separate message. ========================================================================= Date: Thu, 28 Sep 1995 13:02:31 -0400 From: Beverly Howell Subject: LUTHER ALLISON AS BLUES CHAT GUEST LUTHER ALLISON will be my "BLUES CHAT" guest this coming Sunday, October 1, in America Online's Centerstage at 10:00 PM ET!! (keyword: CENTERSTAGE) He will be here to discuss his newest Alligator release, "BLUE STREAK," his tour plans, and whatever questions you want to toss his way! If you don't have America Online, email your questions to me....and I will provide the transcript for anyone that requests it after the show. Regards, Beverly Producer/Host "Blues Chat" ========================================================================= Date: Thu, 28 Sep 1995 16:35:54 GMT From: Eric LeBlanc-CISTI Subject: Re: Stoller's first name OK, THEIR REAL NAMES ARE : JEROME "JERRY" LEIBER b. 1933/APR/25, BALTIMORE, MD MICHAEL ENDORE "MIKE" STOLLER b. 1933/MAR/13, BELLE HARBOR, LI eRIC (THE DATE MAN) ========================================================================= Date: Thu, 28 Sep 1995 17:04:07 +0000 From: Pat Hertel Subject: L'il Ed & The Blues Imperials!? I have before me a schedule of events coming up in Montreal and what do I see 14 October L'il Ed & The Blues Imperials? Can this be? Inquiring minds want to know. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [28/9/95 13:01 PM] "Thursday's always sad..." ========================================================================= Date: Thu, 28 Sep 1995 12:55:12 EST From: Shannon_OConnor_at_ED__SWPCO@SWPCO.COM Subject: B.B. King appears on 'Grace Under Fire' Okay who out there watches "Grace Under Fire" on Tuesday nights? Who (besides me) noticed the framed photo of B.B. King on the wall in Grace's boss' office on last night's episode? There was another "vintage" framed photo of a slim, young black man playing a saxophone to wide-eyed little boy on the same wall in that scene. I know I've seen that photo in a local blues restaurant chain (Burbank's, for those who know) and I've been told who the sax player is, but I don't remember. Anyway, there was B.B. last night, grinning, on a hit network TV show! ========================================================================= Date: Thu, 28 Sep 1995 12:15:04 CDT From: L W Subject: Etta James vs Little Milton At the B'ham Jam everything works great with the time scheduled, except Little Milton and Etta are the same time different stages. We are leaning toward seeing Little Milton, we've seen them both once. Anyone seen both RECENTLY and if you have who would you recommend.....Can't go wrong with either, Etta was a little too vuglar, when we saw her. R.L. Burnside was/is scheduled also, I hope he really is going to be there It's looking like a great fest, however, I'd rather be in Helena :-( LW ========================================================================= Date: Thu, 28 Sep 1995 17:03:18 GMT From: Robert Teeter Subject: Re: Muddy's "Complete Plantation Recordings" query Rick Miller (MILLER@SCI.WFEB.EDU) wrote: : In a special bargain basement section of the Columbia House offering this : month is the '41 -'42 Library of Congress Field Recordings by Muddy Waters : called "The Complete Plantation Recordings", for $1.99 on CD. : Anybody have this? Is it good stuff?..or something Muddy recorded on his : front porch through a tin can and string arrangement? It's out on Chess label. Yes, yes, yes. Get it. It's stuff Muddy recorded for Alan Lomax before we went to Chicago and discovered electricity. : Lastly: : Debbie Davies. I have none. But I heard a great jumpin' tune by her called : (I think) "Picture This". Or maybe that's the album title? DJ was talkin' : fast so I didn't get it.. It's the title of the album and the song. It's great, too, but the Muddy is essential. -- Robert Teeter rteeter@netcom.com ========================================================================= Date: Thu, 28 Sep 1995 13:28:29 EDT From: george morales Subject: BB King on Arts & Entern. tonight Just a reminder that BB King will be featured in concert tonight at 9 p.m. on A&E.Here are two listings from the local newspapers on the concert. 1. "..profile of the great blues guitarist BB King,from the BB King Theatre in Memphis,Tenn.,the city where he first rose to prominence. 2. "He might be the most overrated bluesman in the business, but guitarist BB King has been in it for the long haul... Interesting reviews by some local tv columinists. "Blues Summit" by BB King is the only cd i have by him, any others I could try to get a good sampling of BB King's music? George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Thu, 28 Sep 1995 12:38:59 -0500 From: David Silberberg Subject: Re: Eric LeBlanc's Blues Dates - September 28th At 04:30 AM 9/28/95 +0000, P.W. Fenton wrote: >Here's a few dates (b. born, d. death) for today. If you have any >corrections/additions, let me know at leblanc@haida.dao.nrc.ca. > >TAYLOR, KOKO (CORA WALTON) (v) b. 1938-0928, MEMPHIS, TN Happy Birthday to our 67 year old mama - one of my first "blues heros". David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 28 Sep 1995 13:45:50 -0400 From: Steve Levine Subject: Nighthawks question Can anyone tell me what year the Nighthawks first got together? I know that they are close to their 25th anniversary. If this year or next year is their 25th anniversary I will probably do a story on them for Music Monthly. If anyone can help me out here I'd appreciate it. Thanks, Steve ========================================================================= Date: Thu, 28 Sep 1995 13:32:56 EST From: "Steven G. Toney" Subject: Re: Blues Confession Oh YEEESSSSS! "Live and Burning"....OWWWWW! This is primo Son Seals! Highly recommended from this enthusistically humble opinion. Steve Toney ______________________________ Reply Separator _________________________________ Subject: Blues Confession Author: "DUTTWEILER.J" at INTERNET Date: 9/28/95 8:51 AM TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Blues Confession I have a blues confession to make - I just got my *first* Son Seals CD, "Midnight Son," as part of my fullfillment for CH membership. Now, I had heard Son on the radio before so I knew I would like his music. What I would like to know, is now that I have "Midnight Son," which has been touted as his best work, what other titles would any of you recommend? Are there any "live" CD's of his? Any suggestions would be appreciated. Jon Duttweiler (wondering why more isn't said about Son Seals) ========================================================================= Date: Thu, 28 Sep 1995 17:32:20 GMT From: Art Schuna Subject: Re: Lee "Shot" Williams (was percy strother in FW) In article <44csh2$5ne@ipof.fla.net>, David Goldstein says: > >I just got both the Strothers & Williams CD's. I really like Strothers; his > voice is very unique. However, >it seems to me that Lee Shot's voice is shot; I keep hearing his voice break > down throughout the CD. >Am I wrong? I'm not quite sure what your talking about here...breaking down? Lee Shot's voice has a somewhat more of an "edge" than Percy, but I think that's more stylistic. I hear this when he is singing at louder volume, not in quieter passages when he is very smooth sounding. I like this style, it has more variation. and seems to add emphasis to what he's saying. Art Schuna ========================================================================= Date: Tue, 26 Sep 1995 12:32:52 -0400 From: Willy Evans Subject: Re: Amping your National I don't know if this will work or not, but I've seen banjo players that have a small mike that mounts on the rim of the banjo and aims towards the head. Since it is anchored to the instrument, it stays a uniform distance away from the instrument. It is very small, too. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Tue, 26 Sep 1995 07:42:19 -0400 From: Willy Evans Subject: Re: Imitation Blues I, like LW, was not thinking IMITATION, in fact it is hard to imagine anyone getting famous just doing and outright imitation. I was saying that none of these famous guys (King, Hooker, etc.) burst on the scene like a revalation. They grew out of a tradition. It sounds like this is what we all meant! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Tue, 26 Sep 1995 07:47:25 -0400 From: Willy Evans Subject: Re: Little Red Rooster (help please!) This is interesting, I don't really know who did the definitive version of LRR. I copped the words off of a Howlin Wolf record. I do it like a shuffle and I do it like a slow blues. It's one of those songs that I pull out the lyrics when I need to sing a blues in a jam. A lot of times when we are playing a club, we will jam along with the house music until they get the idea and cut if off, when they do, I will sing LRR to whatever rythm/key was going on the house system. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Wed, 27 Sep 1995 08:18:22 -0400 From: Willy Evans Subject: Re: PBS rock special On Wed, 27 Sep 1995, Neil Cassidy wrote: > While watching a fairly entertaining rock special, there's nothing like > being smacked in the face with a blatant historical inaccuracy. In a high dollar high profile production like this how can they say that EC was covering > 'Crossroads' which was recorded "sometime in the 20's" by Robert Johnson? Ouch. > LEt's check our facts folks. I'm sure other bluezellers took notice here also. > > Neil Cassidy > Perhaps there is confusion with the term "cover". To cover a tune means to do your version of an already existing song. Clapton did indeed "cover" Crossroads. Johnson wrote and recorded it originally and it has been covered since by many artists. Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 28 Sep 1995 11:12:00 -0700 From: Ned Kraft Subject: Etta/Little Milton Etta has a GREAT band, but I haven't seen Little Milton. BTW, LW - send me your e-mail address, it gets mighty scrambled by my mailer. Also, I've gotten a couple of repeat posts, including receiving one today that I sent on Monday. I may have gotten more, but I purge my mail often. Ned ========================================================================= Date: Wed, 27 Sep 1995 12:31:11 -0400 From: Willy Evans Subject: Re: PBS rock special On Wed, 27 Sep 1995, Mary Katherine Aldin wrote: > Neil Cassidy wrote: > > > >While watching a fairly entertaining rock special, there's nothing > >like being smacked in the face with a blatant historical inaccuracy. > >In a high dollar high profile production like this how can they say > >that EC was covering 'Crossroads' which was recorded "sometime in the > >20's" by Robert Johnson? Ouch. LEt's check our facts folks. I'm sure > other bluezellers took notice here also. > > > The strange thing is that Robert Palmer (the author of "Deep Blues," > not the pop singer) was the chief consultant on this project. Bob > certainly knows how to fact-check; I can only assume that this got past > him somehow, or that he wasn't in direct charge of the narrated script. > I apparently missed the point of the earlier post. I apologize. Is the point when RJ recorded Crossroads? When was it recorded? Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Thu, 28 Sep 1995 17:46:13 GMT From: Tony Burke Subject: Re: Early Howlin' Wolf Craig, The earliest Wolf recorded was May 1951. Two sides cut with Ike Turner, Willie Johnson and Willie Steel - "Maonin' At Midnight"/"How Many More Years" leased to Chess and issued on Chess 1479. Four months later he was back in the studio again in West Memphis again with Ike Turner etc with the sides being issued on RPM - the rest as they say is history. TB ========================================================================= Date: Thu, 28 Sep 1995 13:38:51 CDT From: L W Subject: PBS series Since we never watch TV, it's not even plugged in I was wondering if anyone knows if the RnR series will be made available to purchase, like the Civil War series or the Black Baseball series....Aren't they available for purchase. Everything I've heard about the series has been mostly positive. Also, Mary Katherine, mentioned Robert Plamer as being involved, does anyone know the others who were involved Thanks LW ========================================================================= Date: Thu, 28 Sep 1995 14:46:24 -0400 From: Tor Elting Subject: Fish Artists on Tour hey everyone, Our blues acts are on the road all over the U.S. and they like everyone would like to be on the virtual superhighway as well. If anyone out there can suggest other blues areas to post this information please get back to me asap. For a small label without a home page and poor computer skills any help will be appreciated. Mark Hummel is touring in support of his new Flying Fish relaease called Married To the Blues so here is his info. ========================================================================= Date: Thu, 28 Sep 1995 15:19:43 -0400 From: Tor Elting Subject: blues date for Flying fish hey everyone, Our blues act are on the road all over the U.S. and they like everyone else would like to be on the virtual superhighway as well. If anyone out there can suggest other blues areas to post this information please get back to me asap. For a small label too dumb for a home page any help would be appreciated. Mark Hummel is touring in support of his new record on Flying Fish called Married to the Blues, so here goes 10/6 Tuscon @ Rialto Theatre 10/7 Scottsdale @ Rythm Room 10/8 Albuquerque @ Dingo Bar 10/9 Wichita @ Panama Reds 10/10 omaha @ McKenna's BBQ 10/11 Des Moines, Ia @ sheffields on Court 10/12 Indianapolis, In @ Slippery Noodle 10/13 Cedar Rapids, Ia @ Riverside and Co. 10/14 Colombia, Mo. @ Deep Blues 10/15 Kansas City, Ks @ the Office 10/18 Osh kosh, Wi @Fingers Pub 10/19 LaCrosse Wi @ Nitehawks They'll be more to come but that's cool for now Also Gary Primich is on Tour to celebrate his album on Fish called "Mr. Freeze" Here are an assortment of Dates 10/3 Eugene @ Good Times 10/4 Portland @ Key Largo 10/6 Walla Walla, Wa @ Blue Mountain Tavern 10/7 Seattle, Wa @ the Central 10/8 Blaine, Wa @ The Crowbar 10/10 &11 Vancouver, BC @ The Yale 10/12 Prince George, BC @ Holiday Inn 10/13 Red Deer Alb. @ Black Knight Inn Little Mike and the Tornadoes continue to tour following the release of an excellent album called Flynns Place. ========================================================================= Date: Thu, 28 Sep 1995 15:20:37 -0400 From: Steve Levine Subject: Re: BB King on Arts & Entern. tonight * "Blues Summit" by BB King is the only cd i have by him, any others I could * try to get a good sampling of BB King's music? "Live at the Regal" is an essential blues recording. -Steve ========================================================================= Date: Thu, 28 Sep 1995 15:20:15 GMT From: "DUTTWEILER.J" Subject: Re: Little Red Rooster (help ple Date: Thursday, 28 September 1995 3:20pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Little Red Rooster (help ple In-Reply-To: The letter of Thursday, 28 September 1995 2:57pm ET One of my favorite versions of this song is by Big Mama Thornton on "Live At Newport" (can't remember what year). I have this on LP with her, Muddy Waters and BB King (or am I thinking of "Ball and Chain," which I *know* is on this LP as well?) Jon (my memoray ain't what it use to be) Duttweiler ========================================================================= Date: Thu, 28 Sep 1995 11:30:56 -0700 From: Jef Jaisun Subject: Re: Imitation Blues Yup, I think you've hit on it. Fortunately, Brenda and I have pretty much reached the same conclusion in our off-list e-mail. Sometimes defenders of the faith miss each other in all that blinding light. ;) ============================================================================= Jef Jaisun eljefe@netcom.com "I once was lost, then I met his sister who just..." ============================================================================= ========================================================================= Date: Thu, 28 Sep 1995 11:55:36 -0700 From: Jef Jaisun Subject: Luther Allison People, people, people! Last night Luther Allison came to town, and Seattle will never be the same again. Two solid hours of fiery, searing soulful blues, ripped right out of the center of the universe and served up Chicago-style. How somebody can spend so much time above the eighth fret and make it sounds so continually awesome is totally beyond me. One person in the crowd mentioned a likeness to Freddie King, and truly, that's the only other bluesman I can recall with this kind of high end intensity. Luther's passion for the blues is surpassed only by his remarkable ability to express it. Guitar, vocals, even harp on one tune. The man is a blues dynamo! His new CD, "Blue Streak," is so new the ink on the cover is still wet. I'll post a review of the tunes later on. But if you liked "Soul Fixin Man" you're gonna love "Blue Steak." (You old time Luther fans might like to know there is talk of re-issuing his very early stuff.) Seattle was one of the first stops on Luther's American tour (and call me amazed, but this is the first time he's ever peformed here). I'll upload the rest of the tour schedule so you won't miss this guy when he comes to a town near you. Oh, almost forgot... After he played that two hour set, he came back out and did another half hour. Then he jumped down from the stage and spent at least half an hour signing autographs and talking with people in the crowd. According to one of his band members, "he does that everywhere." Top that! ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= ========================================================================= Date: Thu, 28 Sep 1995 15:41:48 -0400 From: "Bluzman Ed@Aol.Com." Subject: Re: PBS rock special In a message dated 95-09-28 14:59:49 EDT, willy@LIGHTNIN.BREVARD.EDU (Willy Evans) writes: >I apparently missed the point of the earlier post. I apologize. Is the >point when RJ recorded Crossroads? When was it recorded? Crossroad Blues was recorded Nov. 27, 1936 in San Antonio, TX Bluz! Bluzman Ed ========================================================================= Date: Thu, 28 Sep 1995 12:33:43 -0700 From: Jef Jaisun Subject: Luther Allison Itinerary LUTHER ALLISON ITINERARY (Courtesy Rosebud Agency and Rocky) 09/29/95 The Zephyr Salt Lake City,UT USA 09/30/95 Herman's Hideaway Denver,CO USA 10/02/95 Zoo Bar Lincoln,NE USA 10/03/95 Grand Emporium Kansas City,MO USA 10/04/95 Cain's Ballroom Tulsa,OK USA 10/05/95 Coney Island Beer Garden Ft. Smith,AR USA 10/06/95 King Biscuit Blues Fest. Helena,AR USA 10/07/95 B.B. King's Blues Memphis,TN USA 10/08/95 Birmingham Jam Birmingham,AL USA 10/11/95 ???? (not at Fatso's) Arlington,TX USA 10/12/95 Billy Blues Houston,TX USA 10/13/95 Antone's Austin,TX USA 10/14/95 Baton Rouge Blues Festival Baton Rouge,LA USA 10/14/95 Varsity Theater Baton Rouge,LA USA 10/15/95 House of Blues New Orleans,LA USA 10/17/95 The Moon Tallahassee,FL USA 10/18/95 Blind Willies Atlanta,GA USA 10/19/95 Ace of Clubs Nashville,TN USA 10/20/95 Be Here Now Asheville,NC USA 10/21/95 Double Door Charlotte,NC USA 10/22/95 Ziggy's Winston Salem,NC USA 10/24/95 Toad's Place New Haven,CT USA 10/25/95 House of Blues Cambridge,MA USA 10/26/95 The Bottom Line New York,NY USA 10/27/95 8 X 10 Club Baltimore,MD USA 10/28/95 Tornado Alley Wheaton,MD USA 10/29/95 Mountain Stage Charleston,WV USA 10/31/95 Lafayette Tap Room Buffalo,NY USA 11/01/95 El Mocambo Toronto,ONT CANADA 11/02/95 Main Event Toledo,OH USA 11/03/95 The Blind Pig Ann Arbor,MI USA 11/04/95 Legends Chicago,IL USA 01/10/96 Melusina Luxembourg,LUXEMBOURG 01/11/96 Weberei Gutersloh,GERMANY 01/12/96 Capitol Hannover,GERMANY 01/13/96 Linde Affalter,GERMANY 01/14/96 Passionskirche Berlin,GERMANY 01/16/96 Bahnhof Langendreer Bochum,GERMANY 01/17/96 Outpost Gottingen,GERMANY 01/18/96 Gr. Freiheit 36 Hamburg,GERMANY 01/19/96 Pumpwerk Wilhelmshaven,GERMANY 01/20/96 Ford Garage Saarbrucken,GERMANY 01/21/96 Bluesfestival Bonn,GERMANY 01/23/96 Musikgalerie Uelzen,GERMANY 01/24/96 Pumpe Kiel,GERMANY 01/25/96 Stadthall Babenhausen,GERMANY 01/26/96 Kammgarn Kaiserslautern,GERMANY 01/27/96 Subway Karlsruhe,GERMANY 01/28/96 Longhorn Stuttgart,GERMANY 01/30/96 Subway Karlsruhe,GERMANY 01/31/96 Jazzhaus Freiburg,GERMANY 02/01/96 TBA Oberrankweil,AUSTRIA 02/02/96 Posthof Linz,AUSTRIA 02/03/96 TBA Budapest,HUNGARY 02/04/96 Rockhaus Wien,AUSTRIA 02/06/96 Rockhaus Salzburg,AUSTRIA 02/07/96 Stadtkeller Luzern,SWITZERLAND 02/08/96 Stadtkeller Luzern,SWITZERLAND 02/09/96 Muhle Huntzigen,SWITZERLAND 02/10/96 Muhle Huntzigen,SWITZERLAND 02/11/96 Lowensaal Nurnberg,GERMANY 02/13/96 Alte Malzerei Regensburg,GERMANY 02/14/96 Treibhaus Innsbruck,AUSTRIA 02/15/96 Schlachthof Munchen,GERMANY 02/16/96 Z 7 Basel,SWITZERLAND 02/17/96 Bikinitest La Chaux de Fonds,SWITZ. 02/28/96 TBA Istanbul,TURKEY 03/01/96 TBA Bayonne,FRANCE 03/16/96 TBA Coutances,FRANCE 03/19/96 TBA Cully,FRANCE 03/23/96 Festival Bantienes Bleues Paris,FRANCE 03/29/96 TBA Lyon,FRANCE ============================================================== Jef Jaisun eljefe@netcom.com ============================================================== ========================================================================= Date: Thu, 28 Sep 1995 15:46:15 GMT From: "DUTTWEILER.J" Subject: Son Seals TO: Internet FROM: DUTTWEILER.J@GOMAIL SUBJECT: Son Seals A listmember, in response to my query on Son Seals, suggested one reason we may not see much mention about him is because some may consider him "blues/rock" (at least borderline) rather than "true" Chicago blues. From "Midnight Son" I don't get that impression at all. His sounds seems "fatter" to me than earlier '50's and '60's Chicago blues sides, but not "rock," even blues rock. Then again, Blues Revue ran an article about him in the last issue, so maybe he *is* blues/rock, huh? Jon (still wondering about Son Seals) Duttweiler ========================================================================= Date: Thu, 28 Sep 1995 15:58:55 -0400 From: Smith_James_B/atc_mail1-id@ATC.ALCOA.COM Subject: PBS series >Since we never watch TV, it's not even plugged in > >I was wondering if anyone knows if the RnR series will be made available to >purchase, like the Civil War series or the Black Baseball series....Aren't >they available for purchase. Everything I've heard about the series has been >mostly positive. Also, Mary Katherine, mentioned Robert Plamer as being >involved, does anyone know the others who were involved > >Thanks >LW > The series is currently being made available to Educators for $19.95 per segment or $149.95 for the complete set. I'm sure once it has been shown on PBS 4 or 5 times it will be available to the general public. ========================================================================= Date: Thu, 28 Sep 1995 18:12:00 GMT From: "John M. Saylor" Subject: Blues in NYC this Weekend Can anyone point me to a source or listing of what Blues acts are appearing in New York City this Friday and Saturday (Sept 29 and 30) - Thanks -john email to jms1@cornell.edu ========================================================================= Date: Thu, 28 Sep 1995 14:58:39 CDT From: L W Subject: Luther Allison ----------------------------Original message---------------------------- >People, people, people! Last night Luther Allison came to town, and >Seattle will never be the same again. Two solid hours of fiery, searing >soulful blues, ripped right out of the center of the universe and served >up Chicago-style. How somebody can spend so much time above the eighth fret THAT'S GREAT. I've been telling people Do NOT MISS LUTHER at the B'ham Jam. I have all these friends/co-workers....etc say they are coming to the Jam to see ME and I tell them come to the Jam to SEE Luther Allison, John Hammond, Keb' Mo, Etta...etc. Then they say don't knock yourself, I tell them I ain't knocking myself, but you don't go to the "Fair" and just ride the merry-go- round...Jump on that roller coaster...:-)..They can see me anytime, although I do appreciate the heck out of the support and I am polite enough to let them know that. Now you got me pumped, worse than I was already..... LW "Luther's gonna tear the roof off' ========================================================================= Date: Thu, 28 Sep 1995 16:08:20 -5 From: "P.W. Fenton" Subject: Email Blues- No actuall Blues content I haven't been suffering from the repeat message syndrome that has been reported here recently, but I have been having getting mail to anyone on AOL. I've sent email to Denise Tapp, and her friend Jay at Blue Sun, and to Dick Waterman, without any reply. Now they could all be just ignoring me, but I'm just wondering if it's another AOL email episode. These folks *usually* answer my mail. