(2000 ´Delmark´) (68:48/14) Gutes neues Album der starken Sängerin, die sich diesmal neben klassischen Bluesthemen z.B. auch ´Nutbush City Limits´, bekannt von Tina Turner, vorgenommen hat / fine new effort from this powerful singer. Besides her classic Chicago style blues you´ll also find songs like ´Nutbush City Limits´. ZORA YOUNG - voc, JAMES WHEELER - gtr, DANNY DREHER - gtr, KEN SAYDAK - pno, JOHNNY B. GAYDEN - bass, TIM AUSTIN - drums. Learned My Lesson is the celebration of Zora Young´s lifelong love affair with the blues.This is Zora´s first album on an established American label which is surprising since she is one of the most creative blues singers in Chicago. Zora was born in West Point, Mississippi and raised in Chicago where she grew up singing gospel music in a south side church. After years in the R&B ´´chittlin circuit´´, she switched to blues and since then has shared the stage with B.B. and Albert King, played the Chicago Blues Festival many times and tours Europe regularly. Zora´s voice ranges from a melancholy whisper to a rock ´n´ roll scream, and she will have you in her corner with one listen. With this album Zora Young has finally arrived to claim her rightful place as a contemporary blues powerhouse.
(2004 ´Delmark´) (66:30/13) In Mississippi geborene Sängerin, die heute zu den bekannteren Bluessängerinnen in Chicago zählt. Gutes Studioalbum / Born in Mississippi, Zora Young´s regarded one of the finest blues vocalists today in Chicago. Superb studio album. ZORA YOUNG - voc, PETE ALLEN - gtr, BOBBY DIRNINGER - pno/kbd, LEE CAIN - bass, KERMAN FRAZIER - drums, plus horns (2 tracks). Of her first Delmark CD Learned My Lesson (Delmark 748) Living Blues magazine said ´Her rough-edged croon can raise welts or love bumps. She has the versatility to strut comfortably from back-alley funk to uptown jump sophistication.´ Tore Up From The Floor Up features five original compositions, some choice covers and an interview. Guitarist Pete Allen provides most of the musical direction while The Chicago Horns provide support on ´Til The Fat Lady Sings´ and ´Ace Of Spades.´
Most people associate Georgia O’Keeffe with New Mexico, painted cow skulls, and her flower paintings. She was revered for so long—born in 1887, died at age ninety-eight in 1986—that we forget how young, restless, passionate, searching, striking, even fearful she once was—a dazzling, mysterious female force in bohemian New York City during its heyday. In this distinctive book, Karen Karbo cracks open the O’Keeffe icon in her characteristic style, making one of the greatest women painters in American history vital and relevant for yet another generation. She chronicles O’Keeffe’s early life, her desire to be an artist, and the key moment when art became her form of self-expression. She also explores O’Keeffe’s passionate love affair with master photographer Alfred Stieglitz, who took a series of 500 black-and-white photographs of O’Keeffe during the early years of their marriage. This is not a traditional biography, but rather a compelling, contemporary reassessment of the life of O’Keeffe with an eye toward understanding what we can learn from her way of being in the world.
