Monday, January 1, 2018

The Chitlin Circuit

"The "Chitlin' Circuit," like "Tin Pan Alley" and "Motown" and other legendary music locations, is both a real and symbolic term for the on-and-off-again venues--shoebox-sized bars, clubs, cafes and increasingly in the 21st century, casinos-- that support traditional rhythm and blues in a tenuous but tenacious thread through America's mostly rural (or low-profile urban) Bible Belt." Daddy B. Nice

" A circuit of nightclubs and theaters that feature African-American performers and cater especially to African-American audiences.

When Jim Crow and segregation were even more prominent in the United States, the Negro race, freed through emancipation, did not have equal access to public “White Only” places. The Chitlin’ Circuit - a connected string of music venues, diners, juke joints, and theaters throughout the eastern and southern United States that catered primarily to African American audiences was created.

The Chitlin’ Circit was the only option for touring Black entertainers such as Cab Calloway, Duke Ellington, Clarence “Gatemouth” Brown, Etta James, Billie Holiday, Ike and Tina Turner, B. B. King, Bobby “Blue” Bland, T.D. Bell and the Blues Specialists, Roosevelt "Gray Ghost" Williams, Eubie Blake, Robert Shaw, Big Joe Williams and many others begin touring in an effort to “eek” out a living when Jim Crow and segregation was even more prominent in the United States.

Historically, Baltimore was the first city on the Chitlin' Circuit. The Chitlin’ Circuit stretched through the South, bending Westward throughout Texas, extending Eastward on through Chicago, offering continuous opportunities for black entertainers." Urban Dictionary

"The "Chitlin' Circuit" is the collective name given to the string of performance venues throughout the eastern and southern United States that were safe and acceptable for African-American musicians, comedians, and other entertainers to perform in during the age of racial segregation in the United States (from at least the early 19th century through the 1960s) as well as the venues that contemporary African American soul and blues performers, especially in the South, continue to appear at regularly. The name derives from the soul food item chitterlings (stewed pig intestines) and is also a play on the term "Borscht belt" which referred to a group of venues (primarily in New York's Catskill Mountains) popular with Jewish performers during the 1940s, 50s and 60s.

Noted theaters on the Chitlin' Circuit included the Royal Peacock in Atlanta; the Carver Theatre in Birmingham, Alabama; the Cotton Club, Small's Paradise and the Apollo Theater in New York City; Robert's Show Lounge, Club DeLisa and the Regal Theatre in Chicago; the Howard Theatre in Washington, D.C.; the Uptown Theatre in Philadelphia; the Royal Theatre in Baltimore; the Fox Theatre in Detroit; the Victory Grill in Austin, Texas; the Hippodrome Theatre in Richmond, Virginia; the Ritz Theatre in Jacksonville, Florida; and The Madame C. J. Walker Theatre on Indiana Avenue in Indianapolis.

The second historic marker designated by the Mississippi Blues Commission on the Mississippi Blues Trail was placed in front of the Southern Whispers Restaurant on Nelson Street in Greenville, Mississippi, a stop on the Chitlin' Circuit in the early days of the blues. The marker commemorates the importance of this site in the history of the development of the blues in Mississippi. In the 1940s and 1950s, this historic strip drew crowds to the flourishing club scene to hear Delta blues, big band jump blues and jazz." wikipedia

Much love to Wikipedia on this project, they have saved enormous amounts of time for me and most of what I've found so far is pretty informative and reasonably accurate. Believe me, I'll cheerfully point out where they got it wrong and do my own writing where necessary but the point of an encyclopedia is a place to cite information from and in this function they have been invaluable. On the music side I am deeply indebted to "Unky Cliff" for a huge portion of what appears here and for the books I am educating myself with as well. My morning discussions with him will often filter into the blog. The files here that do not come from actual rips or itunes, likely originated on other blogs through the years, thanks to all of them as well, your generosity to me is being passed on.  kc 

Shares and Requests

Here is a place to drop both your own shares and requests for shares in a central place everyone can check - you know how this works by now.