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Thu, 28 Sep 1995 15:14:17 -0500 From: Bruce Roberts Subject: More on Munich Well after a week of trying to find out the phone # and address for Munich Records, the best I could come with is Mike Steward (512)476-8067. He's the representative of Munich here in Austin. He hasn't returned my phone calls - so if you want to try... Bruce Roberts Austin, TX ========================================================================= Date: Thu, 28 Sep 1995 15:11:51 CDT From: L W Subject: Son Seals ----------------------------Original message---------------------------- > A listmember, in response to my query on Son Seals, suggested >one reason we may not see much mention about him is because >some may consider him "blues/rock" (at least borderline) rather >than "true" Chicago blues. From "Midnight Son" I don't get that >impression at all. His sounds seems "fatter" to me than earlier >'50's and '60's Chicago blues sides, but not "rock," even blues >rock. >Then again, Blues Revue ran an article about him in the last >issue, so maybe he *is* blues/rock, huh? IMHO If Buddy Guy is blues, then so is Son Seals (& SRV)...I consider him blues but I don't care if he's polka, I dig him, Buddy, SRV....etc. IMHO Blues Revue is a fine magazine and a much needed magazine. As blues fans we need them all, unless they start trashing each other. LW ========================================================================= Date: Thu, 28 Sep 1995 15:18:23 CDT From: L W Subject: Dave T./Tinsley/Tab October has one FREE show I'll go see and that's Dave Thompson...I suspect I will like him live better than I do on record. I really think he'll move me. Tinsley Ellis is doing an "unplugged" and once at a party it was really late and Tinsley played some acoustic while we all laid around and it was very good I would AlMOST so see that show, he shows more restraint on acoustic. Tab Benoit will be doing two nights this month, but I don't plan on going to either. I know he'll pack the house both nights. I may invite him over for supper or sumpin, but I can't handle his live playing. As we all know he's a super guy, just the same LW ========================================================================= Date: Thu, 28 Sep 1995 15:28:00 PDT From: rjbauman@IQUEST.NET Subject: Re: Luther Allison =============His new CD, "Blue Streak," is so new the ink on the cover is still wet. I'll post a review of the tunes later on. But if you liked "Soul Fixin Man" you're gonna love "Blue Steak." (You old time Luther fans might like to know there is talk of re-issuing his very early stuff.)======= I've had the "Blue Streak CD for a couple of weeks and it's great. It captures his essence perfectly. I'd go so far as to say if you *didn't* like "Soul Fixin' Man" you'll like "Blue Streak." It's no wonder Luther left Chicago for a long while. The town isn't big enough for both he AND Buddy Guy. That's saying something.... I'm very happy to hear there's talk about re-releasing some older albums. There are some great ones, and the Charly licensed material doesn't stand up to another live album recorded THE DAY BEFORE. (Thanks to another zeller, you know who you are). He looked pretty surprised to be presented an LP of "Love Me Mama" for an autograph, but then again the look may have been because he happened to be in the middle of a solo at the time. :-) RJ Bauman (glad he is right handed :-) ) ========================================================================= Date: Thu, 28 Sep 1995 15:39:09 PDT From: rjbauman@IQUEST.NET Subject: Re: Luther Allison =================Seattle was one of the first stops on Luther's American tour (and call me amazed, but this is the first time he's ever peformed here). I'll upload the rest of the tour schedule so you won't miss this guy when he comes to a town near you.================== Actually, he's been out for quite a while here in the US. I've seen him 3 times in 3 cities this year already. RJ Bauman ========================================================================= Date: Thu, 28 Sep 1995 15:35:48 -0500 From: David Silberberg Subject: Re: PBS series At 01:38 PM 9/28/95 CDT, L W wrote: >Since we never watch TV, it's not even plugged in > >I was wondering if anyone knows if the RnR series will be made available to >purchase, like the Civil War series or the Black Baseball series ....Aren't >they available for purchase. Everything I've heard about the series has been >mostly positive. Even tho I understand the viewpoint the producers are coming from, I've been a little disappointed in this series - primarily the lack of a variety of old clips of some of the performers. I know this isn't a survey, but a more in depth look at some important trends, but still.... A better program - and one we might be more interested in: There was a two-hour or so program out there somewhere several years ago that looks like it was part 1 of a series - altho I never saw any other parts - I've seen it several times in the past 5 years or so, on public TV, I think: It was an in-depth look at the beginnings of R & R to the time of Elvis going in the army, CB going to jail, Jerry Lee marrying his cousin, etc. Tons of film clips of seminal performers - including many of blues and R&B artists - Joe Turner, the Treniers, Louis Jordan, etc. Also, some clips of people like Gene Vincent and Eddie Cochrane that you usually don't see. This was the best of these kinds of shows that I've seen - if anyone knows the title, whether or not it's on tape, etc.... BTW, if you get a tape of the current PBS series, LW, won't you have to plug your TV in? David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Thu, 28 Sep 1995 15:49:41 CDT From: L W Subject: Re: PBS series ----------------------------Original message---------------------------- >BTW, if you get a tape of the current PBS series, LW, won't you have to plug >your TV in? I knew there was a catch. We plug it in and hook up the old VCR to watch videos, occasionally. We HAVE to watch Son House & Bukka White at least once a month....(seriously) LW ========================================================================= Date: Thu, 28 Sep 1995 17:14:21 -0400 From: Neil Cassidy Subject: pbs rock special/Crossroads cover On Wed, 27 Sep 1995, Neil Cassidy wrote: > While watching a fairly entertaining rock special, there's nothing like > being smacked in the face with a blatant historical inaccuracy. In a high dollar high profile production like this how can they say that EC was covering > 'Crossroads' which was recorded "sometime in the 20's" by Robert Johnson? Ouch. > LEt's check our facts folks. I'm sure other bluezellers took notice here also. > to which Willy Evans replied >Perhaps there is confusion with the term "cover". To cover a tune means >to do your version of an already existing song. Clapton did indeed >"cover" Crossroads. Johnson wrote and recorded it originally and it has >been covered since by many artists Sorry for the misunderstanding here, Willy. I was not disputing the fact that EC 'covered' or the tune or not, rather commenting on the misdating of Robert Johnson's recording sessions. Of five sessions Johnson recorded 3 were in November (23,26 &27) 1936 and 2 were in Dallas in June (19 & 20) in 1937. "Crossroad Blues" was recorded at the November 27,1936 session, not 'sometime in the twenties' as stated in the PBS special. sorry for the confusion Neil Cassidy ========================================================================= Date: Thu, 28 Sep 1995 18:38:41 -0400 From: BluesRevue Subject: Re: Son Seals Jon Duttweiler wrote: I have been watching with fascination the discussions on "White" blues, what is blues, what is blues/rock, and have been tempted to comment . . . but have held back in the belief that everyone is entitled to their opinion, and entitled to express that opinion. But the above snide remark needs to be addressed. Blues Revue is most certainly mainstream, and we make no bones about the fact that we cover the full spectrum of the blues, from country blues to contemporary blues to blues/rock. And, yes, "full spectrum" IS most definitely a euphemism. We do not delineate musicians by race, gender, creed, or shoe size. In all fairness, our last issue featured John Lee Hooker, Robert Cray, Son Seals, Jimmy Dawkins, Denise LaSalle, Mississippi John Hurt, Robert Lowery, and the Johnny Nocturne Band. Jon Duttweiler's snide insinuation on Son and Blues Revue would indicate that all of the above were blues rockers. Well, I agree, maybe Robert, but the others, no way, and JL would flip at the insinuation . . . what's the beef Jon? To insinuate that Blues Revue caters strictly to blues/rock is just plain stupid and anyone that would say that either hasn't seen the magazine in its entirety or has some sort of axe to grind. We are sorry if every article doesn't fall into your specifically narrow appreciation of this wonderfully diverse music, but as I said, we cover it all . . . we don't pretend to do otherwise. For those with a more diverse appreciation of the blues genre, Blues Revue will attempt to present the historical alongside the contemporary and even blues influenced music. The next issue, out November 1st, is a tribute to Muddy Waters and his sidemen . . . I've read the issue and there has never been such a devoted treatment to the "King of Chicago Blues." And if anyone would like to try out a subscription to Blues Revue and have a choice of a FREE CD from 17 different blues labels (30 CDs to choose from, some 2CD sets), just email us at BluesRevue@aol.com and we will send you the complete list of CDs and info on how to subscribe, both US and overseas. Bob Vorel, Publisher of Blues Revue Magazine PS. I really hate the term "White Blues," just about as much as I hate the term "Black Blues." For my money, they are both derogatory and probably racist, no matter who the person is that says it. But that is another subject that I'm not gonna get into here . . . ask me my feelings in person and I'll gladly chat with you. ========================================================================= Date: Thu, 28 Sep 1995 17:59:00 CDT From: Bonnie Kalmbach Subject: Johnny Guitar Watson From: IN%"bcoles@pixi.com" "Brad Coles" To: KALMBACH@MACC.WISC.EDU Subject: (no subject) any way to reach johnny guitar watson [he played tipitons in new orleans sept 23 ] i called there but they would not give any info [i dont know why] i want to have him here for our blues fest on dec 1,2+3 95 ** I am forwarding this query to the list - if anyone knows where to contact Johnny Guitar Watson - would you please pass this info on to Brad at bcoles@pixi.com Thanx - Bonnie ========================================================================= Date: Thu, 28 Sep 1995 18:33:09 -0500 From: "Henry Busse Jr." Subject: birthdays 9/29/95 HOLMES, SHERMAN Born:1939 PLAINFIELD, NJ Occupation:BASS Worked With:HOLMES BROTHERS Style:BLUES / R & B HUGHES, JOE " GUITAR " Born:1937 HOUSTON, TX Occupation: GUITAR Style:BLUES KUHN, ROLF Born:1929 COLOGNE, GERMANY occupation:CLARINET Worked with:TOMMY DORSEY BAND / BENNY GOODMAN BAND / URBIE GREEN Style:JAZZ / BIG BAND PONTY, JEAN-LUC Born:1942 PARIS, FRANCE Occupation:VIOLIN / LEADER Worked With:FRANK ZAPPA / GEORGE DUKE Style:JAZZ ========================================================================= Date: Thu, 28 Sep 1995 19:00:23 -0400 From: "Gordon, Rich" Subject: Re: Everyone Spread Y'er Blues! (RE: Ebb & Flow) If you would like to spread the Blues in Rockford, IL...I could use you help. I host the Sunday Night Blues on WXRX 104.9 FM. It is a hour long show that starts at 9pm. I would like to see it become 2 hours long. If you could call the X-line, (815) 874-6812 and leave a message that you would like to hear more Blues on the X, it could help. Phone calls can not be traced, so management would think they would all be local listeners. By investing the cost of a phone call, you could make a difference. Thanks in advannce. Thanks for supporting the Blues. Rich Gordon ========================================================================= Date: Thu, 28 Sep 1995 18:36:53 -0600 From: Watterworth Jay Subject: Luther Allison Itinerary (fwd) Any of you Colorado Bluzers going to see this? Jay Watterworth (thinking that he might) CU Boulder ---------- Forwarded message ---------- Date: Thu, 28 Sep 1995 12:33:43 -0700 From: Jef Jaisun To: Multiple recipients of list BLUES-L Subject: Luther Allison Itinerary LUTHER ALLISON ITINERARY (Courtesy Rosebud Agency and Rocky) 09/29/95 The Zephyr Salt Lake City,UT USA 09/30/95 Herman's Hideaway Denver,CO USA ========================================================================= Date: Thu, 28 Sep 1995 20:38:33 -0400 From: Jacquelin Katz Subject: Re: Speaking of Leiber & Stoller..... On Thu, 28 Sep 1995, Erica Wissolik wrote: > On the PBS home page (they've got a bunch of stuff on the current Rock n > Roll documentary), there are some "Backstage Interviews" and one of them is > with Leiber & Stoller. Also one with the Chess boys. > > http://www.pbs.org/ > Great, thanks for the info: I hope I can make some comments there about the program. - Jackie ========================================================================= Date: Thu, 28 Sep 1995 21:16:47 -0400 From: Tom Freeland Subject: Re: Invitation from Delta Blues Museum In a message dated 95-09-28 19:45:42 EDT, marciag writes: >I received the following invitation, addressed to Blues-L c/o me: >Silver Rights, by Constance Curry > with an introduction by Marian Wright Edelman >Algonquin Books of Chapel Hill and Clarksdale Blues Museum invite you to join >in celebrating the publication of >SILVER RIGHTS >by Constance Curry > For those on the Blues-L who are interested, the book is a history of a family in Sunflower County (Indianola) where the Citizens Council was founded; the children went into the white schools in 1965, integrating them, and the family put seven children through the schools there and then Ole Miss. I haven't read it yet, but it looks interesting. Tom Freeland ========================================================================= Date: Thu, 28 Sep 1995 21:36:01 -0400 From: Scott Bohon Subject: UK Blues To all those blueslisters who sent information, blues club addresses, schedules and scads of excellent ideas about where to listen to blues in England and Ireland many thanks! I'll be nomail for awhile. Thanks again. Scott ========================================================================= Date: Thu, 28 Sep 1995 18:43:58 -0700 From: Jef Jaisun Subject: Re: Luther Allison RE Luther's tour... -----------------------rjbauman@iquest.net wrote------------------------ > > Actually, he's been out for quite a while here in the US. > I've seen him 3 times in 3 cities this year already. Must be some kind of undated list Rocky gave me last night. The first date listed was Sept. 22 in L.A., and it ends with Nov. 4 gig in Chicago. I re-upped the rest from the Rosebud tour list posted a while back. Sure wish *I'd* seen Luther three times this year! Jef ========================================================================= Date: Mon, 25 Sep 1995 13:12:54 -0400 From: DeniseTapp Subject: New Radio Kings Live CD is here A small review: The new "Radio Kings: Live at B.B. King's" is out, courtesy of Blue Sun, Icehouse and Priority records. Don't miss this great blues boogie CD, recorded in Memphis, which is full of surprises. Vocalist Brian Templeton is powerful. And he plays a subtle harp, not the blow-your-ears-out stuff that a lot of overly-enthusiastic harp players engage in. Just check out his smooth intro to "I Got Love If You Want It" and Robert Johnson's "When You Got A Good Friend." Then hear his accordian intro to Slim Harpo's "Rainin' in My Heart." Wow! Where did that come from? Guitarist Michael Dinallo demonstrates great breadth as a performer. He seems comfortable with a variety of styles. Compare his hard-driving blues on "Something To Remember You By" with the soft walk he takes on "Love in the Light." The band gets the house warmed up with James Brown's "Chonnie-On-Chon" (We're having a party...) Jim Spake's sax solos provide much of the ignition. Oh, well, I'd have to love any band that covered Art Neville's "Zing, Zing," one of my all-time favorite songs. I listened to the CD twice before reading the liner notes. On one song, I'd be confident that they were a Memphis band, then they sounded more like Texas, and then New Orleans. Imagine my shock when I discovered the band is from Boston? But, man, can these guys play. Denise ========================================================================= Date: Thu, 28 Sep 1995 22:47:27 -0500 From: David L Eidler Subject: Re: More on Munich On Thu, 28 Sep 1995, Bruce Roberts wrote: > Well after a week of trying to find out the phone # and address for > Munich Records, the best I could come with is Mike Steward (512)476-8067. > He's the representative of Munich here in Austin. He hasn't returned > my phone calls - so if you want to try... > > Bruce Roberts > Austin, TX > Munich Records can be reached at: Vadaring 90, 6702 EB Wageningen, the Netherlands TEL 011 31 8370 21444, FAX: 011 31 8370 22959 Job Zomer, President; Ben Mattijssen, Managing Director David Eidler, New Orleans, LA dle01@www.gnofn.org ========================================================================= Date: Thu, 28 Sep 1995 23:47:09 -0400 From: Zig Zag Wanderer Subject: Re: Blues Confession In article "DUTTWEILER.J" writes: >Date: Thu, 28 Sep 1995 08:13:08 GMT >From: "DUTTWEILER.J" >Subject: Blues Confession >TO: Internet >FROM: DUTTWEILER.J@GOMAIL >SUBJECT: Blues Confession > I have a blues confession to make - I just got my *first* Son > Seals CD, "Midnight Son," as part of my fullfillment for > CH membership. Now, I had heard Son on the radio before so I knew > I would like his music. What I would like to know, is now that I > have "Midnight Son," which has been touted as his best work, what > other titles would any of you recommend? Are there any "live" CD's > of his? > Any suggestions would be appreciated. > Jon Duttweiler (wondering why more isn't said about Son Seals) "Nothing But The Truth" is power, power, and more power. He shows that even though he is getting older he can still play like a man possessed. ========================================================================= Date: Thu, 28 Sep 1995 22:57:18 -0600 From: David Silberberg Subject: Last Hour of PBS R & R Watching the last hour of the PBS History of Rock series - did you ever feel like Mr. Jones? You know, as in "...something is happening and you don't know what it is, do you, Mr. Jones?" Nope - barely a clue.... David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Thu, 28 Sep 1995 23:01:09 -0500 From: David L Eidler Subject: Re: Kenny Wayne Shephard??? Kenny Wayne Shepard can be reached care of Bruce Flett at 318 865 9006, FAX: 318 865 0738 David Eidler dle01@www.gnofn.org ========================================================================= Date: Fri, 29 Sep 1995 00:24:38 -0400 From: "(christopher Jones)" Subject: Req: Acoustic blues help This is the first time I have posted to this list. I am wanting to get into the acoustic blues but don't know really where to start. I have heard Robert Johnson (of course), and not much else. Any suggestion for certain cd's to try would be nice; I am interested in Son House- just because his name sounds cool; kind of weird huh? Thanks Chris ========================================================================= Date: Mon, 25 Sep 1995 23:20:40 -0400 From: HOB JAZZ Subject: Re: HOB/ Good to Artists We would love to have Charles Brown on the TV show. Unfortunately we are not alone in this decision. We're working on it though! Best, Marc Schiller House of Blues New Media use mschiller@houseblues.com ========================================================================= Date: Mon, 25 Sep 1995 23:24:32 -0400 From: MMADSEN1 Subject: Re: Little Red Rooster (help please!) The version I have is from Howlin' Wolf's "Greatest Hits". I'm not sure what key he does it in. I prefer to do it in G or A in open G tuning. The lyrics are: LITTLE RED ROOSTER As sung by Howlin' Wolf I I7 I'm the little red rooster, too lazy to crow today IV I I'm the little red rooster, too lazy to crow today V IV I Keeps everything in the barnyard, upset in every way Oh the dogs begin to bark, hounds begin to howl (2X) Look out strange cat people, the little red rooster's on the prowl If you see my little red rooster, please drive him home (2X) (Ain't) no peace in the barnyard, since the little red rooster's been gone I'm not sure if he composed this song or not. Great song, he does it kind of slow and smooth with a bit of the Robert Johnson "Walkin' Blues" type lick as a basic rythm pattern. MICHAEL L. MADSEN, BLAINE, WASH. ========================================================================= Date: Mon, 25 Sep 1995 23:24:19 -0400 From: HOB JAZZ Subject: Re: HOB/ Good to Artists Actually, Charles Brown will be playing at the House of Blues - Sunset Strip on October 27th with Lowell Fulson. Best, Marc Schiller House of Blues New Media ========================================================================= Date: Mon, 25 Sep 1995 19:33:37 -0400 From: Ted2204 Subject: Movie "Deep Blues" Couple of years this movie missed Louisville entirely, never to be heard of again. Doesn't seem to have been put on tape. Does anbody know how I can borrow, rent, buy, or otherwise get to see this film? Ted Lissauer ted2204@aol.com ========================================================================= Date: Mon, 25 Sep 1995 23:55:23 -0400 From: HOB JAZZ Subject: Re: HOB's Magic Tax Write-Off Denise - Just for clarification, Isaac Tigrett and HOB are not buying Blues memorabilia at all. What we are doing is putting together one of the finest collections of contemporary folk art in the world. Is this what you are referring to? Best, Marc Schiller House of Blues New Media ========================================================================= Date: Mon, 25 Sep 1995 18:30:28 -0400 From: Lilleston Subject: Re: King Biscuit Blues Festival ...We festival folks definitely should set up a place to meet. I got a room in Tunica, which is about 30 miles away, but it's a gambling town, so there's some comfort there (grin). I'm also gonna try to sneak in a side trip to Memphis - I'm going with a friend who never has been to Beale Street (I used to live in Memphis). ========================================================================= Date: Fri, 29 Sep 1995 02:14:00 -0600 From: Don Ottensman Subject: rod piazza/bill shute I passed along Bill Shute's question to Honey Piazza when they were in Dallas Wednesday night. She says they are currently shopping for a new label. Seems Big Mo had pretty poor distribution and their fans couldn't find the Live at B.B. King's album very easily. I'm surprised the better blues labels aren't fighting over this band. Their show, of course, was great. Danny Cochran (Anson's drummer) and Jimmy Morello and Doug Swancy (from The Prowlers) sat in for a few songs. Club owner Doug Henry got onstage and declared their show the best night of music he has had in his club yet. Don O. still at don.o@chrysalis.org but we seem to be in "receive only" mode at present ---- The Lunatic Fringe * Richardson, TX * 214-235-5288 * Home Of FringeNet ========================================================================= Date: Tue, 26 Sep 1995 14:44:56 -0400 From: DeniseTapp Subject: Re: Living Blues In article , Brenda Bogert writes: > Sadly, hardly any whites >go to clubs in black neighborhoods and very few blacks go to >clubs in white ones. Thank God I live in Memphis! Denise ========================================================================= Date: Tue, 26 Sep 1995 14:45:24 -0400 From: DeniseTapp Subject: Re: Little Red Rooster (help please!) Rick: "The Red Rooster" is a Howlin' Wolf classic, available on a double CD put out by MCA Records CHD-5908. You should skip lunch and buy this. 24 classics, including "I Asked for Water and She Gave Me Gasoline," Wang Dang Doodle," "Spoonful," and "Smokestack Lightnin". Your wife will forgive you. Denise ========================================================================= Date: Fri, 29 Sep 1995 04:13:53 -0400 From: Msbeale Subject: Re: Etta James vs Little Milton I'd rather be in Helena, too. :) ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Fri, 29 Sep 1995 04:13:44 -0400 From: Msbeale Subject: Re: BB King on Arts & Entern. tonight >Just a reminder that BB King will be featured in concert tonight at >9 p.m. on A&E.Here are two listings from the local newspapers on the >concert. >1. "..profile of the great blues guitarist BB King,from the BB King Theatre > in Memphis,Tenn.,the city where he first rose to prominence. >2. "He might be the most overrated bluesman in the business, but >guitarist > BB King has been in it for the long haul... >Interesting reviews by some local tv columinists. >"Blues Summit" by BB King is the only cd i have by him, any others I >could > try to get a good sampling of BB King's music? >George First of all, there is no BB King Theatre in Memphis---not that there shouldn't be. Blues Summit was supposedly recorded at BB King's Blues Club on Beale Street in Memphis, but actually most of the recent(-for all you blues police...he did one before...but don't ask me the year because I'm sleepy) recording was actually done at Ardent Studio's in Memphis during the same week. I think it was 1992. Sue me if I'm wrong. (sorry...foul mood) Anyway, the most interesting thing about that whole evening was that it was 6 (read six, yes- 6) degrees outside. It was February and it was damn cold. Well...the boiler at BB's club went out and it was colder than you could ever imagine inside that club that night... No, really the most interesting thing was that all in the same room you had Irma Thomas, Lowell Fulsom, Joe Louis Walker, BB King, who else was there???? EVERYBODY was there....Albert Collins was there... Robert Cray was there...it is hard to imagine all those people in the same room at the same time. I didn't get to see all the A&E special tonite, but I hope it's on again soon, because I'd like to see how much they got on tape... Hope that someone that saw the special all the way through will give a review. And what little I saw of the A& E special reminded me why BB is the King of the Blues.. what a diplomat and a gentleman he is. He really interviews well and has almost total recall. Dance with the one that brung ya, BB. ms beale st. "I ain't lyin'!" -Albert King ========================================================================= Date: Fri, 29 Sep 1995 06:19:16 -0400 From: Lee Wellbrook Subject: Re: BLUES-L Digest - 27 Sep 1995 to 28 Sep 1995 Date: Thu, 28 Sep 1995 02:24:52 GMT From: Graham Hynes Subject: Re: uk/irish blues Scott, If you are in London, check out the "Ain't Nothin' But The Blues Bar" in Kingly Street, round the back of Carnaby Street. There is a Friday lunchtime session starting about 1:30, which is usually an acoustic duo or piano solo. The evening sessionsgo on right throughthe week and vary in their content - Monday night (I think! ) is jam night. Well worth a visit. Lee. > I'll be vacationing in England and Ireland for a couple of weeks starting > October 1, and am interested in any local blues action. Any ideas, > especially in London, from you dedicated UK blues-l'ers? Thanks. > > Scott > > ========================================================================= Date: Fri, 29 Sep 1995 11:13:38 +0100 From: Jean-Pierre Urbain Subject: Clay Hammond - White Records Enterprises A friend of mine is looking for the mail/fax/tel address of the label WHITE RECORDS ENTERPRISES which published recently a Cd by soul/blues singer Clay Hammond (reviewd in the latest issue of Blues&Rhythm). I'd be glad is someone out there could provide me with these informations. Thanks a lot. Jean-Pierre Urbain ========================================================================= Date: Fri, 29 Sep 1995 11:25:24 --100 From: Vincent Vialard Subject: Re: Luther Allison Jef Jaisun wrote: > Oh, almost forgot... After he played that two hour set, he came back out > and did another half hour. Then he jumped down from the stage and spent at > least half an hour signing autographs and talking with people in the crowd. > According to one of his band members, "he does that everywhere." Top that! I had the chance too see him play about five years ago in a small village in southern France. His son played along with him at that time. He came back FIVE times, playing 2 or 3 more songs each time. His wife joined her guys on stage to sing a few songs with them. The fith time he came back, he told us "Thanks guys, but I'll be fifty next week and I have to get up early tomorrow 'cause I play in Nice at the jazz festival... Please, let me go !". He sang one more song accapella, and we decided that he really deserved some rest :) BTW, we were only about 300 people out there... Luther Allison definitely is a great musician AND a great guy. Vincent. ========================================================================= Date: Fri, 29 Sep 1995 07:00:05 -0400 From: Stew Crossen Subject: Re: REPEAT POSTS I get a few repeat posts (certainly not 2/3's), maybe a dozen or so a day out of 150 - 200 messages. Not to bad. Are yours real repeats, as in duplicates, or just people sending the same or similar message twice? Beef Stew bfstew@neca.com http://www.ucc.uconn.edu/~whusfm On 28 Sep 95, robert barclay had this to say... I am new to the blues-L and I am having a great time evesdropping on the latest blues news. I REALLY hate to complain BUT, in the few weeks I have been subscribed I have been getting a large number of repeat posts. Tonight I collected my mail and got 205 postings, about 2/3rds of them being repeats with new posting times. Is it really necessery for senders to do this? having a great time. RB. I'm not getting repeats. Perhaps it's your local mailserver. Normally it's impossible to post the same message to the listserv twice. If the listserv detects a message which is substantially the same as a message already posted, it refuses it and kicks it back to you with that explanation. P.W. Fenton Tampa, Florida e-mail = pwfenton@gate.net WWW = http://www.gate.net/~pwfenton ========================================================================= Date: Wed, 27 Sep 1995 09:10:36 -0400 From: CATBAUER Subject: Re: Robert Cray/Rosebud In article <43nbi1$p30@newsbf02.news.aol.com>, BlueSunJay writes: >Could someone please provide me with Robert Cray's touring schedule? > > Posted this once but haven't seen the note...Rosebud's dates are on the Blue Highway web site... http://www.vivanet.com/~blues ========================================================================= Date: Fri, 29 Sep 1995 07:43:00 -0400 From: "J.E. Downey" Subject: Luther Allison Itinerary East-West relations are under a terrible strain right now, with Nato bombing Russia's Serbian neighbors and promising nuclear arms to its old buffer states. What a mess. Merely sending diplomats to Moscow to offer empty assurances of inchoate good will is hardly reassuring. What this capital needs more than ever is a solid commitment from the West, a concrete initiative that cannot be lightly dismissed. In particular, what is needed at this crucial juncture is to add Moscow to Luther Allison's 1996 tour schedule, preferably for two nights. The world will breathe more easily. If not now, my good bluezellers, when?! Joe Downey (Moscow) J.E._Downey@bakermck.com ========================================================================= Date: Fri, 29 Sep 1995 12:11:21 +0100 From: Jean-Pierre Urbain Subject: CD REVIEW: ABU TALIB: THE REAL THING AT LAST While the following album has now been published about a year ago and has-if I remember weLl- received rather good reviews in some magazines, I discovered it very recently and found it really interesting enough to send you this review. ABU TALIB : "THE REAL THING AT LAST" Son Pat Records SPR-01 51:08 playing time Guitar player and vocalist Abu Talib (born in Memphis in 1939) was formerly known as Freddy Robinson and under this name is rather well known for having been playing and/or recorded with quite a number of bluesmen including Little Walter, Junior Wells, Ray Charles, Shakey Jake and also Louis Myers (Freddy plays gtr on the great Advent LP which was recently reissued on Hightone/Testament) and some others in addition to the material he recorded under his own name. He is also quite known for his talents as jazz gtr player as can for example be heard on this very enjoyable album on two cuts. This is his debut album as Abu Talib, and as he writes in the sleeves notes "Freddy's dead. End of the story" ! Contrary to what some might expect, this album is everything but a sophisticated jazz oriented album. Abu Talib is here alone, playing gtr, harp and singing and is only backed by Dave Grover (bass) on one cut "Blues Lover's Waltz". As he points out in the sleevenotes, "We wanted to be creative, while remaining deeply rooted in tradition...". Nothing to add, he succeeded. "The Real Thing At last" is really a refreshing and original album. Difficult to classify altough I would be willing to label the as original traditionnal/Delta oriented blues where he shows how good a guitar player he is (what we in fact already knew from his previous recordings) and again - like some others- that he ranks among the overlooked gtr players that really deserve to be more widely known in the blues world: subtil gtr licks (sometimes jazzy, on other places purely Delta, ...). Clearly, -and contrary to some contemporary trends- he never falls into revivalist "cliches" and has a very personnal approach. A very noticeable thing about this album are the original, humorous, lyrics and compositions of Talib, with a particular mention for "I'm Arrogant" (dedicated to Jimmy Reed :-) where Abu plays some simple but adequate harp and succeeds in singing like Jimmy Reed), "The Psychic Hot Line", but also for the two songs about his childhood in Arkanses (The Legend of Sister Sharp Eye and Blues in The Hood). The album closes on two very nicely played jazzy pieces, again with some really enjoyable gtr. It's not every day that we get and accomplished -but quite overlooked- musicians releasing albums like this, refreshing, unpretentious, original but traditional at the same time, with a good dose of humour. Give it a try, you won't be disappointed. Recommended! Jean-Pierre Urbain P.S. For US bluzellers: Son Pat Records, 44044 Beech Av, Suite D, Lancaster CA, 93534. European bluezellers will be happy to learn that this album is distributed over here by ALL BLUES RECORD SERVICE (FAx/Tel +32-51-72 29 54). P.S.2 I have no financial relation with or interest in ALL BLUES RECORDS SERVICE (they also distribute Dallas Blues Society, New Moon, ...) but simply find it so nice that there are finally serious people over here trying to distribute interesting products from small -or almost uhknown- labels like this in Europe that I think that I can only support what they're doing for the blues! P.S.3 The complete list of High Water releases will be sent early next week as will also be Utracht Blues Estafette prog. Sorry for the delay (to those who requested these infos), I'm quite busy these days! ========================================================================= Date: Fri, 29 Sep 1995 08:03:08 GMT From: "DUTTWEILER.J" Subject: Re: Son Seals Date: Friday, 29 September 1995 8:02am ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: Re: Son Seals In-Reply-To: The letter of Thursday, 28 September 1995 6:37pm ET Bob, sorry if my fecetious remark was taken as "snide." It was meant to show the ridiculous nature of that very argument. I personally read both LB and BR and enjoy both of them *very* much. I particularly like the last issue of BR and its article on Son Seals prompted to me to go ahead and order "Midnight Son." Another lesson, I guess, in the difficulty of communicating subtle expression via email. My apologies, again, to all who might have taken it the wrong way and to Blues Revue, which I consider a *fine* blues mag Jon (getting the foot out of my mouth) Duttweiler ========================================================================= Date: Fri, 29 Sep 1995 08:40:49 -0400 From: Leo Aspiras Subject: Helena Next Friday Greetings: There have been a smathering of postings on this list since last summer in conjunction with the King Biscuit festival next week. I have not seen anyone initiate some kind of a meeting/survey of who on this list plans to go. So I guess I will. 1) How many people out there are going and would you be up to meeting at a certain time and place (Friday/Saturday----Morning/Evening----Festival site/Elsewhere)????? 2) Anybody in need of a place to stay???? (unfortunately, we will be staying at the Best Western/Colony Inn in Forrest City, AR --- 35 mile away --- ugggg). We have an extra room available. 3) Is the Sunfest festival more popular than this one because it was in the Summer and this one is in the fall which is more work/school oriented time of the year???? 4) Would anybody be up to meeting at the Lady Luck lounge Thursday night for the Little Milton show???? So please reply to any of the above (here or privately to me) if it applies to you. Sure would like to meet alot of you if you are going to be there.... Leo 'The Scatman' Aspiras from DC ========================================================================= Date: Fri, 29 Sep 1995 07:55:27 CST From: William Shute Subject: listings of small label releases From: Bill Shute I have always been an active collector of small-label/local releases in both blues/R&B and other genres of music. When I travel, I go through the musty "local" bins in record stores and buy self-issued releases that have been sitting in the store as "consignment" copies for two years. And I've always tried to support local bands and bands coming through town by buying their releases...that is, if the band is any good! What I would like to suggest is that someone do a somewhat comprehensive listing of local releases from throughout the US and Canada, perhaps a briefly annotated one with an objective write-up of the band's general style, their intentions (what were they trying to achieve), and an overallassessment of the disc--along with any facts/band details that would be of interest (other bands the members have played in, connections with known quantities in the music world (for instance, maybe the vocalist is the brother of Delbert McClinton's soundman or something!), etc.). And, most importantly, ordering info...price, address, etc. There are many small magazines dedicated to doing that in the alternative scene, heavy metal, rockabilly/60s punk, new age (et al)scenes. "Our" scene needs that kind of thing also. Why let arrogant record-collector types and Europeans "discover" this material, Christopher Columbus-like, 25 years from now,when it is being actively produced now and many of us are actively living in the subculture from which it is being produced. With the proliferation of blues bands and blues clubs in almost every city of any size, the number of little-known indie releases is staggering. Yeah, I know that the average fan doesn't have the time for this and can hardly keep up with the releases from his/her favorites. Also, I know that some of the best indie releases do get reviewed briefly in blues mags both here and overseas, but for every one that does there are at least 9 other fine and deserving albums (if not more) that I just never see mentioned anywhere except in the local giveaway "arts and culture" rags that each city seems to produce to be distributed at clubs, restaurants, record stores, book stores, etc. This would be to blues/roots-music what Factsheet Five is to small fringe periodicals. I certainly don't have the time to do this, but perhaps some enterprising YOUNG blues-l person can take on the challenge! I suppose you could say that this would be a larger, all-encompassing version of the page that Paul Fenton set up for blues-l musicians who have releases available (a generous gesture that some actually criticized!). If anyone decides to take the plunge, I will certainly "help" with South Texas information. Bill Shute San Antonio, TX by the way, just another reminder of the JOE GUITAR HUGHES gig on Friday, October 6 at Billy Blues in San Antonio (one block west of Broadway on Grayson, about 1/2 mile north of the Pearl Brewery). A combination blues-l get-together AND belated birthday party for James Foster!Contact me or Jeff Seale for further info. Well, the "jam host" seat at Billy Blues has been changing recently. Al Garcia had the gig for a long time, then the equally fine Stretch Williams (blues-guitar-slinger from Austin, a Billy Gibbons-influenced player who has a fine recent album out) had it for a while, and now I see it has been taken over by harp-master Paul Orta (see the New Rose label album "Texas Harmonica Rumble") and his band The Mighty Kingpins. Personally, I'm not into attending jams that much although on occasion you can come up with some brilliant combination of elements. often they are more of interest to the participating musicians and their families/hangers-on than they are to the audience. Still, with a man like Orta in charge, they ought to be worth catching. From here on out, the jams will be moved to Tuesday. Storyville (with David Grissom and Tommy Shannon) are at Cibolo Creek tonight, while Flaco Jimenez is making a rare appearance at Billy Blues tonight. Someone (me if I'm there) will have to ask him about that gig he did last week performing WITH (not just on the same bill as!) the Coasters and the Drifters (whoever happens to be in the bands bearing those names)--the 50s vocal group sound and the conjunto sound...hmmmmm, that ought to be an eclectic mix!!!! There's also a large three-day FREE outdoor festival of local country music bands that I will catch some of--the Jazz's Alive Festival here a few weeks ago was a similar outdoor FREE event with some great talent. Finally, I'd like to recommend AGAIN both the new Jay Owens album and also the Little Buster and the Soul Brother album on Bullseye Blues. I've been listening to both continually...as I have to the "It's My Soul" album by Mike Stockton and the Rhythmators. Speaking of the latter, have any of you Austinites been to the NEW reopened, post-fire-damage PEARL'S OYSTER BAR, which reopened a month or so ago? While the old one was not set up that well for good vision from all seats, it was certainly an intimate place, the food was good, and they had pinball machines. I saw William Clarke, Bobby Mack and Night Train, and many others there. --30-- ========================================================================= Date: Fri, 29 Sep 1995 09:18:23 -0400 From: Curtis Hewston Subject: Racism on the Web Forget all that Muddy's Cabin, stuff. Twice this week I've received mail from various racists -- one from and individual, another from a group called the National Alliance. The latter has several radio outlets and now a web presence. (Same old tired stuff. I wouldn't bother seeking them out.) Just thought I'd remind you that "they're here." Actually, I'm kind of flattered that the site poses a threat to these yahoos. As for Muddy's Cabin, the kiddies I think are starting to get bored and we may be back up soon. Actually, the actual chat room is still operable. It's just not linked from the Highway right now. You can get there by going to http://www.vivanet.com/webchat/chat.html Just don't tell Hootie and DA PUNK! We'll be doing some UNIX magic soon to fix all that anyway. We're ready to go for the many chats from the King Biscuit Festival next week. You can check http://www.vivanet.com/~blues/cabin.html for more details. *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 29 Sep 1995 09:35:40 -0400 From: Reko Leino Subject: Re: Kindhearted Woman In article <448sdp$63k@rc1.vub.ac.be> marc borms writes: >Date: Tue, 26 Sep 1995 12:41:29 GMT >From: marc borms >Subject: Kindhearted Woman >Howdy, bluezeller ! >I've a small question about Keb'Mo's first cd. >Do you know what kinda tuning Keb uses in "KindHearted Woman" ? >I think he plays in F, but with a capo on the first fret, >so he can play in E. >Is that correct ? >But I think that he also plays in an "open" tuning. I can't >find the fingerpositions.... >Where can I find the original RJ-tabs ? >Thanks, >embee. I also once tried to figure it out. I think that he plays in regular tuning with a capo on the first fret. RL ========================================================================= Date: Fri, 29 Sep 1995 08:12:01 CDT From: L W Subject: I ain't no butcher What is the name of this tune, who did it and can you complete the lyrics: I ain't no butcher, I ain't no butcher's son, but I can cut your meat 'till your butcher man comes I ain't no preacher, I ain't.......etc Is it called "All Around Man"......Where have I heard this LW ========================================================================= Date: Fri, 29 Sep 1995 09:03:15 EDT From: george morales Subject: BB King Special/PBS Rock & Roll Thanks to everyone who made suggestions on which BB King disc to purchase I think I will be going shopping this weekend, working at a university and getting paid once a month inspires shopping sprees at the end of the month I taped the BB King special and watched a couple of minutes this morning and was blown away by Ruth Brown. Did anyone watch last night's episode of the PBS Rock History? I'm curious as to what was said about one of my favorite bands,U2. Thanks, George +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 29 Sep 1995 09:19:19 EDT From: george morales Subject: charlie musselwhite keb mo radio concert I received this info from a listserv(radio-concerts@cs.albany.edu)about radio and tv performances by musicians. MountainStage, a syndicated concert program usually broadcast over public radio stations, will be featuring a concert performance by Charlie Musselwhite,Keb Mo, Dan Penn,Kennedy/Rose(?) the weekend of Sept 29. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ | | | GEORGE MORALES GMORALES@TEMPLEVM | | COMPUTER AND INFORMATION SERVICES GMORALES@VM.TEMPLE.EDU | | TEMPLE UNIVERSITY (215)204-6866 | | | +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ========================================================================= Date: Fri, 29 Sep 1995 09:52:47 -0400 From: Rick Miller Subject: BB on A&E last night This was a great show, like the video portion of the "Summit" album. :) I love this guy, but back me up here, does BB do everything in the key of C or is it my imagination? :) A major BB fan, Riffin Rick (((( oo-) /- F.J.(Rick)Miller Senior Research Assistant, & Marine Facilities Manager Worcester Foundation for Biomedical Research "Miller@Sci.WFBR.Edu" *************************************************************************** ========================================================================= Date: Fri, 29 Sep 1995 08:48:45 CDT From: L W Subject: Racism on the Web ----------------------------Original message---------------------------- >Forget all that Muddy's Cabin, stuff. Twice this week I've received mail >from various racists -- one from and individual, another from a group called >the National Alliance. The latter has several radio outlets and now a web >presence. (Same old tired stuff. I wouldn't bother seeking them out.) I would like to know what exactly happened, I've been getting mail from the National Alliance something called Crusade. I'd love to converse with some of those guys. I replied to the Alliance thing, but my mail was returned. Is it "Neo-Nazi" kind of stuff, I didn't even read it... LW ========================================================================= Date: Fri, 29 Sep 1995 10:23:40 -0400 From: Patti Bowman Subject: Re: PBS series >>Since we never watch TV, it's not even plugged in >> >>I was wondering if anyone knows if the RnR series will be made available to >>purchase, like the Civil War series or the Black Baseball series....Aren't >>they available for purchase. Everything I've heard about the series has been >>mostly positive. Also, Mary Katherine, mentioned Robert Plamer as being >>involved, does anyone know the others who were involved >> >>Thanks >>LW >> > > The series is currently being made available to Educators for $19.95 per >segment or $149.95 for the complete set. I'm sure once it has been shown >on PBS 4 or 5 times it will be available to the general public. Since I have been attached to this damned machine ( I love my Mac, I love my Mac) for MONTHS now, I have seen almost no TV lately either but I did notice at the Price Club/Costco the other day that there was a multi video set entitled something like the History of Rock and Roll. Don't know if this is the same series or not (8 or more tapes, blue I think) but it priced in just under $100. Maybe I'll go back for a closer look. -Patti who thinks she'll listen to some Tinsley Ellis now......... ========================================================================= Date: Fri, 29 Sep 1995 10:24:07 -0400 From: Patti Bowman Subject: Re: REPEAT POSTS >> I am new to the blues-L and I am having a great time evesdropping on the >> latest blues news. I REALLY hate to complain BUT, in the few weeks I have >> been subscribed I have been getting a large number of repeat posts. Tonight >> I collected my mail and got 205 postings, about 2/3rds of them being >repeats >> with new posting times. Is it really necessery for senders to do this? >> >> having a great time. RB. > > >Could you be subscribed twice? I think that *could* happen. Oh yeah, it could happen just ask me "The Queen of Blues-L Post Problems"! Just try to unsub, see if that cuts your mail in half if it goes away totally you'll know that it's some other problem besides being subbed twice. Do you have the unsub rules? -Patti ========================================================================= Date: Fri, 29 Sep 1995 09:45:40 -0400 From: Willy Evans Subject: Re: I ain't no butcher On Fri, 29 Sep 1995, L W wrote: > What is the name of this tune, who did it and can you complete the lyrics: > > I ain't no butcher, I ain't no butcher's son, but I can cut your meat 'till > your butcher man comes > > I ain't no preacher, I ain't.......etc > > > Is it called "All Around Man"......Where have I heard this > > LW > There's a version of this on my tape GONE GONE GONE by the Willy Evans Blues Trio that I call Hey Hey. It is a traditional song as far as I know. I learned it when I was just a lad! Some verses are: Hey Hey all work and no play make Johnny a dull, dull lad! I ain't the butcher I'm the butcher's son And I'll tend your loins till the butcher comes Hey Hey ... etc. I ain't the fisherman I'm the fisherman's son And I'll whip out my pole Till the fisher man comes Hey Hey ... etc I ain't the farmer I'm the farmer's son And I'll plow your row Till the farmer comes and so forth This and other fine blues songs may be found on my tape, Gone Gone Gone .. (sorry, I forgot where I was for a moment!) Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** Let me live it like I please! **** ========================================================================= Date: Fri, 29 Sep 1995 10:34:35 -0400 From: Steve Levine Subject: Re: I ain't no butcher *What is the name of this tune, who did it and can you complete the lyrics: * *I ain't no butcher, I ain't no butcher's son, but I can cut your meat 'till *your butcher man comes * *I ain't no preacher, I ain't.......etc * * *Is it called "All Around Man"......Where have I heard this Yes, it's called All Around Man and it's written by Bo Carter (one of his many great hokum songs). -Steve ========================================================================= Date: Fri, 29 Sep 1995 11:16:22 -0400 From: "Abe W. Mathews" Subject: Re: BB on A&E last night Rick writes: > This was a great show, like the video portion of the "Summit" album. :) > I love this guy, but back me up here, does BB do everything in the key of C > or is it my imagination? :) Heh! I was watching the show with my PRS in hand, jamin' along, wondering what I'd be like to back B.B., and I thought more than once, "Well, I'd just have to get used to C!" Good call, Rick! I thought some of the noodling he was doing with the interviewer was in G or Bb. But then again, I could be wrong. The only thing that ticked me off about the show was that they seemed to cut the songs *heavily*. I think that as soon as B.B. was about to take an extended solo, they cut out about 24 bars. :( Anyone else notice this? Abe awmathew@mtu.edu ========================================================================= Date: Fri, 29 Sep 1995 10:42:48 -0500 From: Jeff Seale Subject: posts from Crusader@national alliance If you tried bouncing that message full of crap bakc to that guy, you found out that there is no such domain. However, a little further investigation finds that this group, National Alliance can be reached at: national@natvan.com I'm not advocating any kind of net.terrorism; I'm just providing information that these coward-like bastards are trying to hide... -Jeff ****************************************************************************** __ Jeff Seale | |___ University of Texas Health Sciences Center @ San Antonio ___|* | EMail seale@bioc02.uthscsa.edu \ | \/\ / As I was riding across the Mississippi \ / I stopped there and I cried. \( No use for a man to keep a mighty river All dammed up inside. -Joe Ely ========================================================================= Date: Fri, 29 Sep 1995 10:50:47 -0500 From: Dave Daubard Subject: Re: HOB/ Good to Artists Got to see the "5 Blind Boys" last weekend. They were great. The CD recorded at HOB they had with them sold out immediately. I got one of the cassettes which I will feature tonite on WEFT 90.1O. Thanks for recording them. ========================================================================= Date: Fri, 29 Sep 1995 11:48:05 EDT From: "Eric C. Shoaf" Subject: Re: BB on A&E Rick Miller writes about BB: I love this guy, but back me up here, does BB do everything in the key of C or is it my imagination? :) *************************************************************************** During the segment where BB describes how "The Thrill is Gone" came about he mentions that they were in Bm, then he plays the lick in that key. But there is no question that he really likes to work out at between the 10th and 14th fret for his classic bends and that would correspond to songs in B, or C with one or two in A just for a different sound. E. Shoaf ========================================================================= Date: Fri, 29 Sep 1995 11:46:40 +0000 From: "P.W. Fenton" Subject: The Iceman This question is directed at Mr. Shurman but I figure the reply will be of interest to the whole list so I post it here. I'm listening to "Albert Collins and the Icebreakers (Live '92-'93)" for the third time. It really captures what I remember from seeing Albert live. The moment when Albert chokes on "You can't take it with you, that's one thing for sure. There ain't nothing in this world that a Collins shuffle can't cure", my eyes welled up. Thank goodness he didn't attempt the verse "Have your fun while you can. Fate's an awful funny thing." 'cause I lost it just thinking about it. But since it captures so perfectly Albert's live sound, it makes me want to ask his producer a question. How in the world did you talk him out of setting his amp's reverb all the way up in the studio like he does on the stage? Did he realize that it wouldn't work right in the studio, or was it a bone of contention? As an aside... there is another moment of human frailty when Albert is introducing (by first and last names) his band and he says "and to my left.. PETE on guitar." I really felt for him. When we recently recorded a couple of nights at The Blues Ship, during similar introductions, I introduced my keyboard player by a COMPLETELY WRONG NAME and then realized a few seconds later. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Fri, 29 Sep 1995 10:29:48 -0500 From: Erica Wissolik Subject: BB King Special/PBS Rock & Roll -Reply >>> george morales 09/29/95 08:03am >>> Did anyone watch last night's episode of the PBS Rock History? I'm curious as to what was said about one of my favorite bands,U2. Thanks, George >>>>> Unfortunately nothing. They totally ignored the `80s - went straight from the Sex Pistols to a 5 second mention of Nirvana and then went into the Rap/ Hip Hop stuff. The 2nd hour did start with a short clip of Springsteen but they never even said his name. Erica ========================================================================= Date: Fri, 29 Sep 1995 12:07:50 -0400 From: Barry Silverberg Subject: Re: listings of small label releases Bill - this is actually a wonderful idea. One of my goals with NY CD Blues is to provide complete information on all of the output of as many blues labels as possible, includ- ing our full cut by cut reviews on each CD out. Yikes! As you said the undertaking is massive but most assuredly, it would prove a very valuable resource. I am right now look- ing to setup a web page with labels, outputs, reviews etc. and a couple of goodies that I think every one will benef- it from. Very shortly we'll have complete sets of reviews on several labels, yes, the complete output fully reviewed. The exact plan is not fully set but as soon as the details are finalized we will let everyone know what's up. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 29 Sep 1995 12:54:40 -0400 From: Dick Waterman Subject: B.B. King Birthday Report I wish that I had a more detailed report on the birthday wishes sent to B.B. King to make his birthday in Atlanta. However, I did speak to the woman in the Chastain Park office and she said that 'about 35 to 40' messages were received. They were printed out and put in a folder which was given to B.B. King's tour manager when he came into the office on the afternoon of the show. He was headed for the bus and, hopefully, gave the folder to B.B. at that time. Dick Waterman I got a letter this morning How do you reckon it read? - Son House ========================================================================= Date: Fri, 29 Sep 1995 12:57:47 -0400 From: Barry Silverberg Subject: Re: Bill Shute & Small Labels As per Bill's post and my followup. If anyone has information on small labels with their list of output (CD only) please for- ward it to me. I will start to compile the information & when we are fully setup will let everyone know where to find it. There has been a list of smaller labels that was posted here & elsewhere some time back - I have it. What I need is lists of the output of these labels. Also if you recall the list & know of any other labels that were not included then please forward as well. I currently have a list of about 400 labels but I am sure many small ones are missing and of these 400 I don't have complete output lists for most of them. That job is long slow and eventual. -- NY CD Blues Definitive In-Depth Blues Reviews c/o Barry Silverberg 77 Fulton Street #24C New York, NY 10038 e-mail bsco@panix.com ========================================================================= Date: Fri, 29 Sep 1995 13:03:56 -0400 From: Tom Day Subject: Re: BB King Special/PBS Rock & Roll On Fri, 29 Sep 1995, george morales wrote: > Did anyone watch last night's episode of the PBS Rock History? I'm curious > as to what was said about one of my favorite bands,U2. > Thanks, > George I don't think they were ever mentioned, kind of surprising. Tom ****************************************************************************** Tom Day And the butterflies fornicate in the wind... tday@umabnet.ab.umd.edu ****************************************************************************** ========================================================================= Date: Fri, 29 Sep 1995 13:12:13 GMT From: "DUTTWEILER.J" Subject: BB on A&E last night Date: Friday, 29 September 1995 1:11pm ET To: Internet From: DUTTWEILER.J@GOMAIL Subject: BB on A&E last night In-Reply-To: The letter of Friday, 29 September 1995 1:06pm ET Did anyone else wish there was more of Joe Louis Walker and Albert Collins and a little less of the interviews? I *love* BB, but have seen and heard all the questions and answers they included about a half-dozen times in one form or another. BTW, the story at the end the narrator tells about how "Lucille" got her name, didn't he leave out the most interesting part? That BB named her that to remind himself never to do something that stupid again (or is this my bad memory acting up again?). ========================================================================= Date: Fri, 29 Sep 1995 12:31:00 CDT From: Bonnie Kalmbach Subject: OJays Can anybody help this person out - I seem to failing as a "mentor" of southern soul although I don't believe the OJays are in this category. Muchas Gracia - Bolshaya Spaceeba -Bonnie From: IN%"gorasonl@attmail.com" "Gorason" >To: KALMBACH@MACC.WISC.EDU >Subject: R&B Ojays 1960-1965 Recordings > >Bonnie, > >As a kid I remember the Ojays competing against the >Temtations in Cleveland,Ohio and winning the bout. Many of >the original songs of the Ojays have been difficult to get. >A few month ago in Tokyo I went to a CD Store and saw a >"Capitol" record version of the Ojays that was a dream come >true. Unfortunately, it was only available for rental even >though I offered to buy it. Would you have a source or >contact where I could get the Ojay recordings from the >early/mid 60's. > >Thanks! > >Gorason Lloyd > > ========================================================================= Date: Fri, 29 Sep 1995 10:40:17 -0700 From: Joe Lempkowski Subject: Re: Blues Confession Jon writes: > I have a blues confession to make - I just got my *first* Son > Seals CD, "Midnight Son," as part of my fullfillment for > CH membership. Now, I had heard Son on the radio before so I knew > I would like his music. What I would like to know, is now that I > have "Midnight Son," which has been touted as his best work, what > other titles would any of you recommend? Are there any "live" CD's > of his? There is a live CD of his on Alligator called "Live and Burning". I think this is one of the hottest live albums ever recorded. It is really smokin'. (Really bad puns intended.) This album gets quite a bit of playing time at home. In fact, it is probably time to pick up a copy on CD. If you've never seen him live, you should. It has been a while since I've seen him, but he can really tear it up. > Jon Duttweiler (wondering why more isn't said about Son Seals) We don't talk a lot about him on blues-l, because we spend a lot of time pondering the age old questions, "Is Eric Clapton Blues?" or "Is Stevie Ray Vaughn the second coming of Christ?" Joe ========================================================================= Date: Fri, 29 Sep 1995 12:53:00 CDT From: Paul Garon Subject: Guido van Rijn address Guido van Rijn has published a book on topical blues about President Franklin D. Roosevelt and related subjects. The book is in English, and published in Holland. I'm reviewing the book for LB, but we're missing some vital information: >From where can the book be obtained (the author? his address?) and for how much? If Guido or any of his friends are on the list, can they give us an answer? If you have a price in US $ that would be nice, too, but not a necessity. ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Fri, 29 Sep 1995 14:07:41 -0400 From: Charles d'Orban Subject: Magazines Jim Smith said: > If I want to read about Jazz or Soul, I'll buy magazines dedicated to those >genres. Apart from the occasional coverage in the blues magazines, are there any magazines published in North America that deal mainly with soul/R&B (as it was understood from the 1950s to the 1970s)? In the UK there is "Voices from the shadows" (if it still exists?) and other small fanzines. There was also one from Toronto (Soul Survivor ???) but as far as I know it died years ago. Charles d'Orban ========================================================================= Date: Fri, 29 Sep 1995 12:36:11 CDT From: L W Subject: Blues that people HATE ! We're having another party this Saturday (You're all invited) and there will be a bunch of non-blues fans. I expect a country fan or two, so I'll try to keep it early Bonnie Raitt, Doug MacLeod, Little Feat, maybe slip in a Muddy However, when I think those folks have been there long enough, what do you suggest I play (besides my guitar) that will run off most non-blues fans the quickest.... I was thinking Bukka White, Son House, Al Cook, Hound Dog....etc Any suggestins that would send them running :-) LW ========================================================================= Date: Fri, 29 Sep 1995 12:42:47 CDT From: L W Subject: Do You respect them, I see alot of Clapton, SRV ...etc talk all the time. I have a question, even though you make not like their music, DO You respect them at all. If not why ??? LW "I respect them" ========================================================================= Date: Fri, 29 Sep 1995 11:14:00 -0700 From: Ned Kraft Subject: Racism I'd recommend that folks receiving racist mail not respond to the mail. Treat it as junk mail and delete it - flaming will not make anything better. If it is threatening I would recommend contacting the Southern Poverty Law Center and providing them with the info. They do a fine job of noting Klan activities and prosecuting those who damage others in their quest for racial purity. A small percentage of hate crimes are done by people with a specific agenda- most are done for thrills (SPLC, not me). IMHO flaming will only increase the percentage with an agenda. You can only change those who respect you (and that you gotta earn). Keep cool. Ned ========================================================================= Date: Fri, 29 Sep 1995 12:25:01 CDT From: L W Subject: Re: BB King Special/PBS Rock & Roll ----------------------------Original message---------------------------- On Fri, 29 Sep 1995, george morales wrote: > Did anyone watch last night's episode of the PBS Rock History? I'm curious > as to what was said about one of my favorite bands,U2. > Thanks, > George >I don't think they were ever mentioned, kind of surprising. Since I don't know a U2 song from an REM song. Why is that suprising did U2 do something that had an effect on RnR. I do recall one tune by REM "Losing My Religion" I thought it was pretty stupid and monotone....I'm not knocking anyone, but I had no idea that U2 was that important, to RnR...? LW 'not meaning anything derogatory toward U2' ========================================================================= Date: Fri, 29 Sep 1995 18:15:38 GMT From: william higdon Subject: Re: I ain't no butcher Those lyrics are all over the song "Hesitation Blues" by Rev Gary Davis. The CD is in the "Guitar Artistry" series by Shanachie Records which means in practical terms that Shanachie will send you the tab (of about 6 songs on the CD). I haven't tried it yet, but the tab looks like pretty doable stuff (like the MJH tab by Stefan Grossman). After listening to the song, I started pondering that Arlo Guthrie probably listened to that recording before he wrote the Massacree(sp?), i.e. Alice's Restaurant. Hesitation Blues is over 23 minutes long! One last question. In the book, Charlie Patton, King of the Delta Blues it says that the last verse of "Stone Pony Blues" which began: Operator what's a matter with my line... was borrowed from a song called "Hesitation Blues" from the late 1880's. This of course is probably not the same song. I am interested in knowing more about the old song. ..I can add a few numbers for ya while yer waiting for your bookkeeper to come... :) Bill Higdon. ========================================================================= Date: Fri, 29 Sep 1995 13:51:19 -0500 From: "Nuri A. Nuri" Subject: Re: Nighthawks question The original Nighthawks which featured Jimmy Thackery on guitar was formed when Bobby Radcliff introduced Jimmy to Mark Wenner (Harp player and vocalist) in 1972 in the Washington DC area. They were the hottest band around there. They have performed with the likes of John Hammond, members of the Muddy Waters band, Pinetop Perkins, and George Thorgood. Thackery left the group in 1986 and formed The Assassins and later left them (I think in 1992) to form The Drivers. The Nighthawks are still around in the Maryland/DC area. Their last album is on the Big Mo label. Their address and phone number is: RR1 Box 389C, Norwich, VT05055 800-647-4583 I hope this helps! Nuri Nuri, Host/Producer "Off the Clock" blues show, KPFT 90.1FM-Houston Can anyone tell me what year the Nighthawks first got together? I know >that they are close to their 25th anniversary. If this year or next >year is their 25th anniversary I will probably do a story on them for >Music Monthly. If anyone can help me out here I'd appreciate it. > >Thanks, > > Steve > > ========================================================================= Date: Fri, 29 Sep 1995 11:41:20 -0700 From: Joe Lempkowski Subject: New Stuff (long) Last weekend I did some shopping and picked up some cool stuff. Eddie Taylor Long Way From Home Blind Pig Big Daddy Kinsey I Am The Blues Gitanes Bonnie Lee Sweetheart of the Blues Delmark Albert Collins Iceman Pointblank? Louis Myers I'm A Southern Man Testament Sunnyland Slim Be Careful How You Vote Earwig Frankie Lee Going Back Home Blind Pig Little Willie Anderson Swinging The Blues Earwig The Eddie Taylor album is really good. It is a live recording from 1977. I hadn't listened to much Eddie Taylor in the past few years. Now I remember what I have been missing. This album features him working through some standards. If you have a thing about cover material, then this isn't for you and you'll be missing a lot. The band includes: Louis Myers, Dave Myers and Odie Payne Jr. Both Louis and Odie do a tune. I really like this CD. I like it so much, I need to return this weekend. It appears there is a scratch in track 5, which is one of the hottest cuts on the disc. There had better be another one in the bin. The Big Daddy Kinsey is good. This album features a who's who of Chicago artists. Big Daddy is joined by Jimmy Rogers, Billy Branch, James Cotton, The Kinsey Brothers, Lucky Peterson, and Sugar Blue. This album has a few originals, but has a few cover tunes thrown in. It is billed as a Muddy Waters Tribute CD, so most of the covers come from Muddy. Iceman featuring Albert Collins has loads of good tracks. The Mr. Collins, Mr Collins tune cracks me up. I first heard this live on a broadcast of one of the Chicago Blues Festivals. This is solid Albert Collins stuff, but I am drawing a blank since I haven't listened to the whole disc since Monday. I'm A Southern Man is an incredible re-issue of a late 70's Testament LP. I first saw this in the mid 80s on LP in a record bin at B.L.U.E.S. I wanted to buy it then, but being in college and working a really crummy jobs kept me from buying this LP at the time. I never saw it again until last week. I immediately grabbed it and put down some other CD. (Probably "From The Cradle" ;-)) I put this on the CD player immediately after arriving home. It was almost like being at B.L.U.E.S. It also really depressed the sh*t out of me. Louis Myers was a guy that I kept running into every time I went to see a blues band in Chicago. He seemed like he was everywhere and played with everybody. The man was an exceptional talent. I never really met him, but I had never heard anyone talk bad about him. He helped out a friend of mine who was learning the guitar at the time. I thought the obituary in Living Blues did not do him or his musical career justice. Recently, I received a copy of Mississippi Saxophone and there was a short piece on Louis that was very nice. Louis Myers was the Blues and I'm A Southern Man is a fine album. It ought to be in every collection. Sunnyland Slim's, Be Careful How You Vote contains quite a few re-recordings of his great tunes. Sunnyland recorded with some of the greatest bluesmen to have ever lived. This album he is backed by some of the current generation Chicago has/had to offer. This one really bummed me out because several of the people on this disc are dead and a few aren't in the greatest of shape. This release is solid. The guitar work is superb and features Hubert Sumlin and Lurrie Bell. Professor Eddie Lusk contributes some organ work on one cut and Sunnyland Slim's piano work is great on some of the cuts. I haven't listened to the Frankie Lee CD yet, but I caught him at the Blind Pig Review at Slim's in San Francisco. He was one of the highlights of the show. My expectation for this disc are high. Swinging The Blues by Little Willie Anderson is a great release. I originally purchased this when it was released on vinyl on the B.O.B. label. This disc features some great Little Walter styled harmonica playing. The tone is a bit more raw than Walter's, but I found it to be very exciting harmonica played in the Little Walter tradition. Willie Anderson was also know to play some chromatic and Been Around is a nice chromatic workout in a jazzy vain. On a couple of tunes he switches between diatonic and chromatic harmonica. This disc'll transport you back to Chicago. Willie is supported by Robert Jr. Lockwood, Jimmie Lee Robinson, Sammy Lawhorn, and Fred Below. ========================================================================= Date: Fri, 29 Sep 1995 14:51:21 -0400 From: Tom Freeland Subject: Re: Blues that people HATE ! In a message dated 95-09-29 14:12:30 EDT, ISTS024%UABDPO.BITNET@BROWNVM.BROWN.EDU (L W) writes: >I was thinking Bukka White, Son House, Al Cook, Hound Dog....etc Any >suggestins >that would send them running :-) > >LW > That's EASY: CeDell Davis LOUD. Tom Freeland ========================================================================= Date: Fri, 29 Sep 1995 12:00:27 -0700 From: Joe Lempkowski Subject: Remembering Little Willie Anderson I sent this to harp-l a few months ago. There was a thread on Little Walter imitators, I thought some of you on blues-l might like this. Have a super weekend, Joe ----- Begin Included Message ----- Since Karl made mention (and light) of Little Walter emulators. :-( I thought I would tell a short story about a person that sort of cloned Little Walter, Little Willie Anderson. In the 80's, the BOB label initially issued two albums (one by Big Leon Brooks and Little Willie Anderson, both recently re-issued on Earwig). They both were billed as harp players in the Little Walter vain so I broke down and purchased both of the LPs. Reading the liner notes written by Dick Shurman on the Little Willie Anderson LP was kind of interesting. Willie was about the same physical size as Walter and would occasionally substitute on gigs when Walter was too messed up to play or couldn't make it for other reasons. After reading the notes, I eagerly opened the LP and put it on my turntable. I received something totally different than what was advertised. I expected that Willie's playing would be a lot like some of Walter's instrumentals, instead he had more of a raw tone, but some of his phrasing and tone I found to be very interesting and a lot like Little Walter, but a bit different. The more I listened to this LP, the more I liked it. Later that year at BLUES which held yearly tributes on the anniversary of Big Walter Horton's death. Many harp players showed up. Little Willie Anderson, Carey Bell, Billy Branch, Jewtown Burks (a favorite of many harp-l'ers :-)) and many others. According to some friends, Willie Anderson played a couple of tunes and was really hot. The audience really popped for him. Unfortunately, I missed the entire set. Also at that time, BLUES used to feature continuous music on Thursdays. On one such Thursday, they featured Little Willie Anderson with the Aces (Louis and Dave Myers and Fred Below) and Little Arthur Duncan and the Backscratchers. I walked in during the first Willie Anderson set. Even though it was relatively early, the bar was a bit smokey. Perched on top of silver faced Fender Super Reverb was this guy wearing a brown suit. Behind him were the Aces, Louis and Dave Myers and Fred Below. From a distance, this guy looked and sounded a lot like Little Walter. He was also singing through the amplifier and Shure SM58 microphone. He really rocked the house. Quite a few of the people in the audience were harmonica players. During his break, I stopped to talk with him. He seemed like a pretty nice guy. He autographed quite a few albums and sold a few more. He almost seemed a bit puzzled by the amount of attention he received that night. I learned a lot of things watching Willie play that night. He never gigged around Chicago a whole lot. Every once in a while he would come into BLUES on Sundays and sit in with Sunnyland Slim. I think he could have done pretty well in the clubs, but he seemed to enjoy playing a couple of songs and leaving with the people in the audience wanting more. Cheers, Joe P.S. BTW, Little Arthur Duncan and the Backscratchers were also very good. Little Arthur did an awesome version of Forty-Four Blues that still sends chills up my spine. He is regularly featured at the Artesia Lounge on the west side of Chicago, which I believe he owns. ----- End Included Message ----- ========================================================================= Date: Fri, 29 Sep 1995 13:56:14 -0500 From: David Silberberg Subject: Re: Blues that people HATE ! At 12:36 PM 9/29/95 CDT, L W wrote: > >However, when I think those folks have been there long enough, what do you >suggest I play (besides my guitar) that will run off most non-blues fans the >quickest.... > I would think some of the "older" accoustic, rougher stuff from the twenties and thirties - stuff that we think is terrific, but that is probably an acquired taste: RJ, Patton, Jefferson, etc. They might be intrigued by Son House or Blind Willie Johnson, or even by Hound Dog or some of you other suggestions. I'd go for stuff as far away from "modern" music as possible.... David Silberberg Woman I love has two teeth davidis@interaccess.com Solid Gold Got a lien on my body Mortgage on my soul Johnny Shines ========================================================================= Date: Fri, 29 Sep 1995 19:15:10 GMT From: Rob Frantz Subject: Re: OJays As a teenager, I liked the Ojays quite a bit and remember the release of what might have been their first hit (if I'm wrong let me know), a ballad called "Lonely Drifter." I had this on an LP, with many other good songs. I'm not completely sure of the label, since the album is no longer with me, but it might have been on MINIT. I wouldn't know exactly where to get this now, but I can say it was a goodn'. Yours, Rob Frantz Seattle, WA In article <25092912313470@vms2.macc.wisc.edu>, Bonnie Kalmbach wrote: >Can anybody help this person out - I seem to failing as a "mentor" of >southern soul although I don't believe the OJays are in this category. >Muchas Gracia - Bolshaya Spaceeba > > -Bonnie > > > >From: IN%"gorasonl@attmail.com" "Gorason" >>To: KALMBACH@MACC.WISC.EDU >>Subject: R&B Ojays 1960-1965 Recordings >> >>Bonnie, >> >>As a kid I remember the Ojays competing against the >>Temtations in Cleveland,Ohio and winning the bout. Many of >>the original songs of the Ojays have been difficult to get. >>A few month ago in Tokyo I went to a CD Store and saw a >>"Capitol" record version of the Ojays that was a dream come >>true. Unfortunately, it was only available for rental even >>though I offered to buy it. Would you have a source or >>contact where I could get the Ojay recordings from the >>early/mid 60's. >> >>Thanks! >> >>Gorason Lloyd >> >> ========================================================================= Date: Fri, 29 Sep 1995 14:33:15 -0400 From: Willy Evans Subject: Re: Blues that people HATE ! It's been my experience that if you want to run off non blues fans, a little Robert Johnson or Charlie Patton will have 'em looking for their hats in a hurry! Willy Evans - Brevard College, Brevard NC - willy@lightnin.brevard.edu **** the hounds begin to bark **** ========================================================================= Date: Fri, 29 Sep 1995 13:25:25 -0700 From: Ron Wack Subject: Net Chatting Hi folks! I've opened up a chat channel under the server "us.undernet.org" this morning called "blueslers" for Blues-L people (and other blues lovers) to drop into, if they desire. The channel will remain open as long as someone (not necessarily me) stays on it. I can keep it open from 7:30 AM to 3:30 PM CST. It works slick. RJ Beauman (SP?) and I tried it out this AM. Do drop in. Everyone is welcome! RW ps. If the channel isn't open, feel free to create it. pps. Am I going to get in shit here for using a take off of Blues-L? ;) ========================================================================= Date: Fri, 29 Sep 1995 12:19:18 -0700 From: TGB Subject: Re: Blues that people HATE ! I would stick with some poorly-recorded pre-war stuff. I'll bet Charley Patton or Lemon Jefferson will clear out the non-fans real fast. tgb "It's now safe to turn off your computer". ========================================================================= Date: Fri, 29 Sep 1995 14:41:19 -0600 From: Ranko Vujosevic Subject: Blues in Iowa City For those in the Iowa City neighborhood these us upcoming blues events: October 7: Junior Wells October 15: Catfish Keith (sponsored by Johnson County Blues Society) November 10: Otis Clay (co-sponsored by Johnson County Blues Society) December 2: Kinsey Report and Big Daddy Kinsey (co-sponsored by Johnson County Blues Society) Ranko ========================================================================= Date: Fri, 29 Sep 1995 14:43:00 CDT From: Bonnie Kalmbach Subject: PBS RocknRoll What I thought was surprising was the fact that early MTV had a policy of not airing black music videos (I didn't have cable back then). Or perhaps that's not so surprising after all. -Bonnie ========================================================================= Date: Fri, 29 Sep 1995 15:42:50 -0500 From: Erica Wissolik Subject: LW's PBS/ U2 question -Reply In my opinion, both U2 and REM are extremely important to the evolution of college radio rock amd American music in the 1980s. U2's first album came out in 1980, REM's first single in 1982. They shaped and defined the American, underground, college, youth radio (whatever you want to call it) and without these 2 and a few more like them, the 1980s would have had a very different musical identity. Their emergence marks a point in musical history where once again, rock n' roll took different directions. Rolling Stone called REM the rock n roll band of the 80s. BUT, since the PBS documentary totally ignored the 1980s, you don't get to hear about these guys. One more thing, REM was a very different animal 10-15 years ago. Their move to a major label did nothing to help their sound.You can't listen to their latest songs and hear what it is that made them special. Same for U2. >>> L W 09/29/95 Since I don't know a U2 song from an REM song. Why is that suprising did U2 do something that had an effect on RnR. I do recall one tune by REM "Losing My Religion" I thought it was pretty stupid and monotone....I'm not knocking anyone, but I had no idea that U2 was that important, to RnR...? LW 'not meaning anything derogatory toward U2' ========================================================================= Date: Fri, 29 Sep 1995 16:08:36 -0400 From: Steve Levine Subject: Re: Blues that people HATE ! *>However, when I think those folks have been there long enough, what do you *>suggest I play (besides my guitar) that will run off most non-blues fans the *>quickest.... Bluestime! Magic Dick's vocals could easily drive people away. ========================================================================= Date: Fri, 29 Sep 1995 15:16:34 CDT From: L W Subject: Re: Blues that people HATE ! ----------------------------Original message---------------------------- *>However, when I think those folks have been there long enough, what do you *>suggest I play (besides my guitar) that will run off most non-blues fans the *>quickest.... >Bluestime! Magic Dick's vocals could easily drive people away. That would make everybody leave, including myself...That is one I just can not listen to, although IMHO the MUSIC is very good. LW ========================================================================= Date: Fri, 29 Sep 1995 20:28:51 GMT From: catherin@WOLFENET.COM Subject: Subscribing? How does one go about subscribing to this list? An e-mail reply will be sufficient. Thanks! A tout a l'heure, Catherine La Croix Seattle, Washington ========================================================================= Date: Fri, 29 Sep 1995 20:34:30 GMT From: catherin@WOLFENET.COM Subject: Re: Imitation Blues > "P.W. Fenton" writes: > What a strange culture we belong to in the USA, where the majority of > us appear to appreciate imitations more than originals. Where > fictional characters like the Blues Brothers are held up as examples > of a genre. Where a talented man like Stevie Ray Vaughan dies and a > hundred dress alike/sound alike clones appear and actually make > money. Where "Born Under A Bad Sign" is called an Eric Clapton song. > Where imitators are successful imitating other imitators. 'Tis true indeed that "art is the history of revival" but Clapton never failed to credit Albert King for the "Bad Sign" lick and I'd hardly call Clapton an imitation... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ********************************************************** In the interests of saving message traffic, here's a quick answer to FAQs. My apologies to the Net police so save the flames! Yes, I am a "professional" and only intelligent e-mail queries accompanied by full name, company/employer and daytime phone will receive e-mail replies. I am proud of what I consider an honorable profession and I'm motivated by neither fear nor greed. As for me personally, I'm a tall brunette with long legs, a fit figure, full bust, striking green eyes and luscious lips. Plus an IQ of 142 and two bachelors/one masters degree. Consequently, I can think, converse and moan simultaneously. I suffer fools badly... *********************************************************** ========================================================================= Date: Fri, 29 Sep 1995 15:51:32 -0600 From: Ranko Vujosevic Subject: Blues to drive away middle aged... Just play Sue Foley (sp?) man, she could make Robert Johnson hate blues. Ranko ========================================================================= Date: Fri, 29 Sep 1995 20:54:38 GMT From: catherin@WOLFENET.COM Subject: Re: Joanna Connor > Pat Hertel writes: > I may get a chance to see her in the near future. > I have heard the name but never any of her stuff. > What can I expect? Is she a Rory Block or is she a > Debbie Davies style performer or something > else altogether? Sort of what I describe as "ovarian blues"...she's hot! >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ********************************************************** In the interests of saving message traffic, here's a quick answer to FAQs. My apologies to the Net police so save the flames! Yes, I am a "professional" and only intelligent e-mail queries accompanied by full name, company/employer and daytime phone will receive e-mail replies. I am proud of what I consider an honorable profession and I'm motivated by neither fear nor greed. As for me personally, I'm a tall brunette with long legs, a fit figure, full bust, striking green eyes and luscious lips. Plus an IQ of 142 and two bachelors/one masters degree. Consequently, I can think, converse and moan simultaneously. I suffer fools badly... *********************************************************** ========================================================================= Date: Fri, 29 Sep 1995 15:11:10 -0700 From: Ron Wack Subject: Re: Imitation Blues > Catherine La Croix writes: > > Consequently, I can think, > converse and moan simultaneously. I suffer fools badly... > *********************************************************** > I think I could talk while I moaned a bit too! ;) RW ========================================================================= Date: Fri, 29 Sep 1995 16:21:37 -0500 From: William A Morgan Subject: Re: posts from Crusader@national alliance Jeff, Thanks for the address. I received four long pieces of shiterature from these anuses, and I intend to return it. ********* Bill Morgan On Fri, 29 Sep 1995, Jeff Seale wrote: > If you tried bouncing that message full of crap bakc to that guy, > you found out that there is no such domain. However, a little further > investigation finds that this group, National Alliance can be reached at: > national@natvan.com > > I'm not advocating any kind of net.terrorism; I'm just providing > information that these coward-like bastards are trying to hide... > > -Jeff > > ****************************************************************************** > __ Jeff Seale > | |___ University of Texas Health Sciences Center @ San Antonio > ___|* | EMail seale@bioc02.uthscsa.edu > \ | > \/\ / As I was riding across the Mississippi > \ / I stopped there and I cried. > \( No use for a man to keep a mighty river > All dammed up inside. -Joe Ely > ========================================================================= Date: Fri, 29 Sep 1995 14:43:39 -0700 From: "Malisch, Susan" Subject: Re: Blues to drive away middle aged.../S I recently saw Sue Foley live at BB Kings in LA and was really impressed with her guitar solos and her band. However, after the show I purchased one of