(Dolly/Star-Club) 12 tracks - Re-issue of the original 1961 ´Mercury´ LP album ´A Dynamic Singing Personality . .´ This description by a noted critic, referring to Damita Jo, is a fitting tribute to Mercury´s tiny singing sensation. Born in Austin, Texas, her New Orleans-born parents named her Damita Jo Dublanc (´Little Lady Of White´). An only child, show-ered and guided by the love and talent of an artist mother, Damita began to ´sing out´ long before she could walk. In Santa Barbara, California, where her family moved from Austin, she was quickly recognized as ´Star Material´ as she was her high school´s leading performer and choreographer. After college, during the post World War II years, Damita began to make her mark in Los Angeles night spots and was in constant demand for radio and television appearances. Hollywood had beckoned for her when she was a youngster of 13, but her dad wanted her to stick to her lessons, and nixed a screen test and an offer to tutor her for dancing roles. Her first records were recorded on a Spanish label while she was still in her teens. In 1951 she was signed as featured singer with Steve Gibson & his Red Caps. This led to appearances around the country and starring stints on the nation´s top TV outings. It was with the Red Caps that she attracted national attention. Some of her early 50´s recordings were released on an RCA album in the mid 60´s. In 1958 she decided that the time was right to make it on her own. She signed with Mercury Records and recorded in 1960 ´I´ll Save The Last Dance For You´, her first hit that reached No 22 on the Billboard list. The song was an answer to The Drifters hit ´Save The Last Dance For Me´. She had two more hits in 1961: ´Keep Your Hands Off Of Him´ (which reached No 75) and the slow ´I´ll Be There´ (which reached No 12). In 1961 she also had a big hit in Sweden with ´Dance With A Dolly´, however this song had no success in the US. She also had a minor hit in 1966 with ´If You Go Away´ on EPIC Records. Damita Jo, in short, was a singer in the top rank of girl vocalists in the 50´s and early 60´s. The Big Bopper
(2003/And More Bears) 12 tracks 1956 (32:55) 16 page booklet (english). - Dickson Hall was born in North Carolina as Floyd Sherman Riley. He lived in the West during his teens and has studied folk music since his childhood. - Viele der Outlaws aus dem alten Westen sind längst unsterbliche Ikonen, etwa Jesse James und Billy the Kid. In den Texten der hier vertretenen Songs wurde der Versuch unternommen, all jene ´´Outlaws´´ historisch korrekt darzustellen. Heraus kam eine spannende, abwechslungsreiche Zeitreise durch den alten Westen. JOAQUIN MURIETA He was an outlaw of the Old West whose life has been so romanticized that it has become difficult to separate truth from fiction. His story as presented through the lyrics of this reaffirms the picture that has persisted through the years… JESSE JAMES Beginning his career with Quantrill’s guerrillas during the Civil War, Jesse James formed his own gang at war’s end and became an outlaw… possibly the most famous Western outlaw of American history. It is not known exactly how many banks and trains he robbed, but the number is roughly estimated at 17. That he ever gave any part of the $200,000 he obtained to widows and other poor people... BILLY THE KID (William H. Bonney) Born in New York City on November 23, 1859, Billy the Kid is supposed to have killed at least 12 men before the range war in Lincoln County, New Mexico brought him to national prominence. The facts of the early years of his life are difficult to pin down, but it is generally established that he killed his first man when he was just 12 years old. However, his career as an outlaw did not really begin until the spring of 1877 when the Lincoln County War got underway… BELLE STARR, The romantic treatment of her life by writers of novels and film scripts means that Belle Starr enjoys a reputation she does not deserve. Born near Carthage, Missouri on February 5, 1848, she grew up to be a crude, vulgar, and somewhat ugly woman who spent her life in the company of various outlaws, including the notorious Cole Younger. She reached the peak of her fame when she moved into Indian Territory (Oklahoma) and took up with Sam Starr, a half-blood Cherokee and cattle-thief. They were both finally sent to the penitentiary, sentenced by the notorious ´Hanging Judge´ Isaac Parker, for stealing a horse from a crippled boy… THE DALTON BROTHERS (Robert, Emmett and Grat) Law officers at first, the Daltons were related to Jesse and Frank James through marriage and were blood relatives of the Younger brothers. If the fate of their relatives taught them anything, the Daltons ignored the lesson… BLACK BART (Charles E. Boles) Born in Jefferson County, New York, Bart was the last of the great stage robbers, and became the most famous outlaw in California after the Civil War…