Thursday, September 28, 2017

B B King - Lucille (1967)

I had a reissue vinyl...way back and loved it ...But I got this as a d/l ages ago and thanks to the original poster... Great sound courtesy of Mobile Fidelity Sound Lab / UltradiscII cd.
A BB you might not have...but essential ! Dedicated to KC and Cliff ,,,Blues Brothers - Gus

Wednesday, August 23, 2017

Sugar Pie DeSanto - A Little Bit Of Soul 1957 - 1962

Another triumph for the good folks at Jasmine!  This set fills in most of the holes in the early discography and has very little overlap with the earlier Chess singles collection. "This collection of the earliest 45s of the fabulous blues and soul singer also contains the full content of the LP she released on Checker Records in 1962. The LP consisted of tracks recorded for the famed Bay Area producer and writer, Bob Geddins."

Sunday, August 20, 2017

Texas Gospel vol 8 & 9

These two wrap it up for this remarkable series. I've long ago run out of things to say about this stunning collection, except Thank You Opal for all you do!

Saturday, August 19, 2017

B.B. King - My Kind of Blues 1960

Listening to this right now and I feel compelled to share. Not everyone has access to all the old stuff so I think this is a fine example of what BB was like before he got 'discovered' by white folk. Sorry, but the truth is the truth.

Monday, August 7, 2017

Alvin Robinson - The Complete 'Shine'

A repost by request: 

This one here is an ongoing labor of love, much like Eldridge Holmes or Charles Brimmer. Ongoing in the sense that I would love to see competently remastered versions of ALL of these songs because in many cases the only copy of a given song that I have ever found is of decidedly poor quality. That said, I DO get to claim the triumph of assembling ALL 34 tracks that 'Shine' ever recorded, something that I don't believe has ever been accomplished by anyone, anywhere! 

b. 1937, d. 24 January 1989 in New Orleans. Robinson was a session guitarist and a vocalist whose first recordings were made with Dave Bartholomew at Imperial in 1961-62. Those first recordings (tracks 1-12) are pretty heavily Ray Charles influenced but the songs are all quite good and 'Shine's' voice is special. One can only hope that at some point those 12 songs and the four unissued tracks from Imperial will finally be remastered and reissued. Unfortunately for Robinson the early 60's were at the tail end of Lou Chudd's personal interest in the record business and thus his association with Bartholomew. With little-to-no promotion, those sides were pretty much limited to local jukeboxes. 

In 1963-64, Robinson went to New York with the Joe Jones band as singer and guitar player and there scored a minor hit in 1964 with a recording of a Chris Kenner song, ‘Something You Got’ backed by 'Searchin'. The single was released on Tiger Records, a short-lived outlet owned by Jerry Leiber and Mike Stoller, who then took Robinson to their next venture, Red Bird. His first release there, ‘Down Home Girl’, was an inspired amalgamation of New York pop and Crescent City R&B, the flip side cover of "Fever" is just as strong. Later covered by the Rolling Stones, Robinson’s single was one of the best to appear on that label. It was followed by a reshaped version of ‘Let The Good Times Roll’, and 'I'm Gonna Put Some Hurt on You, but the artist was unable to find another success.  All 8 tracks (13-20) from this period were still actually recorded in New Orleans with the regular cats from J & M.

Robinson recorded one single in New York for Joe Jones' short-lived label in 1966, and another for Atco in 1967. (21-24) He then returned home for a bit until he joined the west coast move in 1969, hooking up with the A.F.O. guys in Los Angeles. During this period he reconnected with old pal Mac Rebennack and was one of several expatriate New Orleans musicians who played on Dr. John’s debut 'Gris Gris' (which was recorded with studio time left over from a Sonny and Cher album!). Robinson also recorded the 10 killer tracks while with AFO in L.A. (only 4 of them were actually released) that fill out the remainder of this collection. (25-34)

Shine was a fairly regular member of Dr. John's band through the 70's, playing again on his New Orleans ‘tribute’ album, Gumbo, and most often in his working band. He returned to New Orleans for good in 1985 and died in 1989. He is well loved and remembered in our music community (Mac was quoted as saying that 'Shine' was a real singer, as opposed to himself, whom he considers to be 'faking it'.), and it is long past time that all these tracks see proper compilation and remastering.

Tuesday, August 1, 2017

A Deep Dip into Texas Soul

I'm thinking that I owe y'all an apology for not having shared this earlier...I've been distracted is about the best I can do. You have to give them big props, this collection delivers on the promise of its' title in a big, big way! I could spend a ridiculous amount of time trying to point out the highlights, but the names would mean next to nothing for even the more educated audience. Just let's say you will replay quite a few tracks more than once and even as a straight jukebox style listen it smokes!