her CD's and was quite disappointed when I got home. Has anyone else heard her or gotten any impressions? Susan ---------- From: Ranko Vujosevic To: Multiple recipients of list BLU Subject: Blues to drive away middle aged... Date: Friday, September 29, 1995 3:51PM Just play Sue Foley (sp?) man, she could make Robert Johnson hate blues. Ranko ========================================================================= Date: Fri, 29 Sep 1995 21:37:19 GMT From: Mark A Basten Subject: Re: Blues that people HATE ! LW says: >We're having another party this Saturday (You're all invited) and there will >be a bunch of non-blues fans. I expect a country fan or two, so I'll try to >keep it early Bonnie Raitt, Doug MacLeod, Little Feat, maybe slip in a Muddy >However, when I think those folks have been there long enough, what do you >suggest I play (besides my guitar) that will run off most non-blues fans the >quickest.... > >I was thinking Bukka White, Son House, Al Cook, Hound Dog....etc Any suggestins >that would send them running :-) > >LW Just run out of beer and watch 'em all scatter...Oh, wait, you want some people to stay? I think your one-two punch of Bukka and Son House should be pretty deadly but, to be absolutely sure, you could play some John Lee Hooker as well. That should send them packing. Of course, I'd be still be standing there listening with a big ol' happy smile on my face (unless you were getting low on beer!). Mark p.s. LW, shouldn't the real question be "what blues should I play when the police show up"? :) ========================================================================= Date: Tue, 29 Aug 1995 16:45:09 PDT From: rjbauman@IQUEST.NET Subject: Expand blues presence on the Internet If any of you would like information on how to obtain a live chat program e-mail me in private. I think WebChat and Muddy's Cabin are an absolute God-send, and this outlet has nice possibilties as well. In fact, a couple of us in tandem could easily simulcast the Muddy's Cabin chat into the Internet Relay Chat Channel listed below. The conversation in IRC mode is updated automatically, btw. If any of you has a permanent connection/line available it would be a really fine contribution to the blues presence on the net if you could keep this channel open (you can work with it in the background and even have other internet apps running with no problem if you have a PPP connection). RJ Bauman >Hi folks! > >I've opened up a chat channel under the server "us.undernet.org" this >morning called "blueslers" for Blues-L people (and other blues lovers) >to drop into, if they desire. The channel will remain open as long as >someone (not necessarily me) stays on it. I can keep it open from 7:30 >AM to 3:30 PM CST. It works slick. RJ Beauman (SP?) and I tried it out >this AM. Do drop in. Everyone is welcome! > >RW > >ps. If the channel isn't open, feel free to create it. >pps. Am I going to get in shit here for using a take off of Blues-L? ;) > ========================================================================= Date: Fri, 29 Sep 1995 20:35:17 GMT From: catherin@WOLFENET.COM Subject: Re: Imitation Blues > "P.W. Fenton" writes: > What a strange culture we belong to in the USA, where the majority of > us appear to appreciate imitations more than originals. Where > fictional characters like the Blues Brothers are held up as examples > of a genre. Where a talented man like Stevie Ray Vaughan dies and a > hundred dress alike/sound alike clones appear and actually make > money. Where "Born Under A Bad Sign" is called an Eric Clapton song. Oh, and lest we forget, SRV claimed all her ever learned about the blues guitar he got from Albert King. >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ********************************************************** In the interests of saving message traffic, here's a quick answer to FAQs. My apologies to the Net police so save the flames! Yes, I am a "professional" and only intelligent e-mail queries accompanied by full name, company/employer and daytime phone will receive e-mail replies. I am proud of what I consider an honorable profession and I'm motivated by neither fear nor greed. As for me personally, I'm a tall brunette with long legs, a fit figure, full bust, striking green eyes and luscious lips. Plus an IQ of 142 and two bachelors/one masters degree. Consequently, I can think, converse and moan simultaneously. I suffer fools badly... *********************************************************** ========================================================================= Date: Fri, 29 Sep 1995 20:39:47 GMT From: catherin@WOLFENET.COM Subject: Re: Ike Turner on Chuck Berry > David Silberberg writes: > At 01:01 PM 9/26/95 -0600, Watterworth Jay wrote: > >It is my understanding (through a friend who actually called the Chess > >offices -- this must have been over 25 yrs ago) that Chuck was interested > >in recording blues (note the early lps such as "One Dozen Berrys on Top") > >but was told to stick to the more sales oriented rock music by the guns > >at Chess. > > I had thought that Chuck really wanted to play in more of a country style - > wasn't Maybelline a reworking of a country song called "Ida Red"? > > > >As an aside, it has always been my feeling that rather than Elvis, Chuck > >Berry is the "king" of rock'n'roll. He wrote em, he sang em, and he > >performed em. When Elvis went into the army and radically changed his > >approach, Chuck stuck to his guns. > > When Elvis went into the army, didn't Chuck go to jail on the (supposedly) > trumped up Mann Act charge? He (like Jerry Lee) had a lot of dry years > after his "scandal", as I recall. Yes, he did and I recently saw a television interview where Berry said he really wanted to stay with C&W/rockabilly but there was no money in it. Must of been before he flattened Keith Richard backstage... >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ********************************************************** In the interests of saving message traffic, here's a quick answer to FAQs. My apologies to the Net police so save the flames! Yes, I am a "professional" and only intelligent e-mail queries accompanied by full name, company/employer and daytime phone will receive e-mail replies. I am proud of what I consider an honorable profession and I'm motivated by neither fear nor greed. As for me personally, I'm a tall brunette with long legs, a fit figure, full bust, striking green eyes and luscious lips. Plus an IQ of 142 and two bachelors/one masters degree. Consequently, I can think, converse and moan simultaneously. I suffer fools badly... *********************************************************** ========================================================================= Date: Fri, 29 Sep 1995 21:02:13 GMT From: catherin@WOLFENET.COM Subject: Re: BB King on Arts & Entern. tonight > Msbeale writes: -snip- > I didn't get to see all the A&E special tonite, but I hope it's on again > soon, because I'd like to see how much they got on tape... > Hope that someone that saw the special all the way through will give a > review. > And what little I saw of the A& E special reminded me why BB is the King > of the Blues.. what a diplomat and a gentleman he is. He really interviews > well and has almost total recall. > > Dance with the one that brung ya, BB. I was at the Ebony Showcase the night BB, Clapton, SRV, Albert King and Paul Butterfield played and as gracious as BB is, Clapton was equally so when SRV sort of stepped on Clapton's solo during "Why I Sing the Blues." When did Clapton just went back to rhytmn like nothing happend. Both BB and Clapton have always been gracious and generous...and their duet of "The Thrill Is Gone" during the show was one of the best versions ever done, except maybe for "Live at San Quentin" >>>> A tout a l'heure, Catherine La Croix Seattle, Washington ********************************************************** In the interests of saving message traffic, here's a quick answer to FAQs. My apologies to the Net police so save the flames! Yes, I am a "professional" and only intelligent e-mail queries accompanied by full name, company/employer and daytime phone will receive e-mail replies. I am proud of what I consider an honorable profession and I'm motivated by neither fear nor greed. As for me personally, I'm a tall brunette with long legs, a fit figure, full bust, striking green eyes and luscious lips. Plus an IQ of 142 and two bachelors/one masters degree. Consequently, I can think, converse and moan simultaneously. I suffer fools badly... *********************************************************** ========================================================================= Date: Fri, 29 Sep 1995 18:33:06 -0400 From: Jennifer Stolle Subject: Robert Ward Does anyone out there know if Robert Ward has been touring? Saw him a few years ago in Dayton, Ohio and it was a FABULOUS show. Would like to catch him again. . .TX. ========================================================================= Date: Fri, 29 Sep 1995 18:36:45 -0400 From: "Jeff Fronczak." Subject: Re: Jimmy Page was BLUES! WHAT? Jimmy "the sloppiest guitar player in the world" Page, BLUES? Get real pal! How can you say Page playes blues better than Albert King? And you can take your Jimmie Vaughan trashing and stick it where your mamma forgot to kiss you! And last but not least, Page ripped off every old blues player out there, from taking credit from writting their songs, to their guitar rifs. Page wouldn't be shit if Clapton and Beck never left the Yard Birds! Get a clue pal. A very disappointed BLUES-L subscriber, Jeff ========================================================================= Date: Fri, 29 Sep 1995 19:06:16 -0400 From: Brenda Bogert Subject: Re: The Hesitating Blues On Fri, 29 Sep 1995, william higdon wrote: > Operator what's a matter with my line... > was borrowed from a song called "Hesitation Blues" from the late > 1880's. This of course is probably not the same song. I am interested > in knowing more about the old song. That's got to be W. C. Handy's "The Hesitating Blues", which was published in 1915. The lyrics begin: Hello, Central, what's the matter with this line I want to talk to that High Brown of mine Handy wrote that he based his song on one that was sung to him by a wandering musician. At the time that Handy was publishing his song, a firm here in Louisville was publishing "Hesitation Blues" -- with the same tune (in a different arrangement) and similar lyrics. Apparently the wandering "musician" wandered into Louisville! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Fri, 29 Sep 1995 19:19:55 -0400 From: Brenda Bogert Subject: Re: Little Red Rooster (help please!) On Mon, 25 Sep 1995, MMADSEN1 wrote: > The version I have is from Howlin' Wolf's "Greatest Hits". I'm not sure > what key he does it in. I prefer to do it in G or A in open G tuning. The > lyrics are: > > LITTLE RED ROOSTER > As sung by Howlin' Wolf > I > I7 > I'm the little red rooster, too lazy to crow today > IV The actual lyrics are "I have a little red rooster. . ." > I'm not sure if he composed this song or not. Great song, he does it kind > of slow and smooth with a bit of the Robert Johnson "Walkin' Blues" type > lick as a basic rythm pattern. The Wolf didn't write LRR. It was written by (suprise!) Willie Dixon, but it is definitely the Wolf's song! Brenda Bogert KYANA Blues Society Louisville KY ========================================================================= Date: Fri, 29 Sep 1995 19:17:22 +0000 From: Ian Angus Subject: LW in LB Remember the cartoon about "On the Internet, no one knows you're a dog" ? As a long time bluezeller, I have mental images of just about every regular. And every time I meet a bluezeller, my mental image is proven wrong. That experienced was repeated when The Sept-Oct Living Blues arrived today (late as always in Canada). There's a picture of LW on page 6. On the internet, no one knows you're a skinny guy with a mustache. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 29 Sep 1995 19:17:22 +0000 From: Ian Angus Subject: pbs blues and Led Zeppelin I'm probably going to get flamed for this, but here goes. One way or another, I totally missed the rise of Led Zeppelin and related groups in the late 60s, early 70s. I wasn't paying attention, I guess. And since then, I have managed to miss them completely. I have heard of "Stairway to Heaven" but I'm pretty sure I never heard it before this week, at least not to recognize it. In the last few years, especially on Blues-L, I've run into quite a few blues fans who were turned on to blues by LZ. So I've been feeling kind of guilty that I didn't know anything about these blues performers. So I made a point of watching the PBS show that featured them, and which talked at great length about the influence of blues and R&B on their music, and which showed them in concert. You know what? I don't think I missed anything at all on the 70s. If these guys brought some people to real blues, that's great, but I simply cannot understand it. If that's blues, then the music I love should be called something else. Ian Angus "Built for comfort, not for speed" ========================================================================= Date: Fri, 29 Sep 1995 23:10:29 -0400 From: Curtis Hewston Subject: The Anti-Alliance Signature Kit You know, they do make a point, so I paraphrase, then in that spirit, I offer you some fodder for your e-mail sigs. If someone was to remove an infant from the pre-schools of Champaign-Urbana and place that child into the home of a typical Black family here in America, then according to the theory of equality we should expect that the White child's intelligence and abilities would be no different than those of a typical Black child raised under similar conditions. If that Champaign-Urbanan baby had been placed in Robert Johnson's crib and raised identically to him, then that child would have eventually written Hellhound On My Trail. Now the sigs. Take your pick: "I'm nothing more than a victim of my environment, born into the world as a blank slate." "There is no danger to our nation from the millions of low-intelligence, crime-prone, and violent people now immigrating to and reproducing in our cities at astronomical rates." "No midnight basketball for me." "Soon the Jamaican drug gang members will be indistinguishable from Beaver Cleaver." "The blues is a false religion, with Communist roots, and with no scientific basis whatever." "I have zero chance of reversing or even slowing the browning of America." "The liberal intellectual establishment regards me with almost religious reverence." "I was actually cited by the United States Congress for over 40 different Communist affiliations." "My education included no study of anthropology, and how I got my Ph.D. is something of a mystery." "I am Jewish, despite my name." "I am reportedly Margaret Mead's lesbian lover." "I advocate various kinds of 'New Age' claptrap." "I cannot stop Third World immigration." "I find it necessary to live behind electronic surveillance systems aimed at keeping 'diversity' at bay." "I must reject the do-gooding hallucination of 'brotherhood.'" I like my own just fine, thank you. \/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* Howard just pointed with his gun and said, "That way. Down Highway 61." curtis@magicnet.net The Blue Highway http://www.vivanet.com/~blues/ *-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* ========================================================================= Date: Fri, 29 Sep 1995 23:35:02 -0400 From: DeniseTapp Subject: Re: Nighthawks question The Nighthawks first release was on Aladdin, ALPS-101, "The Nighthawks: Rock n' Roll." (June 1974, finished in late fall.) The re-release of this original LP is on Varric Records #007, which is still available. Subsequent releases are on Adelphi. Wait a few weeks for some great re-releases. "In a store near you before the Holidays...." Denise ========================================================================= Date: Fri, 29 Sep 1995 18:35:26 PDT From: Michael Suffern Subject: Re: Everyone Spread Y'er Blues! (RE: Ebb & Flow) On Fri, 29 Sep 1995 10:24:20 -0400 Patti Bowman wrote: >> Anyone who looks remotely like they might be hip is a target. > >And what exactly do the remotely hip LOOK like? > Well, the *remotely* hip look like... say... pocket pen protector with a guitar pin on it... suit w/ sneakers... comp-sci student w/ earing... But, more loosely defined, it is anyone friendly... approachable. >> Get a harp and play it while walking down >>Michigan Ave. in a $900 Bill Blass suit on your way to a meeting. > >great image. I can see them in a hat and cool shades....... yes brother, I >can hear the harp..........I can feel the blues.....praise the >lord..................... > Oh, yes, the cool shades are on. ... >Sister Patti >who was saved by the blues in 1987 and vows to save other blues-lite >unfortunates > >PS >Brother Mike forgot to mention my fav hip blues awareness measure. > >At all stop lights, I roll down my windows and play JLH or BBK louder than >the heavy metal or hip-hop guy next to me. Cool, huh? > Now that I play harp, I can evangelize all over the place. The most frequent though is in the car. Today I caused 12 smiles, 18 double takes, a few thumbs up, and taught a woman to make a left hand turn, past me, without looking at the road (maybe dangerous, I don't know how she picked out that harp, but she knew). Your car is a great tool to use to spread the Blues. My plates are CHI BLZ 7 Mike p.s. Patti. I loved your prose, really spirited and in character. BTW, When I got my mail today, the last two messages were from Bowman's. Yours and a reply about a job interview from Bob Bowman of Greenbriar and Russell. And, they were sent 2 minutes apart! Any relation? :) Must be good luck for me, though. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. Date: 09/29/95 Time: 18:35:26 ------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 05:03:09 GMT From: "Roy W. Forgy" Subject: whew Forgot to stop my mail last week, been out of town for a week. I had 450 messages from Blues-L, I didn't realize I read that many messages here. Keep up the posts the information is over flowing in Blues Land. Roy W. Forgy (blueslvr@gnn.com) Pacifica, CA ========================================================================= Date: Sat, 30 Sep 1995 01:34:08 -0400 From: Peter Agostinelli Subject: Fort Lauderdale Riverwalk Blues Festival Info For Patti Bowman, who inquired about the Ninth Annual Fort Lauderdale Riverwalk Blues Festival in her September 27th post, and anybody else that is interested -- here's the scoop: The Ninth Annual Fort Lauderdale Riverwalk Blues Festival takes place from Friday, November Third through Sunday, November Fifth at Bubier Park in downtown Fort Lauderdale. The festival is divided up into four main stages. A schedule and listing of each of the performers on each of the four stages follows: ______________________________________________________________________________ Friday, November Third, 1995: ______________________________________________________________________________ SOUND ADVICE MAIN STAGE: * Popa Chubby (from 7:00--8:30 pm) * Chris Duarte (from 9:30--11:00 pm) AUSTIN'S STAGE: * Joey Gilmore (from 6:00--7:00 pm) * Roach Thompson Blues Band (from 8:30--9:30 pm) CHEER'S STAGE: * Jr. Drinkwater & the Spunky Blues Band (from 6:00--7:00 pm) * Fleet Starbuck Blues Band (from 8:30--9:30 pm) DOWNTOWNER STAGE: * Hardluck Blues Band (from 6:00--7:00 pm) * Motel Mel & the Innkeepers w/ Captain Reece & Lil Nicky (from 8:30--9:30 pm) ______________________________________________________________________________ Saturday, November 4, 1995: ______________________________________________________________________________ SOUND ADVICE MAIN STAGE: * Downchild Blues Band (from 2:00--3:30 pm) * Roomful of Blues Band (from 4:30--6:00 pm) * Jimmy Thackery & The Drivers (from 7:00--8:30 pm) * Sugar Blue (from 9:30--11:00 pm) AUSTIN'S STAGE: [To Be Announced] (from 12:00--1:00 pm) * Keri Leigh & The Blue Devils (from 3:30--4:30 pm) * Josh Smith & The Rhino Cats (from 6:00--7:00 pm) * Sherman Robertson (from 8:30--9:30 pm) CHEER'S STAGE: * Blu Stu Herman (from 12:00--1:00 pm) * Jeff Prine (from 3:30--4:30 pm) * Baloney Sandwich (from 6:00--7:00 pm) * Wesley Wright & The No Regrets (from 8:30--9:30 pm) DOWNTOWNER STAGE: [To Be Announced] (from 12:00--1:00 pm) * Cozmocity w/ The Timinator & Captain Reece (from 3:30--4:30 pm) * The Nucklebusters (from 6:00--7:00 pm) * The Porchdogs (from 8:30--9:30 pm) ______________________________________________________________________________ Sunday, November 5, 1995: ______________________________________________________________________________ SOUND ADVICE MAIN STAGE: * Joanna Connor (from 1:00--2:30 pm) * Anson Funderburgh & The Rockets with Sam Myers (from 3:30--5:00 pm) * Lucky Peterson (from 6:00--7:30 pm) AUSTIN'S STAGE: * Dr Hector & The Groove Injectors (from 12:00--1:00 pm) * Mighty Sam McClain (from 2:30--3:30 pm) * Johnnie Johnson (from 5:00--6:00 pm) CHEER'S STAGE: * Teri Wilson (from 12:00--1:00 pm) * Midnite Johnny & Smokestack Lightning (from 2:30--5:30 pm) * Big Bob & The Blue Tornadoes (from 5:00--6:00 pm) DOWNTOWNER STAGE: * Gospel Brunch (from 12:00--1:00 pm) * The Allnighters (from 2:30--3:30 pm) * The Shack Daddys (from 5:00--6:00 pm) ______________________________________________________________________________ Advance tickets are $5.00 for Friday's performances, $10.00 for Saturday's shows, and $5.00 for Sunday's concerts. A 3-day pass is available for $18.00. All the aforementioned prices INCLUDE TAX. Tickets can be obtained by mailing a check, payable to the CITY OF FORT LAUDERDALE. Payment can be sent to: City of Fort Lauderdale, Special Events/ Blues Festival Tickets, 1350 West Broward Boulevard, Fort Lauderdale, Florida, 33312. Festival seating is also General Admission. For more information, call the "Cool Blues Hotline" at (305)-761-5934. ______________________________________________________________________________ I'm in no way affiliated with the Ninth Annual Fort Lauderdale Riverwalk Blues Festival. Just thought all of you Bluezellers would like to know... Thanks for your time. Peter M. Agostinelli z600300a@bcfreenet.seflin.lib.fl.us ========================================================================= Date: Fri, 29 Sep 1995 12:11:39 +0000 From: "P.W. Fenton" Subject: Re: BB on A&E last night On 29 Sep 95, Abe W. Mathews had this to say: > Rick writes: > > This was a great show, like the video portion of the "Summit" album. :) > > I love this guy, but back me up here, does BB do everything in the key of C > > or is it my imagination? :) > > Heh! I was watching the show with my PRS in hand, jamin' along, > wondering what I'd be like to back B.B., and I thought more than once, > "Well, I'd just have to get used to C!" Good call, Rick! > > I thought some