(1995/Brill Tone) Original Brill Building recordings - 57 tracks (31 unreleased) with 12 page booklet. - Gerry Goffin and Carole King are always and rightfully described as the most popular and prolific songwriters of their era, the early Sixties. It was a golden age for minority sounds: the music of soulful, urban or black vocal groups, the best of whom Were perhaps the Shirelles and the Drifters, given material by writers and producers who were young, gifted and Jewish. Gerry Goffin was born in Queens, New York, on 11 February 1930. Although he started writing lyrics over his own one-dimensional melodies when he was eight, he became a qualified chemist before making a career of songwriting many years later. Carole King, née Klein, was born in Brooklyn on 9 February 1941. She started piano lessons at four, tutored by her school-teacher mother. Outgoing and determined, she had formed her own group, the CoSines, by the age of 14 and danced in the aisles at the Alan Freed rock´n´roll shows. By her mid-teens King was signed to ABC-Paramount Records. She then teamed up with Paul Simon to make demo records of other writers´ songs for Frankie Avalon, the Passions and the Fleetwoods. It was not a stunning beginning. At Queens College, however, the quiet lyricist who wrote terrible music crossed paths with the chirpy composer who wrote bad lyrics. Their musical collaboration grew into something more, and they married in 1958. It was Neil Sedaka who opened the door for Goffin and King to join Don Kirshner´s songwriting team at Aldon Music. By the end of 1960 they had written numerous songs but had met with little success. The news that producers Leiber and Stoller were looking for a follow-up single to the Drifters´ ´´Save The Last Dance For Me´´ changed all that. Goffin and King took demo singer Tony Orlando into the studio and cut four songs, including ´´Some Kind Of Wonderful´´ (which the Drifters actually used) and Will You Love Me Tomorrow´´. Arranged by Carole King and sung by the Shirelles, ´´Will You Love Me Tomorrow´´ gave the team their first and biggest hit song. It became a US Number 1 in early 1961 and reached Number 3 in the UK.
(2017/Ace) 28 tracks, 1950s, 12-seitiges Booklet mit detailliertem Begleittext zu jedem Song von Ian Saddler, plus viele seltene Photos und Label Abbildungen. - Folgel 19 der bei Sammlern sehr beliebten Reihe mit ausgesuchten R&B; Rock, Blues und Cajun-Tracks aus Louisiana. Fortsetzung der beliebten CD-Serie mit Fokus auf Louisiana und seine Rock’n’Roll und Blues-Szene in den 1950er Jahren – ein spannender Schmelztiegel, nicht nur wegen der französischen Einflüsse. Die Compilation wurde von Ian Saddler zusammengestellt, der sich hier Vintage R&B widmet. - Back in the early 50s manic Memphis DJ Dewey Phillips, the man who broke Elvis, called his radio show Red, Hot & Blue – a wonderfully descriptive title which aptly illustrates the contents of this CD, the 19th in the ´´By The Bayou” series and the sixth devoted to R&B. Whether from New Orleans in the east or Lake Charles in the west, whether fast and furious or slow and mournful, South Louisiana’s brand of R&B had a distinctive sound which influenced a whole generation of the state’s young rock’n’rollers, creating a blend which became known as swamp pop. Here – hidden amongst the red, hot and blue – can be heard the embryonic sounds of that music. As previously in the series, this CD contains a mix of the famous and the totally unknown, with offerings from Guitar Jr, Lonesome Sundown and Cookie & the Cupcakes, through cult names such as Left Hand Charlie, Charles Sheffield and Little Victor to artists for whom we don’t even have a name – each play a part in bringing you a package which runs the whole gamut of South Louisiana rhythm & blues. That embryonic swamp pop sound is typified by Guitar Jr’s ‘Family Rules’, a song still sung throughout South Louisiana and into S.E. Texas where the oil business took many of Cajun descent. It is artists of this background who keep R&B alive today, while it can be