Sunday, July 30, 2017

Monday, July 24, 2017

Z.Z. Hill - Turn Back the Hands of Time

repost by request:

Given that KC and Dr. Hepcat announced that they have now assembled the entire Z.Z. Hill discography, I decided to get some hype going here.  I have a lot of questions and have never heard some of this puzzling discography.

For example, this intriguing collection was released a while back under the title "Rare and Previously Unreleased Recordings: 1965-1972," but with no discographical information about the contents.

Looking at the on-line discography of Z.Z. 45s supplied by Soulful Kinda Music (, this collection would appear to contain some of Z.Z.'s very first recordings made for his brother's MH label, as well as the listed early Messa 45.  However, these recordings were made before 1965.  Some of them were also re-recorded later, raising some questions.

The rest of the songs here would appear to come from the 1970s, also from the MH label, the Hill label, the Audrey label...   The Soulful Kinda Music discography would indicate that there is most likely a lot more where that came from.

I look forward from some enlightenment from KC and Dr. Hepcat.  :)

Sunday, July 23, 2017

Geater Davis - I'll Play The Blues For You

re-post from 2013 

"Vernon "Geater" Davis (29 January 1946 - 29 September 1984) was an American soul singer and songwriter. He has been described as "one of the South's great lost soul singers, an impassioned stylist whose voice was a combination of sweetness and sandpaper grit."

Davis was born in Kountze, Texas. In the late 1960s he was heard performing, along with Reuben Bell, by record producer Allen Orange. Orange arranged for them to record in Birmingham, Alabama, and started his own House of Orange label to release their output. Geater's first release, "Sweet Woman's Love", in 1970, reached # 45 on the Billboard R&B chart. His follow-up singles on the House of Orange label, including "I Can Hold My Own" and "Best Of Luck To You", were less commercially successful, but he recorded an album, Sweet Woman's Love, which is now considered a classic of the deep soul genre. He often wrote or co-wrote his own material.

After Orange closed his label in 1972, Davis recorded for the Luna label, and then for John Richbourg's 77 label, where several of his recordings such as "I'm Gonna Change" and "A Whole Lot Of Man" were made at the FAME Studios in Muscle Shoals. His 1973 single, "Your Heart Is So Cold" reached # 64 on the R&B chart. However, Davis' records did not generally sell well, despite heavy touring on the blues and chitlin circuits. He recorded for the Ace label in the mid 1970s, and later issued some disco singles on the revitalised House Of Orange label. In 1981 he joined the MT label run by James Bennett in Jackson, Mississippi, which issued several singles and an album, Better Days.

Davis died of a heart attack in Dallas, Texas in 1984 at the age of 38."

Geater Davis - Lost Soul Man

IT IS IMPOSSIBLE TO HAVE TOO MUCH GEATER DAVIS! This 2 disc compilation from the folks at AIM will add at least a few more to your collection even if you already have Sadder Shades Of Blue. I haven't yet compared the remastering or any of that stuff so ya gotta take
the whole shebang.

Geater Davis - Sadder Shades of Blue

Let's rerun Preslives original post and get another dose of Geater
Geater Davis is one of those voices from the Chitlin’ Circuit  that is much loved by his peers and hard core Blues/Soul fans, but hardly known to the general music-loving public.  Fortunately, his recorded legacy has been issued on CD on a couple of fine compilations.  His first recordings can be found on a CD from Soundscape Records that I believe is still in print, “I’ll Play the Blues For You: The Legendary House of Orange Sessions.”   This older compilation on West Side, which is now out of print, compiles mostly recordings done in Fame Studios in Muscle Shoals for John Richbourg’s Sound Stage 7 label.    There is only a small overlap between these two compilations.  If you really like this one, be sure and buy the other one!   One song that is on both compilations is the first recording of a number that later became closely associated with Albert King – “I’ll Play the Blues For You. “

--> Geater Davis owes an obvious strong debt to Bobby Bland.   But his sound is more rural, with more Southern sanctified grit.   The voice is unique.  Once it grabs you, you’re hooked.    I can still remember the very first time that I heard Geater Davis on “Sadder Shade of Blue,” while listening to a "Lost Soul" compilation LP.   It blew my mind right from the get go.  I've been hunting down everything that I could find by Geater Davis ever since.   