of the noodling he was doing with the interviewer was in G > or Bb. But then again, I could be wrong. Well you guys are right, but only about the A&E show. BB normally plays all over the place. I suspect the C's were partly a coincedence and partly a compromise key for many of the duets (don't forget the other singers). I could tell that more than once BB was straining his vocals because he was trying to sing outside his comfortable range. Also, in recent years, BB's vocal range has narrowed. But even now he plays in G, A, Bflat, B, and C pretty regularly. All you guitar pickers have to remember that it's the vocalists pitch range that determines the key... not where the guitarist is fond of playing. Now , on the other hand, a guitarist who writes and sings can write a song that stays in his range AND his favorite Key to play in. I thought it was beautifully photographed. I couldn't get over how rich it all looked. P.W. Fenton Tampa, Florida (Home of one helluva live music scene) email - pwfenton@gate.net WWW - http://www.gate.net/~pwfenton/ ========================================================================= Date: Sat, 30 Sep 1995 03:46:33 -0400 From: HOB JAZZ Subject: Re: HOB/ Good to Artists Thanks for playing them! Best, Marc Schiller House of Blues New Media ========================================================================= Date: Sat, 30 Sep 1995 04:14:31 -0400 From: Stew Crossen Subject: WHUS Top 20 WHUS 91.7 fm WHUS 91.7 fm ------------------------------------------------------------------ TOP 20 BLUES ALBUMS ENDING 9/30/95 ------------------------------------------------------------------ ARTIST ALBUM LABEL 1 Coco Montoya Gotta Mind To Travel Blind Pig 2 Jimmy Dawkins B Phur Real Ichiban 3 James Peterson Don't Let The Devil Ride Waldoxy 4 Casey Jones I-94 On My Way to Chicago Airwax 5 Joe Louis Walker Blues of the Month Club Gitanes 6 Carey Bell Deep Down Alligator 7 Bonnie Lee Sweetheart of the Blues Delmark 8 Keri Leigh Arrival Waldoxy 9 Pinetop Perkins Live Top Deluge 10 Paul "Wine" Jones Mule Fat Possum 11 Sandra Wright Shake You Down Hipshake 12 Jimmy Thackery Wild Night Out Blind Pig 13 Bill Perry Blues Band Love Scars RaveOn 14 Phillip Walker Working Girl Blues Black Top 15 Eddie Clearwater Boogie My Blues Away Delmark 16 Sunnyland Slim Chicago Jump Evidence 17 Jimmy Rogers Feelin' Good Blind Pig 18 Terry Robb Acoustic Blues Trio Burnside 19 Tony Z Get Down With the Blues Tone-Cool 20 Albert Collins Live '92-'93 Pointblank ------------------------------------------------------------------ WHUS 91.7 fm Blues Programming WHUS 91.7 fm The Blues Bus w/Beef Stew Saturdays 9p - 12m Blues Before Sunrise w/Dave Carpenter Sundays 12m - 3a Into The Spirit w/Ted Perch Sundays 12n - 1p One World Radio various hosts Mon - Fri 10a - 1p Focus On Jazz various hosts Mon - Fri 6p - 9p Thanks for listening! ------------------------------------------------------------------ Stew Crossen - Blues Music Director Dave Carpenter - Top 20 Compiler WHUS Radio 91.7 fm Box U-8R - 2110 Hillside Rd - Storrs, CT - 06269-3008 Business 860.486.4007 Studio 860.429.WHUS Fax 860.486.2955 Home Page http://www.ucc.uconn.edu/~whusfm e-mail: bfstew@neca.com 74434.133@compuserv.com WHUS - U-Conn's Sound Alternative - "It's where the blues is" ! WE REPORT TO LIVING BLUES ! ========================================================================= Date: Sat, 30 Sep 1995 04:20:16 -0400 From: Stew Crossen Subject: Re: Luther Allison Luther Allison closed the 1995 Pocono Blues Festival in Blakeslee, PA. I wasn't really a "fan" until then. He put on a great show, as did all the performers at this years festival. Beef Stew - WHUS Radio Vincent Vialard wrote: I had the chance too see him play about five years ago in a small village in southern France. His son played along with him at that time. He came back FIVE times, playing 2 or 3 more songs each time. His wife joined her guys on stage to sing a few songs with them. The fith time he came back, he told us "Thanks guys, but I'll be fifty next week and I have to get up early tomorrow 'cause I play in Nice at the jazz festival... Please, let me go !". He sang one more song accapella, and we decided that he really deserved some rest :) BTW, we were only about 300 people out there... Luther Allison definitely is a great musician AND a great guy. Jef Jaisun wrote: Oh, almost forgot... After he played that two hour set, he came back out and did another half hour. Then he jumped down from the stage and spent at least half an hour signing autographs and talking with people in the crowd. According to one of his band members, "he does that everywhere." Top that! ========================================================================= Date: Sat, 30 Sep 1995 09:21:21 GMT From: "Ian K. Mckenzie" Subject: Leadbelly Leo Jilk wrote: > Can anyone recommend to me a good Leadbelly album to buy >("Leadbelly's Last Sessions"?)? I really like the song "Where Did You >Sleep Last Night" (not that I'd have to have that song). However, if >anyone can tell me the name of the album with that song on it as well it >would be great. Thanks a lot Bluzellers! > > -L.A.J I'm not sure how many of these are still available but try: Midnight Spercial (Rounder 1044) Gwine Dig a Hole to Put the Devil In (Rounder 1045) Alabama Bound (RCE 9600-2) KIng of the Twelve String Guitar (Columbia 46776) I hope youve had some replies by e-mail - this thread has been a tad inactive. IM *********************************************** Ian K. McKenzie University of Portsmouth England ************************************************** ========================================================================= Date: Sat, 30 Sep 1995 06:37:08 -0500 From: "Henry Busse Jr." Subject: birthdays 09/30-10/01/02/1995 9/30/95 ACHILLIES, BOB ( ROBERT WILLIAM ) Born:1937 EVENSVILLE, IN Occupation:CLARINET / TENOR SAX Style:JAZZ EARDLEY, JON Born:1928 ALTOONA, PA Occupation:TRUMPET Worked With:PHIL WOODS / GERRY MULLIGAN Style:JAZZ HILL, Z.Z. ( ARZELL HILL ) Born:1935 NAPLES, TX Died:04 27 1984 DALLAS, TX Age:49 Occupation: SINGER Style: BLUES JOHNSON, BILL ( WILLIAM III ) Born:1912 JACKSONVILLE, FL Died:07 05 1960 NEW YORK, NY Age:48 Occupation:ALTO SAX / CLARINET / ARRANGER Style:JAZZ / BIG BAND LEGGIO, CARMEN ( CARMELO JOHN ) Born:1927 TARRYTOWN, NY Occupation:TENOR SAX / ALTO SAX Worked With:TERRY GIBBS / BENNY GOODMAN / MAYNARD FERGUSON / WOODY HERMAN / JAKE HANNA / THAD JONES-MEL LEWIS Style: JAZZ / BIG BAND McCALL, STEVE Born:1933 Died:1989 Age:56 Occupation:DRUMMER / PERCUSSIONIST Worked With:ANTHONY BRAXTON / DEXTER GORDON / GENE AMMONS Style:JAZZ PETTIFORD, OSCAR Born:1922 OKMULGEE, OK Died:09 08 1960 COPENHAGEN, DENMARK Age:38 Occupation:BASS / LEADER Worked With: CHARLIE BARNET / ROY ELDRIDGE / DIZZY GILLESPIE / DUKE ELLINGTON / WOODY HERMAN / 1958 MOVED TO EUROPE Style:JAZZ RICH, BUDDY ( BERNARD ) Born:1917 BROOKLYN, NY Died: 04 02 1987 LOS ANGELES, CA Age:70 Occupation:DRUMMER / LEADER / SINGER Worked With:JOE MARSALA / ARTIE SHAW / HARRY JAMES / TOMMY DORSEY / JATP Style:JAZZ / BIG BAND 10/01/1995 BUTLER, GEORGE "WILD CHILD" Born:1936 AUTAUGAVILLE, AL Occupation:HARMONICA / SINGER Worked With:WILLIE DIXON / JIMMY DAWKINS / LIGHTIN' HOPKINS Style:BLUES FRANKLIN, HENRY Born:1940 LOS ANGELES, CA Occupation:BASS Style:JAZZ HELIAS, MARK Born:1950 BRUNSWICK, NJ Occupation: BASS Style:JAZZ HOLLAND, DAVE ( DAVID HOLLAND ) Born:1946 WOLVERHAMPTON, ENGLAND Occupation:BASS Worked With:MILES DAVIS Style:JAZZ 10/02/1995 ROBERTS, HOWARD ( HOWARD MANCEL ) Born:1929 PHOENIX, AZ Died: 06 28 1992 SEATTLE, WA Age:63 Occupation:GUITAR BUDDY DEFRANCO / SHORTY ROGERS / STUDIO WORK MORE THAN 50,000 TRACKS Style:JAZZ / BIG BAND ROSE, WALLY (WALTER. L ) Born:1913 OAKLAND, CA Occupation: PIANO Style:JAZZ ROSS, RONNIE (RONALD ) Born:1933 CALCUTTA, INDIA Died:12 12 1991 LONDON, ENGLAND Age:58 Occupation:BARITONE SAX Worked With:JOHN LEWIS / WOODY HERMAN / MODERN JAZZ QUARTET Style:JAZZ / BIG BAND URSO, PHILLIP Born:1925 JERSEY CITY, NJ Occupation:TENOR SAX Worked With: ELIOTT LAWRENCE / WOODY HERMAN Style:JAZZ / BIG BAND ========================================================================= Date: Sat, 30 Sep 1995 09:01:33 +0000 From: "P.W. Fenton" Subject: Eric LeBlanc's Blues Dates - September 30th Here's a few dates (b. born, d. death) for today. If you have any corrections/additions, let me know at leblanc@haida.dao.nrc.ca. ------------------------------------------------------------------------------- artist notes/full name yyyy-mmdd, city/county state age ------------------------------------------------------------------------------- ATKINS, CHOLLY (choregrapher/MOTOWN) b. 1913-0930, PRATT CITY, AL BO, EDDIE (EDWIN J. BOCAGE) (p/songw) b. 1930-0930, NEW ORLEANS, LA BOOKER, BERYL C. (p/DINAH WASHINGTON) d. 1978-0930, BERKELEY, CA 56 BROWN, SARAH F. "SISTER"(of ANTONE'S REC) b. 1951-0930, EVANSTON, IL DEAN, JAMES (:) [JAMES BYRON DEAN] d. 1955-0930, SALINAS, CA 24 DEVENPORT, FRANK PERRY (p/arr/HAMPTON) b. 1920-0930, TEXARKANA, TX DILLARD, MOSES (g) b. 1946-0930, GREENVILLE, SC HILL, ARZELL "Z. Z." (v/MALACO REC) b. 1935-0930, NAPLES, TX HOLLON, KENNY (tsax/BUDDY JOHNSON/JORDAN) d. 1974-0930, NEW YORK CITY, NY 64 KERSEY, BILL (cl/MILLINDER) d. 1993-0930, MONTREAL, PQ 84 LYMON, FRANKIE (lead/THE TEENAGERS) b. 1942-0930, WASHINGTON HTS, NY MATHIS, JOHNNY (v) b. 1935-0930, SAN FRANCISCO, CA MCCOO, MARILYN (v/5TH DIMENSIONS) b. 1943-0930, JERSEY CITY, NJ PETERSON, SYLVIA (of THE CHIFFONS) b. 1946-0930, NY PETTIFORD, OSCAR (b) b. 1922-0930, OKMULGEE, OK REDD, ELVIRA "VI" (asax) b. 1928-0930, LOS ANGELES, CA ROBINSON, J. RUSSEL (p/MEMPHIS BLUES) d. 1963-0930, PALMDALE, CA 71 RUSHEN, PATRICE (p) b. 1954-0930, LOS ANGELES, CA SIEGAL,HERMAN "HY"(owner:TIMELY/APOLLO RECd. 1959-0930, WACO, TX ------------------------------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 09:43:15 -0400 From: Jacquelin Katz Subject: Re: BB on A&E last night On Fri, 29 Sep 1995, Rick Miller wrote: > This was a great show, like the video portion of the "Summit" album. :) > I love this guy, but back me up here, does BB do everything in the key of C > or is it my imagination? :) Well, he mentioned doing "The thrill is gone" in B minor. I've noticed that the tunes on Summit are mainly in C, too. Perhaps that's where he feels most comfortable for vocals. - Jackie > > A major BB fan, > > Riffin Rick (((( > oo-) > /- > > > > > F.J.(Rick)Miller > Senior Research Assistant, > & Marine Facilities Manager > Worcester Foundation for Biomedical Research > "Miller@Sci.WFBR.Edu" > *************************************************************************** > ========================================================================= Date: Sat, 30 Sep 1995 09:48:48 -0400 From: Jacquelin Katz Subject: Re: Racism on the Web On Fri, 29 Sep 1995, L W wrote: > ----------------------------Original message---------------------------- > >Forget all that Muddy's Cabin, stuff. Twice this week I've received mail > >from various racists -- one from and individual, another from a group called > >the National Alliance. The latter has several radio outlets and now a web > >presence. (Same old tired stuff. I wouldn't bother seeking them out.) > > I would like to know what exactly happened, I've been getting mail from the > National Alliance something called Crusade. I'd love to converse with some of > those guys. I replied to the Alliance thing, but my mail was returned. Is it > "Neo-Nazi" kind of stuff, I didn't even read it... > > LW > I've gotten this stuff, too, via a totally different listserve. It is mainly anti-semitic, and anti-government. I mailed it back to them, along with some well-chosen expletives, and it hasn't bounced back yet. I've seen a suggestion that we flood their mailbox if they're receiving, so I may keep sending the same message. Jackie ========================================================================= Date: Sat, 30 Sep 1995 11:03:19 -0400 From: Mike Evans Subject: Buddy Guy Buddy's tour finally played Gainesville thursday night. Now I see what all the brouhaha was about. It was a entertaining show, but very little BLUES. The crowd loved it though. I have plenty of Buddy Guy and BG/Junior Wells albums so I can hear him do blues anytime, but the show was a little disappointing. Can't think of anything nice to say about Duarte, so I'll just keep quiet. ========================================================================= Date: Sat, 30 Sep 1995 11:03:22 -0400 From: Mike Evans Subject: Tornadoes? a group called Little Mike and the Tornadoes used to play here regularly, I think they were from New York. Haven't seen them in quite a while, any body know if they are still around? ========================================================================= Date: Sat, 30 Sep 1995 15:57:31 GMT From: Tony Burke Subject: ELMORE LAST SESSIONS CD There's not been much real blues stuff around Blues-L recently, so here's a review to revieve a little interest for those how don't think Clapton and a host of bar bands are the living end!! PS: This will be in B&R 104 - out in mid October. ELMORE JAMES The Last Sessions Relic 7097 Everyday I Have The Blues/Cant Stop Loving My Baby/Got To Move/I Believe/Elmore Jumps One/Talk To Me Baby/It Hurts Me Too/Dust My broom/Hand In Hand/Got A Right To Love My Baby/Pickin The Blues/Twelve Year Old Boy/Make My Dreams Come True/I Gotta Go Now/Look On Yonder Wall/Find My Kind Of Woman takes 1 and 2/Dust My Broom/My Babys Gone/Back In Mississippi (A conversation/Black Snake Slide (aka Up Jumps Elmore) Back in September 1990, in B&R 55 to be exact, Neil Slaven reviewed Relics vinyl incarnation of this set, then dubbed The Last Session - February 21st, 1963. Going digital, Relic have added six more tracks and dubbed this set The Last Sessions, by adding the fruits of the February 13th, 1963 session. At the time of the original vinyl release, a typical quality job from Relic by the way, much of the material had been released in the UK by Charly and those with longer memories will recall the same stuff appearing on the Jap PVine Something Inside Of Me box set and the Blue Horizon To Know A Man Set. Still it was good to have that very last session on one disc. Fire label boss, Bobby Robinson, recalled that he had flown Elmore to New York from Jackson for these sessions, at A-1 Studios: Elmore brought two guys with him, two younger guys, I hadnt met them before, they were currently playing with him, in Jackson, Mississippi, we added a couple of guys, but he brought a guitar player and drummer with him, I think. This probably accounts for the quality of the material here. The playing is not of the usual Elmore standard and despite the fact that it is good stuff, Robinson and Herb Abramson appeared to have been anxious to get Elmore to play some new or different material, Why dont you just do a set? asked Abramson, to get the show on the road. The band appear unsteady at times with Elmore offering direction on Talk To Me Baby and Twelve Year Old Boy, nevertheless, as sleevenote scribe Dick Shurman states: Consistency is much more a hallmark of the session than passion and innovation.... In addition to the sides issued on the original vinyl album Relic have included My Babys Gone and two takes of My Kinda Woman, plus additional versions of Yonder Wall and Dust My Broom from February 13th, plus of course the famous hunting snakes with tractors tale complete with a forlorn attempt by Abramson to get Elmore to perform a version of Lemon Jeffersons Black Snake Moan. On May 24rd, 1963 Elmore suffered a third and fatal heart attack at Homesick James apartment in Chicago. Despite missing out on the fame, (but not fortune) that the mid sixties blues boom would have brought him, (surely he would have recorded with Fleetwood Mac), Elmore James achieved immortality via a whole host of covers by white rockers and perhaps one of the most comprehensive series of re-issue albums and CDs, which have appeared like clockwork over the last twenty years. This is one to add to that ever growing list. Completists will hand over their bucks with ease, the less committed might just need to re-check those Elmore albums to see whats missing first. Tony Burke ========================================================================= Date: Sat, 30 Sep 1995 16:06:32 GMT From: Tony Burke Subject: Re: Guido van Rijn address Paul, The book is not for sale. This is a dummy/proof made from Guido's thesis on FDR and the Blues. It will be published at some point and printed with photo's etc. But this ain't the book. B&R was sent a copy as were a number of our regular contributors - I was advised that I got a copy because B&R had helped Guido with info. We will be running a feature on this manuscript in B&R 105, but I am assured by Alan Balfour who is doing our peice that this is not for sale at present and is only available to selected people etc. So you musta done something towards it or LB were sent a copy by Guido for info purposes. TB ========================================================================= Date: Sat, 30 Sep 1995 09:46:29 PDT From: Gordon Fehlman Subject: Re: OLGA Could someone tell me how to get to OLGA? I'm looking for blues tab and lyrics. Where is it located? Explain. Thanks, Gordon ========================================================================= Date: Sat, 30 Sep 1995 14:04:34 -0400 From: Joe Norris Subject: Re: Blues that people HATE ! LW: Be careful what you choose. I've actually had a couple non-blues fans go over to look with great interest at the record jacket when I start playing Hound Dog. Bessie Smith clears my living room out pretty quickly. And if all else fails, I slap on some early John Prine. (My wife hates him so much I usually play him in the car.) He's not blues, but he has the same house-clearing effect as Robert Johnson on most of the pop crowd. Bottlenekk ========================================================================= Date: Sat, 30 Sep 1995 11:50:46 +0100 From: James Witteveen Subject: Re: Blues that people HATE, q. re:Pinetop >Bottlenek wrote: > >Be careful what you choose. I've actually had a couple non-blues fans go >over to look with great interest at the record jacket when I start playing >Hound Dog. > >Bessie Smith clears my living room out pretty quickly. > >And if all else fails, I slap on some early John Prine. (My wife hates him >so much I usually play him in the car.) He's not blues, but he has the same >house-clearing effect as Robert Johnson on most of the pop crowd. > >Bottlenekk Hi all! I'm new to this list, so I missed the beginning of this thread, but the music I _know_ cleans out a room when the party should be over is Son House (unless of course your standards are high and you only party with blues fans!) I might as well add, I saw Pinetop Perkins the other night at the Yale Hotel in Vancouver - great show; this guy is amazing. Does anyone know if there's any live Pinetop material out there somewhere? Wednesday's performance (and the backing band, the Chesterfield Kings) put Pinetop's latest album to shame. Thanks! -Jim (hndful@uniserve.com) ========================================================================= Date: Sat, 30 Sep 1995 19:50:26 +0000 From: Pat Hertel Subject: Re: Tornadoes? On Sat, 30 Sep 1995, Mike Evans wrote: > a group called Little Mike and the Tornadoes used to play here regularly, I > think they were from New York. Haven't seen them in quite a while, any body > know if they are still around? > They must be. They have a new CD out "Flynn's Place" although I haven't seen them in a while. phertel@cmc.doe.ca OR bv808@freenet.carleton.ca Local Time [30/9/95 15:41 PM] "Saturday I go out to play..." ========================================================================= Date: Sat, 30 Sep 1995 21:00:47 GMT From: Jef Jaisun Subject: Re: BB on A&E last night P.W. Fenton (pwfenton@GATE.NET) wrote: : On 29 Sep 95, Abe W. Mathews had this to say: : > Rick writes: : > > This was a great show, like the video portion of the "Summit" album. :) : > > I love this guy, but back me up here, does BB do everything in the key of C : > > or is it my imagination? :) : > : > Heh! I was watching the show with my PRS in hand, jamin' along, : > wondering what I'd be like to back B.B., and I thought more than once, : > "Well, I'd just have to get used to C!" Good call, Rick! : > : Well you guys are right, but only about the A&E show. BB normally : plays all over the place. I suspect the C's were partly a : coincedence and partly a compromise key for many of the duets (don't : forget the other singers). I could tell that more than once BB was : straining his vocals because he was trying to sing outside his : comfortable range. Also, in recent years, BB's vocal range has narrowed. : But even now he plays in G, A, Bflat, B, and C pretty regularly. Sorry, guys, but I'm laughing so hard I can hardly hit the return key. Ten years ago this past July, B.B. headlined the Nyon Festival in Switzerland. Also on the bill were Luther Allison, Big Miller and (ahem) myself. At the end of the night, B.B. hauled us all back on stage for a jam. By that time my guitar was in the musicians' lock-up, on the other side of 10,000 screaming Swiss. ( B.B. offered to let me play Lucille; no, you don't tug on Superman's cape...) So I'm standing there wondering what I'm going to play, when suddenly I'm grabbed from behind by Eugene Carrier, B.B.'s keyboard player. Gene outweighs me by, oh, 200-300 lbs. "Resistance is futile. You will be absorbed." And he's dragging me back to the heavily-miked grand piano. "What!?!" I protest. "Man, I heard you play piano back at the hotel." "NO!!!! I'm a hack!!! What if he plays in Bb?!? I'm DEAD!!" "Don't worry, man, you can handle it." And just about the time Gene is forcing me down on the piano bench, B.B. calls out, "What key we gonna do this in?" I stand up from the piano, cup my hands together megaphone-style, and scream in panic, "C!!!!!!!!!!" B. turns around with this extremely puzzled look and goes, "C?" Then he sees me standing there looking like I just wet my pants. He starts to laugh, turns back and says, "Okay, everybody, this one's in C." So all you guys dealing with B.B. playing in C, send me your hate mail. It appears I'm at least partially responsible :) What makes it even funnier is that Luther and I were hanging out together a couple nights ago, talking about that jam. At one point in the conversation he looked up and said, "C. Yeah, I remember we did that jam in C. I always wondered why." ============================================================================= Jef Jaisun eljefe@netcom.com "And now you know the rest of the story...good day!" ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Sat, 30 Sep 1995 21:11:24 GMT From: Jef Jaisun Subject: Re: posts from Crusader@national alliance William A Morgan (wam01@WWW.GNOFN.ORG) wrote: : Jeff, : Thanks for the address. I received four long pieces of : shiterature from these anuses, and I intend to return it. : Bill Morgan : On Fri, 29 Sep 1995, Jeff Seale wrote: : > If you tried bouncing that message full of crap bakc to that guy, : > you found out that there is no such domain. However, a little further : > investigation finds that this group, National Alliance can be reached at: : > national@natvan.com : > : > I'm not advocating any kind of net.terrorism; I'm just providing : > information that these coward-like bastards are trying to hide... : > : > -Jeff : > There's more to this spam session than meets the eye. Apparently, numerous cancellations of posts were sent out in waves at specific times by these same people. Also, posts were sent out with forged signatures. Traces are currently underway, and I'm keeping tabs on the situation. One friend pointed out that it appears the nazi spam was sent to people who posted on specific newsgroups recently. If everybody on Blues-L got it, but people on, say, rec.music.guitar didn't, I'd venture to say we were targeted as a group. Don't suppose it has anything to do with our ferocious love of a black musical art form, do you. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Sat, 30 Sep 1995 21:40:36 GMT From: Jef Jaisun Subject: Re: LW's PBS/ U2 question -Reply : Since I don't know a U2 song from an REM song. Why is that suprising did U2 : do something that had an effect on RnR. I do recall one tune by REM "Losing : My Religion" I thought it was pretty stupid and monotone....I'm not knocking : anyone, but I had no idea that U2 was that important, to RnR...? : LW 'not meaning anything derogatory toward U2' You've got me on that one, too. I never understood why B.B. did that duet with U2 (When Love Came To Town), unless it was to reach a wider audience. Like B.B. needs it. U2 is a decent rock band, but hardly influential enough to rate this kind of credit. You'll probably be even more amazed (as I was) to hear the people at the new Rock and Roll Hall of Fame recently proclaimed REM the best band of all time. Huh? ============================================================================= Jef Jaisun eljefe@netcom.com "Goosing my precision..." ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Sat, 30 Sep 1995 14:44:41 -0700 From: Adrian Spidle Subject: Re: posts from Crusader@national alliance (NBC) On Sat, 30 Sep 1995, Jef Jaisun wrote: > One friend pointed out that it appears the nazi spam was sent to people > who posted on specific newsgroups recently. If everybody on Blues-L got > it, but people on, say, rec.music.guitar didn't, I'd venture to say we > were targeted as a group. Don't suppose it has anything to do with our > ferocious love of a black musical art form, do you. I had wondered about this, but my girlfriend got the same email and the only newsgroups she reads are one on "Miss Manners" and one on ABC soap operas. Go figure... Adrian ========================================================================= Date: Sat, 30 Sep 1995 21:47:34 GMT From: Jef Jaisun Subject: Re: The Hesitating Blues Brenda Bogert (bogert@IGLOU.COM) wrote: : On Fri, 29 Sep 1995, william higdon wrote: : > Operator what's a matter with my line... : > was borrowed from a song called "Hesitation Blues" from the late : > 1880's. This of course is probably not the same song. I am interested : > in knowing more about the old song. : That's got to be W. C. Handy's "The Hesitating Blues", which was : published in 1915. The lyrics begin: : Hello, Central, what's the matter with this line : I want to talk to that High Brown of mine : Handy wrote that he based his song on one that was sung to him by a : wandering musician. At the time that Handy was publishing his song, a : firm here in Louisville was publishing "Hesitation Blues" -- with the : same tune (in a different arrangement) and similar lyrics. Apparently : the wandering "musician" wandered into Louisville! Not to mention the lyrics turned up in "Wild About My Lovin," first popularized by (hmmm...Brenda, check me on this) the Memphis Jug Band, I think. Later versions, of course, by the Kweskin Jug Band and the Lovin' Spoonful. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Sat, 30 Sep 1995 14:51:31 -0700 From: Roberta Penn Subject: Seattle Blues Playlist SEATTLE BLUES PLAYLIST 9/24/95 BLUESIANA HURRICANE BIG FINE HUNK OF WOMAN SHANAC. ROY ROGERS HELLHOUND ON MY TRAIL BLD PIG SONNY & BROWNIE ON THE ROAD AGAIN A&M LUTHER ALLISON WHAT HAVE I DONE WRONG ALLIG. LAVELLE WHITE YES I'VE BEEN CRYING ANTONE'S TAB BENOIT MATCHBOX BLUES JUSTICE ELVIN BISHOP ANOTHER MULE KICKING... ALLIG. ROBT. CRAY I WONDER MERCURY SON HOUSE SHAKE IT AND BREAK IT COL. RY COODER VERY THING THAT MAKES YOU RICH WB BOBBY PARKER DRIVE ME HOME BLK TOP FAB T-BIRDS ZIPPETY DO DAH PRIVATE interview with Andrew Vachss, author, blues fan and guest DJ. His set: JUDY HENSKE TIL THE REAL THING COMES ALONG ELEK. ELMORE JAMES IT HURTS ME TOO RHINO KOKO TAYLOR THAT'S WHY I'M CRYIN' ALLIG. DELBERT MC CLINTON I'VE GOT DREAMS TO REMEMBER CAP. BAZZA GHOST local tape HOLMES BROTHERS BABY WHAT YOU WANT... ROUNDER DOC POMUS BLUES FOR SALE MR. R&B BB KING THERE MUST BE A BETTER WORLD MCA ========================================================================= Date: Sat, 30 Sep 1995 22:00:28 GMT From: Jef Jaisun Subject: Re: birthdays 09/30-10/01/02/1995 : 10/02/1995 : ROBERTS, HOWARD ( HOWARD MANCEL ) : Born:1929 PHOENIX, AZ : Died: 06 28 1992 SEATTLE, WA : Age:63 : Occupation:GUITAR BUDDY DEFRANCO / SHORTY ROGERS / : STUDIO WORK MORE THAN 50,000 TRACKS : Style:JAZZ / BIG BAND Howard's son Jay still lives in Seattle. He's an outstanding guitarist, too, as you might guess. He fronts a reggae-blues-rock band called the Herbivores, produces a system called Guitarioke (instrumental tracks you can play guitar to), and several weeks ago was the grand prize winner of Bumbershoot Festival's Jimi Hendrix guitar competiton. What's notable about the latter is that Jay knows almost nothing about Hendrix. He worked on a tune for two days before the competition, trying to get some Hendrix-style soul out of it, instead of all the hotshot technical stuff. Coincidentally, that's just what the judges were looking for. ============================================================================= Jef Jaisun eljefe@netcom.com ============================================================================= -- eljefe@netcom.com ========================================================================= Date: Sat, 30 Sep 1995 17:24:00 CDT From: Paul Garon Subject: Re: The Hesitating Blues >Brenda Bogert (bogert@IGLOU.COM) wrote: >: On Fri, 29 Sep 1995, william higdon wrote: > >: > Operator what's a matter with my line... >: > was borrowed from a song called "Hesitation Blues" from the late >: > 1880's. This of course is probably not the same song. I am interested >: > in knowing more about the old song. > >: That's got to be W. C. Handy's "The Hesitating Blues", which was >: published in 1915. The lyrics begin: > >: Hello, Central, what's the matter with this line >: I want to talk to that High Brown of mine > >: Handy wrote that he based his song on one that was sung to him by a >: wandering musician. At the time that Handy was publishing his song, a >: firm here in Louisville was publishing "Hesitation Blues" -- with the >: same tune (in a different arrangement) and similar lyrics. Apparently >: the wandering "musician" wandered into Louisville! > >Not to mention the lyrics turned up in "Wild About My Lovin," first >popularized by (hmmm...Brenda, check me on this) the Memphis Jug Band, I >think. Later versions, of course, by the Kweskin Jug Band and the Lovin' >Spoonful. > > eljefe@netcom.com > And in 1929, Patton used the Hello Central line in DOWN THE DIRT ROAD, I think it was, but he ended the verse with "Come a storm last night, tore the wires down." That one remained undecipherable for years, and I won't mention the embarassing attempts at untangling it made by more than one "expert". It wasn't until someone thought to ask Big Joe Williams what Patton was singing, and Joe said, "oh, you mean come a storm last night and tore the wires down?" Uhhh, why yes, thank you! Paul Garon ---- Paul and Beth Garon | Fine first editions in the fields of Beasley Books | literature, black studies, jazz & 1533 W. Oakdale | blues, radicalism, detective fiction, Chicago, IL 60657 | psychoanalysis, psychiatry, and beasley@mcs.com | psychology. (312) 472-4528 | (312) 472-7857 (fax) Catalogs issued: Ask for yours by subject, by email or postal mail or visit us at http://www.abaa-booknet.com/alldlrs/mw/60657bea.html. We also have catalogs available by ftp at ftp.mcs.com/mcsnet.users/beasley. _______________________________________|______________________________________ ========================================================================= Date: Sat, 30 Sep 1995 17:44:01 -0600 From: David Silberberg Subject: Re: posts from Crusader@national alliance At 3:11 PM 9/30/95, Jef Jaisun wrote: >If everybody on Blues-L got >it, but people on, say, rec.music.guitar didn't, I'd venture to say we >were targeted as a group. Don't suppose it has anything to do with our >ferocious love of a black musical art form, do you. I thought it was because these Nazis saw we liked our Jewish form of music - you know, as played by Howling WOLF, Walter JACOBS, Mc Kinley MORGANFIELD.... Hmmmm - maybe I'd better look at those CD pictures again.... Seriously, I don't know why everyone seems so surprised that this crap has gone out to us (I got mine last nite) and to others (some talk about it on local chi.* newsgroups): this is unfortunately going to increase as more and more people get on the internet. If our snail mail boxes can fill up with junk mail, so can (and will) our e-mail boxes. My approach to this stuff is to "counterdemonstrate" by continuing to study, discuss, and enjoy, in a positive manner, the musical (blues) and other aspects of the culture that they spend their life's energy denigrating - we won't win by attacking them, but we cannot lose if we celebrate what they aim to destroy. David Silberberg |Woman I love got 2 teeth davidis@interaccess.com | solid gold |Got a lien on my body | mortgage on my soul | Johnny Shines ========================================================================= Date: Sat, 30 Sep 1995 19:19:27 -0500 From: "dtapp@cc.memphis.edu"@MSUVX2.MEMPHIS.EDU Subject: Re: The Hesitating Blues/Jug bands Relay-Version: ANU News - V6.1B10 04/18/95 OpenVMS VAX; site msuvx2.memphis.edu Path: nntp.memphis.edu!nntp Newsgroups: bit.listserv.blues-l Subject: Re: The Hesitating Blues/Jug bands Message-ID: <1995Sep30.191925.60678@msuvx2.memphis.edu> From: Denise Tapp Date: 30 Sep 95 19:19:25 -0500 References: Nntp-Posting-Host: wok-41.memphis.edu X-Mailer: Mozilla 1.1 (Windows; U; 16bit) MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=us-ascii Lines: 13 Dear Folks: I am happy to announce, tangentially, that the late, great jug band artist Gus Cannon, is about to have a grave marker installed, a mere 18 years after his death. The Beale St. Blues Society held a fund raiser earlier this year, which was heavily supported by John Sebastian, incidentally, and paid for the headstone. Once again, the fans make the difference. Denise ========================================================================= Date: Sat, 30 Sep 1995 17:57:38 PDT From: Michael Suffern Subject: Deepest Musical (Patti's) Secrets Patti, Going thru old, old, mail and, again, you made me smile and set me to typin'... Deepest Darkets Musical Secret #1: I can play all of Led Zeppelin's "Houses Of The Holy" lp - and, I, Like it! Deepest Darkets Musical Secret #2: Just learned this inversion of the 9th chord 6 months ago: X- - - - - - 4 - - 3 - - - - 2 - - 1 - - X- - - - Deepest Darkets Musical Secret #3: I don't think Eric Clapton is God. Albert King is. But, Clapton is a really damn good performer. Deepest Darkets Musical Secret #4: I don't use any pedals or the hi gain channel on my amp or humbucking Strat pickups. Deepest Darkets Musical Secret #5: I play Beatles, Todd Rundgren, Elton John, Billy Joel and other pop stuff on the piano. On Thu, 14 Sep 1995 10:23:28 -0400 Patti Bowman wrote: >>LW 'been listening to Patsy Cline most of today...BY CHOICE' > >I'd add PC to my list of people I wish I'd seen in person. > >I go to Pieces............ >Patti > >Deepest darkest music secret: >I actually own the Helen Reddy Greatest Hits CD and sometimes I play it >loud and sing along into my hairbrush when I'm alone and the curtains are >drawn. > >Deepest darkest music secret #2 >I know all the words to Muskrat Love, Blindman in the Bleachers and Billy >Don't be a Hero. > >See, LW, there are certainly different definitions for wierd. ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 17:10:30 PDT From: Michael Suffern Subject: Re: Open Mike Night Tips (and some English) Ed, Clearing old, old, mail and this deserved a response... Get there early if you can so you can talk to the leader or sign up first. Let 'em know you're a single player (or solo if that's it) and that everyone seems to bring their whole band and that you want to jam with the leader's band. They're probably more proficient musicians and have worked jams and are more sensitive. If you're doing Blues, stay away from the Rock jams where garage bands show up to 'practice', show off, or try to turn it into an audition or showcase for themselves. Also, note any 'band' that doesn't have the instrument you play, or only one guitarist, if that's yours, and chat 'em up, if you like their playing. A relationship will develop as the weeks pass. I started out jamming harp because the host band didn't have one and few showed up to jam, so I played every week, all night long. Even came back on their regular gig nights and sat in for the whole night. It was three weeks before I brought my guitar. I blew the place away with one tune and made an ass of myself on another that was too complex for a jam. Then played harp the rest of the night. Did better the next week. Eventually, I was playing whatever I wanted, guitar, harp, sing a few, any night I stopped by. Of course I didn't get any pay, got free drinks like the rest of the band, though. So familiarity does count! Even be nice to the assholes with the hot amps and '59 Strats who are there to cut heads (though they aren't in any bands, probably 'cause they're assholes). It doesn't pay to piss anybody off and the host will see that you're not an asshole. Which would you rather call up to play? This does not mean that everyone at a jam with a hot amp and a vintage axe is an asshole, but that's one profile. There is always some testosterone flying around when man meets his fellow man, more so with guitar players. The other is the guy that brings his axe in a gig bag 'cause he's a pro (been in and out of so many bands 'cause he's an asshole) and doesn't carry a heavy case anymore 'cause he plays so much. This guy doesn't smile, talk, drink or anything else, he just plays SRV or Gary Moore, and then leaves, somehow satisfied (or maybe not even that). Good Luck Mike - who leaves a trail of smiles behind him. On Thu, 7 Sep 1995 12:03:00 EDT edward c liu wrote: > On a blues note, I attended my first open blues jam on Sunday night. >I've set it as a goal for myself to participate in one before the end >of the year, but this past weekend was the first time I had ever actually >been to one. Much to my surprise, it seemed like the trend was to bring >your whole friggin band up there instead of having one person with guitar/ >keyboard/whatever playing with the house band. So, I guess I'm asking >the folks on the list if there are any tips, tricks, ground-rules, or >hints that y'all have for doing an open mike night sans band. I remember >one hint was "have lots of your friends in the audience," but beyond that >I've no idea what's the best way to go about doing this open mike thing. > > Thanks muchly!! > >-- Ed >Edward C. Liu | "We don't mean any harm. We just don't have >edwick@cc.bellcore.com | any better SENSE!" > | -- Elvin Bishop >The opinions above are mine and not Bellcore's. Really! ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 16:02:57 PDT From: Michael Suffern Subject: Re: Talking During Performances When Todd Rundgren was in The Nazz, they did a version of the funk tune "Tighten Up". They're version was "Loosen Up". Each instrument would be entreated to "loosen up". "Loosen up on those 88's" would start the piano player slowly deteriorating into playing out of tune and off time. "Loosen up on the Bass" likewise the bass. By the time the drummer loosened up, the whole song was a cacaphony of disfunction. Hilarious! (Good tune too!) Tom, do you know "Tighten Up", it would be great to do at Blues, Etc.!!! BTW, I think P.W. summed up the bar situation once and for all in his last paragraph. Mike On Wed, 20 Sep 1995 09:29:15 -5 P.W. Fenton wrote: >On 19 Sep 95, shannon oconnor had this to say... > >> You know, this talking during a performance is something that >> really bugs me........ > >At a concert, my favorite is to lean over and say to them, "Hey, if >this music is disturbing your conversation, I'll go see if I can get >them to stop playing." > >If I'm performing, and they do it to me, I try to win them over with >something special like walking out and sitting at their table while >I'm playing, or signaling the band to play out of tune until everyone >looks up at us ;^) > >But, for a lot of people, going to bars is a social experience, an >act of sexual conquest, so you can't get too mad at them. If they >didn't like your music, they'd take their date elsewhere. > >P.W. Fenton >Tampa, Florida >e-mail = pwfenton@gate.net >WWW = http://www.gate.net/~pwfenton ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 13:58:15 PDT From: Michael Suffern Subject: Re: Jimmy Page was BLUES! Whoa, Jeff, easy... * Jimmy Page, sloppiest guitar player in the world... TRUE * Jimmy Page better than Albert King? Never said any such thing! I said Led Zeppelin I was the height of Blues guitar art - *art*. The fact that J.P. could only create such a thing in the studio, and not live, testifies to his production skills and the fact that he could play great, but not for one whole song! The album was the art. * Jimmy Vaughan, 2nd sloppiest guitar player in the world! Have you seen him live? I suspect not. Tell me what show if I'm wrong. Probably a better singer than Page, ;) but we'll never know. Plus he's still playing the Blues, which Page has more or less lost interest in, at least commercially. J.V. is a great guitarist, too. Not as good as J.P., IMO. He has that same genius of timing (not to as great a degree). Live, it comes off as alternately sloppy and ballsy genius, but from the heart! No, slammin' of J.V. here. I'm sure more than a few zellers will agree. * And, my mama just didn't think it appropriate to kiss me there, I guess we come from different cultures. * And, least but not last, Page (The whole band organization, their publishing company, etc.) reworked other peoples tunes, tunes that represented the best of the tradition of the Blues, and took songwriting credits for it. A dubious, but traditional Blues practice. A bit late in the game to be doing things like that, considering the advancements in European copywrite laws by that time (but not U.S. laws). I don't think that would have happened in the '90's. If you think Robert Johnson actually wrote "Sweet Home Chicago", *you* haven't a clue. *And, stealin' guitar riffs is what we all do. Stealin' melodies is something I find offensive, but if you eliminate all of the previously used Blues riffs, how you gonna' play the Blues? You'd have to use... Clapton riffs, or Page riffs. Page took country riffs and fit them in a Blues song with *absolute* genius, changing the timing to blazingly fast appregios. He took standard Blues riffs and played them dynamically, with sooooo... much feeling that it makes *me* weep. He could play fast, but he knew when to play slow and could ring a lot out of a few notes - something more players need to learn. * Page would have been at least a great studio player and producer if Clapton and Beck hadn't left the Yardbirds. Page was pretty much ignored in the Yardbirds because he wasn't Clapton (Beck less so 'cause he played on some big hits). How many of the Yardbirds members were in Led Zeppelin, anyway? * Why are you now a very disappointed blues-l subscriber. Maybe because you're not a zeller and just a subscriber? This is a forum for the discussion of the Blues. Jeez, I contribute on a regular basis, with lengthy, thought provoking articles, and humor. What have you added? ......................................................................... Now, a little balm for the wounds... Hey, Jeff, I don't mean to be hurtful in my response, just a bit caustic. Blues-l is a great list. We get very passionate about this love of ours - sometimes too passionate. But those who stay become real zellers and manage to learn a bit about their 'foes' and gain a respect for their love of the Blues. Even though they disagree, they tend to become a bit mellower or more sensitive as their time on the list grows (anyone want to testify?). I'm glad you're so passionate about it. Let's make up and talk about Albert King, my hero. ;-) Mike On Fri, 29 Sep 1995 18:36:45 -0400 ToneDaddy@aol.com wrote: >WHAT? Jimmy "the sloppiest guitar player in the world" Page, BLUES? Get >real pal! How can you say Page playes blues better than Albert King? And >you can take your Jimmie Vaughan trashing and stick it where your mamma >forgot to kiss you! And last but not least, Page ripped off every old blues >player out there, from taking credit from writting their songs, to their >guitar rifs. Page wouldn't be shit if Clapton and Beck never left the Yard >Birds! Get a clue pal. >A very disappointed BLUES-L subscriber, >Jeff > ------------------------------------------------------- Name : Michael A. Suffern Judith Darin-Suffern E-mail: msuffern@xnet.com WWW : http://www.xnet.com/~msuffern/soundtravels.html The Blues&Travel site, E.C @ R.A.H., Blues Guide Above all, play what your heart tells you to, As you learn, your heart will have more to say. ------------------------------------------------------- ========================================================================= Date: Sat, 30 Sep 1995 23:48:22 -0400 From: Zig Zag Wanderer Subject: Re: pbs blues and Led Zeppelin In article <9509291935.aa25513@admin.dis.on.ca> Ian Angus writes: >Date: Fri, 29 Sep 1995 19:17:22 +0000 >From: Ian Angus >Subject: pbs blues and Led Zeppelin >I'm probably going to get flamed for this, but here goes. > >You know what? I don't think I missed anything at all on the 70s. If >these guys brought some people to real blues, that's great, but I >simply cannot understand it. If that's blues, then the music I love >should be called something else. >Ian Angus >"Built for comfort, not for speed" That ain't blues and you din't miss nothin'. A.D.