difficult to find black musicians who play this genre of music. A couple of years ago Louisiana R&B veteran Carol Fran took four of us out to find a Monday night jam session but discovered several of her old haunts closed down. Eventually she found a club with a jam going on. They were younger musicians not playing Carol’s kind of music but instantly recognised her, got her on stage and a good old R&B blast took place. With the dearth of this exciting music as a live entertainment, its preservation through the release of long-lost tracks gathers in importance. But, hold on, this ain’t no history lesson, this is rompin’, stompin’ music to be enjoyed – so crank up your hi-fi, slip this CD in your player, grab a glass of something you enjoy and let the bon temps roule. IAN SADDLER
(RCA - Special Collector´s Edition) 10 tracks Mono - may be played on either monaural or stereophonic phonographs - few copies The sensational Astronauts, RCA Victor´s five-man space team that orbits at 33 1/2 rpm, have won for themselves an A-OK rating the world over. In this country they have made numerous appearances on network TV—including ´Hullabaloo,´ the top-rated teen show—and theirs is the only group of its kind that has played over 100 universities, performing for concerts and dances. The boys have their own TV program, ´Count Down with the Astronauts,´ which is seen in four major West Coast markets, and there are plans to syndicate the show nationally. Ever since the group´s formation in Boulder, Colorado, the Astronauts have traveled quickly in one direction UP ! Bob Demmon, the oldest of the Astronauts, is the group´s leader. Born in Boulder, Bob can´t remember ever wanting any career other than one in music. He started trumpet lessons in the fifth grade, sang in a choir in junior high school, studied piano, and won six straight blue ribbons at Colorado solo contests during high school. When he started school at the University of Colorado, his mother put four hundred dollars in a bank account for him, and that very afternoon he went to Denver and spent it on a new electric guitar. Bob also managed to keep his college average at a B, and was graduated in 1962 from the University with a Bachelor of Music degree. Rich Fifield plays lead guitar for the Astronauts and does half the up-front singing. Born in Nebraska, Rich too always wanted to be a musician— and made his ´unprofessional´ debut when he was five, singing for ice cream cones at a local malt shop. He made his professional debut in high school, singing with a local combo, and since 1958 (when he was seventeen) , Rich has supported himself as a musician. He studied at Colorado State University, and joined the Astronauts in August of 1961. Of all the Astronauts, Jim Gallagher (youngest of the Astronauts, who are all in their twenties) comes from the most musical family. His father played trumpet for bands in Chicago for about ten years and his mother was a vocalist with the Hal Kemp band, among others. But Jim didn´t always want to be a musician ; until the third grade, he had his heart set on medicine ! By the time he reached eighth grade, drumming ´in any form´ was what he wanted to do— and drumming is what he has done ever since. For the Astronauts, Jim is a one-man percussion section who builds the big beat behind the group´s four twanging guitars. Jim studied at the University of Colorado in Boulder, but left school to join the Astronauts. Dennis Lindsey writes most of the Astronaut´s comedy material, plays guitar, and also displays a unique talent for vocal imitations. A Coloradan born and bred, Dennis studied at the Pasadena Playhouse in California and at the University of Colorado. He enjoys dramatics and has composed music. His spare time is devoted to activities ranging from painting and Spanish guitar playing to hunting, fishing and skiing—favorites of most of this action group. ´I had a lot of ambitions when I was a child,´ says Stormy Patterson, the Astronaut´s bass guitarist. ´First I wanted to own a large ranch, then I wanted to be a movie star.´ Storm began his musical career by learning to play the ukulele when he was ten. He bought his first guitar at thirteen, and at fifteen was playing in his first rock-and-roll band. Storm studied at Colorado State College in Greeley, but left school to play with the Astronauts. He shares the up-front honors with Rich Fifield. The Astronauts, all five, are GO all the way, as this collection of rousing favorites proves.