  Geater Davis was born and raised in Texas.  He worked the Circuit for most of the 60s without a recording contract.   Allen Orange heard Davis in the late 60s and was so impressed that he started his own record label to record him: House of Orange.  In the early 70s, Davis moved to the Sound Stage Seven label where he recorded most of the tracks found here. Geater Davis died in 1984 at the young age of 38.

Claude Jeter - Yesterday and Today

The great Claude Jeter's final album (produced by Anthony Heilbut) is a satisfying mix of newly recorded (in 1991) tracks blended with unreleased Swan Silvertones material.

nytimes obit

guardian obit

Texas Gospel Vol 6

Good Morning!

This will get your blood moving!

Sunday, July 9, 2017

Texas Gospel, Vol. 5: Devil Can't Harm A Praying Man 1956/57

The organ swells and we are once again at Gospel Sunday.

"In the 1950s, if you were a quartet and a Peacock Recording Artist, man, you were something.
Some of the top quartets of the decade were on Peacock’s roster. Thanks to the Texas Gospel series by Opal Nations and Acrobat Records, the vast majority of Houston-based Peacock’s “World’s Greatest Spirituals” singles from its 1500 and 1700 series are now available on CD, some for the first time.
Sadly, after releasing the first two Texas Gospel volumes, Acrobat is no more. Nevertheless, gospel historian and project annotator Opal Nations has picked up the standard and is stewarding sales of Texas Gospel Volumes 3, 4, and 5. He plans for Texas Gospel to be a seven-volume series of Peacock singles when all is said and done. Meanwhile, this three-CD set, subtitled Devil Can’t Harm a Praying Man (a 1955 Dixie Hummingbirds song included here), features 85 tracks and a 60-page illustrated booklet by Nations that is so thick it hardly fits in the jewel case. (The liner notes are available for reading at
The 85 tracks on Vols. 3 – 5 take the listener from Peacock 1736 to 1781, or from 1951 to 1957, and feature quartets such as the Dixie Hummingbirds, Sensational Nightingales, Original Five Blind Boys (tracks not already included on a separate Acrobat set dedicated to the Archie Brownlee aggregation), Spirit of Memphis, Gospelaires of Dayton and singers Jessie Mae Renfro and Cleophus Robinson. Gospel hits such as the Birds’ “Trouble in My Way” and “Christian’s Automobile,” and the ‘Gales’ “Somewhere to Lay My Head” and “See How They Done My Lord” are intermixed with lesser-known but equally exquisite tracks such as the Spirit of Memphis’ “When” and the Blind Boys’ pop-flavored “There’s No Need to Cry,” featuring a passionate lead by Brownlee.
Even if you already own many of these recordings on vinyl, there is something about hearing them in chronological order. First, the experience hammers home just how much give and take there was between the “street corner” vocal groups of the mid-50s and gospel quartets when it came to employing doo-wop background vocals, impassioned leads, scooping and soaring falsetto leaps. Second, it helps you appreciate even more the artistry of the Dixie Hummingbirds and Sensational Nightingales and their respective leads Ira Tucker and Julius Cheeks. Third, hearing the various quartets in one sitting gives you a sense of the rivalry of the day, and how amazingly different the Spirit of Memphis was turning out to be. Fourth, it’s easier to carry around than a box full of 78s."
Five of Five Stars
Reviewed by Bob Marovich for The Black Gospel Blog.

Friday, July 7, 2017

Robert Cray - Selected Rarities

This is a compilation of mine...following on from KC's Robert Cray retrospective...

Robert Cray - Selected Rarities

Tracks 1 to 7 have been dubbed by me fom 12" singles RC released in the UK, direct to Yamaha Digital Recorder. They do not appear in this form on any of his albums. (1985-88)

Tracks 8 to 11 are from an FM broadcast of Eric Clapton's Blues Night at the Royal Albert Hall on 03 Feb 1990 - From my tapes.

Tracks 12 to 19 are from an FM broadcast recorded in London on 20 May 1992 - From my tapes

It's a great listen from a master !

Monday, July 3, 2017

Don Bryant - Don't Give Up On Love

Just when you think we may have reached the end of these wonderful 'rediscovery' projects thru sheer attrition; Don Bryant offers this absolute masterpiece. I'm going to have to go buy a copy of this one TODAY! You got any sense, you will too.

"Dedicated to wife Ann Peebles, Don't Give Up on Love is Don Bryant's first secular album since 1969, the same year he placed a co-writing credit on This Is Ann Peebles. Bryant also recorded several singles for Hi Records during the latter half of the '60s, but he settled into penning songs for other artists and spun some gold with his partner, exemplified by "I Can't Stand the Rain." Long after Bryant devoted all his musical energy to the church, Hi Rhythm Section drummer Howard Grimes persuaded the singer to perform with him in the Bo-Keys. Bryant's return to R&B felt so right that it led to Don't Give Up on Love. Recorded in Memphis with several of the Bo-Keys, including Grimes and fellow Hi veterans Charles Hodges (organ) and Hubby Turner (keyboards), as well as bandleader Scott Bomar (bass), it stays true to the tradition of late-'60s/early-'70s Memphis soul. Much of that has to do with the enduring might of Bryant's voice. It seizes attention on the opening cover of Vernon Morrison and Don Robey's "A Nickel and a Nail" -- popularized by O.V. Wright, for whom Bryant wrote material -- and seldom loosens its grip through a set that is mostly originals composed by Bryant either alone or with Bomar. Out of the new songs, "How Do I Get There" is the standout, a resolute hybrid of gospel, blues, and soul where Bryant sings about the promise of the afterlife. Bryant also goes all the way back to 1960 for an update of "I Got to Know," which he wrote for vocal group the "5" Royales, and revisits his "It Was Jealousy," recorded separately during the early '70s by Otis Clay and Peebles. This is one pleasant and pleasing surprise."

Sunday, July 2, 2017

Bobby Marchan - Get Down With It (expanded)

0n the extended conversation around Little Richard and his New Orleans posse; the guy I've left out is Bobby Marchan. Bobby was one of the three lead singers for Huey P. Smith's Clowns as well as a star at the Bourbon Street & Dew Drop drag revues. The first cover here is the base that this collection is made from but I have flushed it out to 32 tracks with some excellent stuff that was left out and a later single rip.

Until I put this thing together I confess I was at best lukewarm on Bobby, but this collection (actually there is a good bit more) has made me a believer; this dude could flat out sing! 

"Bobby Marchan (born Oscar James Gibson) (April 30, 1930 in Youngstown Ohio – December 5, 1999) was a well-respected American rhythm and blues bandleader, MC, singer-performer, recording artist, and female impersonator, who initially began performing in New Orleans nightclubs, specifically the Dew Drop Inn and the Club Tijuana in the mid 1950s.

Marchan also toured with the band of Huey "Piano" Smith, sometimes performing as lead singer / bandleader and substituting vocally for Huey Smith (who reputedly often would stay in New Orleans to write and record while his namesake band "Huey Smith and the Clowns" played clubs and toured on the road). The touring band included James Booker on piano. (Huey did not like leaving New Orleans and his local connections, he also had a penchant for double booking dates so there were often two versions of the band playing at the same time)

One of Marchan's vocal performances with Huey Smith and the Clowns can be heard on the New Orleans R&B recording, "Don't You Just Know It", which was released in 1958. Marchan also had a solo #1 hit on the national R&B charts in 1960 with the tune "There is Something on your Mind," a cover of a song performed by Big Jay McNeely.

Marchan recorded for a handful of small soul labels such as Fire Records, Volt, Dial, Cameo, and Gamble as well as Ace Records, which had released the Clowns' records. Marchan regularly performed at the New Orleans Jazz & Heritage Festival.

In the 1990s his company Manicure Productions was involved in hip hop music booking and promotion including Take Fo' Records bounce music artist DJ Jubilee. He was involved with the formation of Cash Money Records.

Marchan died from liver cancer on December 5, 1999"   

The more I listen, the more I am moved to say that rarely in singing history has anyone had better control of his falsetto than Bobby!  

Texas Gospel, vol 4

Happy Sunday!

The Robey Revolution begins to flower as influences and musicians creep in from the Duke side.

Lots of killer Hummingbirds and Nightingales, Blind Boys of Miss.,  Sister Jessie Mae Renfro, Sister Josephine James...really a remarkable set.

Friday, June 30, 2017

Robert Cray - 34 years of Young Bob

Just one track each from 19 albums...I've always said this would result in a strong comp and it has. The fun thing is that Gus could do the same thing tomorrow and come up with a different, but equally good volume 2. It is an interesting way to listen to his body of work.

One thing that is clear to me is that he shares much more with the Southern Soul of ZZ Hill, OV Wright, and Little Johnny Taylor, than with the Blues of the Kings or even the Texas guys. 