(2011 ´Delmark´) (60:19/14) Toronzo Cannon, Jahrgang 1968, ist zweifelsohne eine der Bluesüberraschungen des Jahres! Erstaunlich, mit welchem Selbstbewusstsein er seinen eigenen Songs arrangiert und interpretiert. Sein Gitarrenton ist satt, manchmal kräftig angezerrt und laut mit viel Sustain. Sein Gesang ist kraftvoll und eigenständig und verbindet Blues mit Soul. Jahrelang hat er sich mit schlecht bezahlten Jobs durchgeschlagen. Das könnte sich mit diesem herausragenden Album ändern! Sehr zu empfehlen ´My grandfather´s records were consistent blues.´ remembers Toronzo, who was born in Chicago on Valentine´s Day. 1968. ´And then when my aunts and uncles would come over. that´s when the blues would be played. Whenever there was a family thing – like my aunt. my uncle, my grandfather´s brother and his wife. they would come over and play cards and all of that stuff, and at family reunions, you [would] hear the music.´ It was in the air around the neighborhood. as well. Toronzo grew up on the South Side. not far from Theresa´s Lounge, the legendary little basement juke at the corner of 48th and Indiana where Junior Wells held forth whenever he was in town. ´My uncle, Richard Cannon. worked for Theresa´s.´ he recalls. ´He worked down in there´ a general overall guy. That´s how he got to play drums with Buddy [Guy] and Junior whenever their drummer was late. I used to go to Baldwin Ice Cream, my brother and sister and I, right down the street from Theresa´s, about half a block. I would look over the banister, because I knew my uncles hung out there. I couldn´t get in, of course, but I would just look down there to see what´s going on. All this stuff started coming back to me when I started playing guitar years later.´ By that time. Toronzo was in his early 20s. and he still wasn´t thinking of himself as a bluesman. ´I was listening to a John Cougar song´ it had a heavy acoustic sound in it. My sister was taking piano lessons. and I asked her, and she bought me an acoustic guitar, a Harmony. at a pawn shop. And that´s how I started. ´I was listening to a lot of reggae, too. at the time: I´d look at videos of Bob Marley playing. and that´s how I learned my chords. I knew of Hendrix, but I didn´t really ´know´ Hendrix when I started playing guitar. I heard tapes of him, but they were always bootleg tapes, not good quality. But then when I saw a videotape. it just freaked me out.´ The pieces were coming into place. but it took some immersion in the live music scene for the aspiring young fretman to find his blues inspiration – which, in his case. meant re-kindling something that had been dormant inside him for years. ´When I had a jam to go to.´ he explains, ´it would be a blues jam. My aunt´s records and my grandfather´s records and my uncles´ and all of that started coming back [to me]´ I was like. ´Oh. okay – all right!´ I started putting names with the stuff that I used to hear –the Tyrone Davises and the Johnnie Taylors, and then the Muddys and the Howlin´ Wolfs and all of that — I just got more into it. Going back, thinking about my grandfather´s music, my aunts and uncles. and Theresa´s. and all that stuff started coming back — ´Okay. wow, dig this!´ Man. I lived in a rich blues neighborhood and didn´t even know it!´ Toronzo´s first professional gig was with vocalist Tommy McCracken at the Taste of Chicago. the city´s annual lake front food festival, in about 1997. Since then, he´s become steadily active on the Chicago scene as both a bandleader and a sideman, and he´s also been received enthusiastically overseas. In 2007. his self-released CD MY WOMAN garnered critical and popular acclaim. As this disk shows. Toronzo´s gifts — as both a lyricist and an improviser — continue to develop and become richer. That shouldn´t be surprising, considering the role models he´s acquired over the years. ´Elmore James. J.B. Hutto, Hound Dog Taylor,´ he enthuses, ´those guys put chill bumps on my arms, and they make my eyes well up with tears sometimes. When they come to that down-home, hollerin´ type blues. those cats kill me, man, and I love ´em. I wanted to kinda give a shout-out to that kind of blues. She Loved Me is like [Muddy Waters´ version of Slim Harpo´s] King Bee, like a dirty kind of King Bee-type thing...