...pssst,   gus has added a volume 2, so now there are 40 tracks!

Wednesday, June 28, 2017

Sherman Robertson - Going Back Home (1998) & Guitar Man Live (2006)

Sherman Robertson is an American blues guitarist, songwriter and singer, who has been described as "one part zydeco, one part swamp blues, one part electric blues and one part classic rhythm and blues." (Wikipedia)

Sherman  Robertson  is  a  blues singer/guitarist born in Louisiana in 1948 and raised in Houston, Texas . He started playing professionally in his teens in the local bar scene and spent some time, during his formative years, on the road as Bobby Bland’s  guitarist. Clifton Chenier heard Robertson at a Blues Festival in 1982 and invited him to join his band – He appeared on a couple of his albums and stayed with him for 5 years up until Chenier's illness and subsequent death in 1987.
Robertson went on to join the bands of Rockin’ Dopsie and Terrance Simien & the Mallet Playboys. He also made an appearance on Paul Simon’s ‘Graceland’ album (on the track Crazy Love Vol II).
After going  solo  Robertson released his first album ‘I’m The Man’ in 1993 on the UK Indigo label produced by Mike Vernon , famous for his productions of  John Mayall’s Blues Breakers with Eric Clapton , Peter Green/ Fleetwood Mac’s early recordings and many others. The album received numerous positive reviews, and was nominated  for a W C Handy Award  He has since toured internationally and released further albums, Here & Now (1996) Going Back Home (1998) Guitar Man - Live (2006) all receiving critical acclaim .
Bruce Iglauer , President of Alligator Records, had this to say about him :
“When I saw him...he was on fire .He ruled the stage. had the audience in the palm of his hand, and his just plain physical showmanship reminded  me of Albert Collins... He’s got that Texas energy, great guitar chops, and is a wonderful, soulful singer.”
It was reported back in 2012 that Robertson had suffered a Stroke but I have still been unable to find any up-to-date reports on his recovery – Here’s hoping  he’s doing well. Anyone know his current situation ? - Gus (back in 2012 with update)
This guy is a beaut ! Just get these gems in your collection...listen and tell me he's not essential to modern Blues history ! ..He's got classic Blues Soul Gospel in his vocals and a modern exciting edge in his guitar style...I first heard him on a Rockin' Dopsie album...and he caught my ear then as a sideman...And still does,,, Louisiana born but Texas is the main influence here ( Albert Collins et al)...What better roots can you have ?...Gus

Tuesday, June 27, 2017

Albert Collins, Robert Cray & Johnny Copeland - Showdown!

AllMusic Review by

Cray found himself in some pretty intimidating company for this Grammy-winning blues guitar summit meeting, but he wasn't deterred, holding his own alongside his idol Albert Collins and Texas great Johnny Copeland. Cray's delivery of Muddy Waters' rhumba-rocking "She's into Something" was one of the set's many highlights.

Monday, June 26, 2017

Robert Cray & Hi Rhythm

OH YES YES YES!!!! The Robert Cray who blew my mind some 20 years ago is BACK!!!. After those first 3 classic albums, it has been spotty at best....until now!!!  Bad Bob has finally seen his calling as the ZZ Hill of his generation! Can't recall being more thrilled by something NEW in this genre for a loooooong time!

Start to finish you gonna be MOVIN', I promise! Vocals better than ever, guitar work brings back the smoke....Damn this is good!!

Ollie Nightengale - Sweet Surrender 1973

This album is essentially a collection of the "Memphis" & "Pride" singles which followed Ollie's departure from Stax...The singles and LP were marketed thru MGM and produced by the Butler's (Jerry and Billy) and Gene 'Bowlegs' Miller, who was directly in charge of the sessions. This is all very high level Southern Soul from a time when that genre was both at it's peak and on the verge of it's decline. Despite having been recorded separately over around a 3 year span, these songs  actually hold together pretty well as an album too.

Simply a MUST HAVE!

Tyrone Davis - Can I Change Your Mind & Turn Back the Hands of Time

Tyrone Davis (May 4, 1938 – February 9, 2005), born Tyrone Fettson, was a leading American soul singer with a distinctive style, recording a long list of hit records over a period of more than 20 years. He had three no. 1 hits on the Billboard R&B chart: "Can I Change My Mind" (1968), "Turn Back The Hands Of Time" (1970), and "Turning Point" (1975).

Tyrone Fettson was born in a rural community twenty miles outside of Greenville, Mississippi to Willie Branch and Ora Lee Jones. He moved with his father to Saginaw, Michigan, before relocating to Chicago in 1959.

Working as a valet/chauffeur for blues singer Freddie King, he started singing in local clubs where he was discovered by record executive/musician Harold Burrage. His early records for small record labels in the city, billed as "Tyrone the Wonder Boy", failed to register. Successful Chicago record producer Carl Davis signed him in 1968 to a new label, Dakar Records that he was starting as part of a distribution deal with Atlantic, and suggested that he use the stage name Tyrone Davis. His first release, "A Woman Needs To Be Loved" was flipped when the b-side started to get radio attention. The song, "Can I Change My Mind" featured a change of vocal style for Davis with a softer, more pleading approach and tone. The record now shot up the listings and spent three weeks on the top of the Billboard R&B chart while climbing to #5 in the Hot 100. It sold over one million and received gold disc recognition. His biggest hit came in early 1970 when "Turn Back The Hands Of Time" also reached #1 in the R&B chart and went up to #3 in the Hot 100 pop chart. Written by Jack Daniels and Bonnie Thompson, this disc also sold over one million copies, and received a gold disc awarded by the Recording Industry Association of America in May 1970.

Davis released about 25 singles during his seven years with Dakar, most of them big R&B sellers produced by Willie Henderson. He finally returned to the top spot with "Turning Point" in 1975. Soon afterwards, Davis switched to the major Columbia record label and recorded seven albums over the next five years with producer Leo Graham and arranger James Mack who had collaborated with him for "Turning Point". Major hits with Columbia included "Give It Up" (#2), "This I Swear" (#6), and "In The Mood" (#6).

1982 brought a change of label to the newly-established independent, Highrise and another major hit, "Are You Serious" (#3 R&B, #57 pop), again produced by Leo Graham, and written by L.V. Johnson. When Highrise closed the following year, Davis switched to a tiny Los Angeles label Ocean Front which lacked promotional muscle to get behind arguably one of his best performances, "Let Me Be Your Pacifier". Davis' days as a major chart act were over but he continued to be a popular live attraction and finally signed in 1996 with Malaco Records, the southern-based blues label recording him on a number of albums.

A stroke in September 2004 curtailed his career, and following complications he died in a Chicago hospital in February 2005 at the age of 66. He left a widow, Ann, to whom he had been married for over 40 years, and several children and grandchildren

Sunday, June 25, 2017

Down & Out - The Sad Soul of The Black South

A long overdue repost ....

I am going to attempt finding some way to explain just how over the top, beyond great, this compilation is. I take some pride in being able to assemble some coherent and powerful compilations myself --- were this one of mine I would be struttin' with my chest puffed out for months! The songs flow, but they offer great variety, the theme is consistent...really well done! If THIS don't float ya' boat then you have clearly been hanging out in the wrong place.

A good part of what runs through this set has seen SOME sort of exposure here, but a surprising bunch is new to me and I'd suspect to y'all too. At the end of the day, this is a marvelous listen that you would be foolish to miss out on.

KC gives it 5 stars!

Texas Gospel, Volume Three

A late service today....

Friday, June 23, 2017

Martha Davis - Chrono-Classics 1946-51

Davis was born in Wichita, Kansas, and raised in Chicago, Illinois. By the mid-1930s, she had met and been influenced by Fats Waller, and performed regularly as a singer and pianist in Chicago clubs. In 1939, she met, and later married, bass player Calvin Ponder (October 17, 1917 - December 26, 1970), who went on to play in Earl Hines' band.

In 1948, Davis and Ponder moved to California, and Davis developed her recording career on Jewel Records in Hollywood with a trio including Ponder, Ralph Williams (guitar) and Lee Young (drums). Their cover of Dick Haymes' pop hit "Little White Lies" reached # 11 on the Billboard R&B chart, followed by a duet with Louis Jordan, "Daddy-O" in 1948, which reached #7 on the R&B chart that year.

Davis and Ponder also began performing together on stage, developing a musical and comedy routine as "Martha Davis & Spouse" which played on their physical characteristics (she was large, he was smaller). The act became hugely popular, touring and having a residency at the Blue Angel in New York City. They appeared together in movies including Smart Politics (with Gene Krupa), and in the mid-1950s, variety films Rhythm & Blues Revue, Rock 'n' Roll Revue and Basin Street Revue. Several of their performances were filmed by Snader Telescriptions for video jukeboxes, and they also broadcast on network TV, particularly Garry Moore's CBS show.

In 1957, after a break of several years, they resumed recording for the ABC Paramount label, with whom they cut two LPs. Davis died from cancer in New York in 1960, aged 42, and Ponder died ten years later, aged 53.

Joey Gilmore - Brandon's Blues

b. Joshua Gilmore, c. 1947, Ocala, Florida, USA. After teaching himself to play guitar at an early age, Gilmore began performing in public with a small band of like-minded youths. At first, he played and sang in church, his repertoire largely religious music, but gradually incorporated secular music and thus widened his audience although he and his band’s club dates were usually in establishments they were too young to legally enter.
In the 60s, Gilmore moved to the southern end of his home state where he became a popular figure on the local blues scene and was often called upon to accompany visiting musicians. He recorded from the mid-70s, releasing some EPs and there was also a late 80s album but it was not until the early 90s that his recordings began to appear regularly. Gilmore has appeared at numerous blues and/or jazz festivals, including Fort Lauderdale, Hollywood, Mississippi Valley, Montreux, Riverwalk, Taiwan, and at the Blues Foundation’s International Blues Challenge in Memphis, Tennessee, where he appeared in 2006 to great acclaim, winning the Best Band division.

Tuesday, June 20, 2017

Jimmy Burns - It Ain't Right 2015

 AllMusic Review by Stephen Thomas Erlewine

It Ain't Right is Jimmy Burns' first studio set in a long time -- 12 years, to be precise, a belated sequel to 2003's Back to the Delta. It Ain't Right doesn't make any pretenses about returning to Burns' Mississippi roots but rather settles into a wonderfully textured soulful groove, something relaxed and elastic, a sound that gives plenty of space to both his clean, hopping guitar and robust vocals. Although the album is devoid of originals, he manages to spin songs by Bobby Rush, Jimmy Reed, Percy Mayfield, Little Walter, and Lowman Pauling toward his soulful style, even finding a way to turn Ben E. King's "Stand by Me" into a bit of an uptempo groover. Not everything here is sprightly, not by a long shot, but the things that stick recall the easy elegance of Sam Cooke, whether it's on the deceptively chipper "Will I Ever Find Somebody?" or the churchy closer "Wade in the Water," and they help turn It Ain't Right into something of a relaxed, heartfelt celebration.

Saturday, June 17, 2017

Boyd Rivers - You Can't Make Me Doubt

Here is something from a backroads country church to light up your gospel Sunday.  One of the great mysteries to me is why Boyd Rivers, who possessed a truly great and unique county blues/gospel voice, hardly had a chance to record.  Alan Lomax was on to him in the 70s and documented him on a few tracks.  Rivers lived and performed well  into the 90s.  Yet only the German L+R label had the sense to allow him to record an album.  Where was Fat Possum when we needed it?

So this is it as far as Boyd Rivers albums go.  It is also a rare album that (I believe) never got an issue on CD, despite the fact that it is from the 1980s.  True, a few other Boyd Rivers tracks made it to a few compilations, most notably the Living Country Blues series.  Still...

Boyd Rivers was also a very powerful live performer, and was fortunately filmed in performance a number of times.  Some of the results are available on youtube.  Check this one out, for example:     Muddy Waters is my probably favorite blues singer, but if I were Muddy Waters and heard that, I would probably stop performing "You Got to Take Sick and Die" from that day on!



Monday, June 12, 2017

The Legendary Meters featuring The JB Horns 1991

I was thinking it was about time for me to drop a bomb, just to maintain some cred out here...well my friends, this is a Mother Bomb! When it comes to fantasy funk collaborations, I don't know how you beat The Meters with The JB horns...let that sink in a minute....whew!

Now to be fair it isn't exactly The Meters, no Zig and no Art, but Russell Batiste and Dave Torkanowski ain't exactly chopped liver now are they? If you manage to sit still thru this then just call the coroner because son, you must be dead!

As I understand it, nobody ever got paid for this recording so I deem it fair game - I did alright tho, sold these two cd's for 100$!

It's been a while since I listened to is a wonder that Leo's guitar didn't burst into flames because the man is on fire!