Entries tagged with “Pee Wee Crayton”.


ARTISTSONGALBUM
Jimmy And Mama Yancey Monkey Woman Blues Chicago Blues Piano Vol. 1
Otis Spann It Must Have Been The Devil Genesis: Beginnings Of Rock Vol. 3
Al Winter Boogie 88 Hollywood Boogie: Obscure Piano Blues & Boogie Woogie From Los Angeles
Mable Hillery Lonesome Road It's So Hard To Be A Nigger
Mable Hillery Mr. President It's So Hard To Be A Nigger
Jimmy WitherspoonBig Family Blues 1950s R&B From Dolphin's Vol. 2; Toast Of The Coast
Tony AllenYou're A Mean And Evil Woman 1950s R&B From Dolphin's Vol. 1; On With The Jive
Lucille Bogan and Papa Charlie Jackson Jim Tampa Blues Papa Charlie Done Sung That Song
Laura DukesBricks In My PillowTennessee Blues Vol. 1
Elmore James Strange Angels Something Inside Of Me
Wild Jimmy Spruill Hard GrindScratchin': Wild Jimmy Spruill Story
Guitar Gable Long Way from HomeRhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies
Pee Wee CraytonRockin the Blues Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51
John Lee Hooker I Don't Be Welcome HereThe Complete1948-51 Vol. 3
Blind Joe Hill Highway 13 First Chance
Jimmy Reed I'm Just Trying To Cop A Plea Soulin'
Tampa Red I Still Got California On My MindThe Bluebird Recordings 1934-1936
Lane HardinCalifornia Desert Blues Blues Images Vol. 9
Jesse Thomas Gonna Move to California Jesse Thomas 1948-1958
Lawyer Houston Out In CaliforniaLightning Hopkins: Lightning Special Vol. 2
Howlin' WolfCalifornia BoogieSmokestack Lightning: The Complete Chess Masters
Johnny WoodsSo Many Cold MorningsSo Many Cold Mornings
John Tinsley Cotton Picking BluesCountry Blues Roots Revisted
Walter Davis Strange Land BluesWalter Davis 1930-1932
Roy HawkinsStrange LandBad Luck Is Falling
Roger (Burn Down) GarnettLighthouse BluesThe Frog Blues And Jazz Annual No. 1
Dorothy Everetts Macon Blues The Frog Blues And Jazz Annual No. 1
Irene Wiley Bo Hog BluesThe Frog Blues And Jazz Annual No. 1
Jimmy RushingSomebody's Spoiling These WomenBlues & Gospel Kings Vol. 4

Show Notes:

ctf10024 (1)
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A wide ranging mix show today  including songs a pair of sides by singer Mabel Hillery, sets of piano blues, some heavy duty guitar slingers, a pair of sets revolving around specific lyrical themes, music from the vaults of King Records and west coast record man John Dolphin and a batch of outstanding early pre-war blues sides.

Shortly after the death of folklorist Tary Owens on September 21, 2003, Brad Buchholz, wrote that, “Tary Owens devoted most of his life to music, though only rarely to his own. The greater mission, to Owens, was to champion the music of forgotten or unsung Texas bluesmen—to put their songs on records, to place them on a stage, to encourage a larger public to celebrate their artistry.” Owens operated the Catfish and Spindletop labels issuing some fine recordings of neglected Texas artists. We spotlight two tracks from Texas Piano Professors by little recorded piano men Dr. Hepcat, Grey Ghost and Erbie Bowser. I want to thank Gerrit Robs for making this album available to me.

We spin a trio of tracks from the Frog Blues And Jazz Annual No. 1, which I recently picked up along with the second and third issues. The magazine does a great job filling the hole left by the late lamented 78 Quarterly. The Annuals are something between a magazine and a softbound book, roughly 8.5 inches by 11.75 inches with 178 pages. They are edited (and  contributed to) by Paul Swinton, owner of Great Britain’s Frog Records, one of the  premier prewar jazz and jazz/blues reissue record companies. Each Annual comes with a companion CD featuring 26 cuts that reflect the articles in the Annual.  Most of the blues tracks have appeared on other collections, but Roger Garnett's marvelous "Lighthouse Blues" (recorded for the Library of Congress in 1939) and Irene Wiley's fantastic "Bo Hog Blues" (with a probable late 1940's recording date) have not been issued before. We also spin Dorothy Everetts terrific "Macon Blues" from her lone 1928 78 record.

A member of The Georgia Sea Island Singers (she joined in 1961), Mable Hillery was less known than leader, Big John Davis or Bessie Jones, who also had her own performing career. Between 1961 and 1965 she toured the college circuit of campuses, coffee houses, church basements, and festivals, from Berkeley to Philadelphia, from the Ash Grove in Los Angeles to the Café à Go-Go in New York City. Hillery was very active in civil rights issues during the 60's. In 1968, after touring in England, where she did TV and concert dates, Hillery made a her only album for the record label Xtra, It's So Hard To Be A Nigger, which has never been issued on CD. This is a (The Frog Blues And Jazz Annual No. 1)wonderful record and Hillery was a tremendously expressive singer. The acapella title track sounds like a lost field recording by the Lomax's or Lawrence Gellert. A few other sides by her appear on various anthologies. She died at the age of 46 in 1976. 

We spin several songs with lyrical themes including several revolving around "California" and several using the title "Strange Land." In 1936 Robert Johnson famously sang the lines "But I'm cryin' hey baby, Honey don't you want to go/Back to the land of California, to my sweet home Chicago." This line always seemed a bit confusing too me but I think many blues singers viewed California as an idyllic, almost mystical place far from the Jim Crow south. From 1934 we spin Tampa Red's jaunty "I Still Got California On My Mind", Lane Hardin's "California Desert Blues" ("When I reach old Los Angeles, Californy, you oughta heard me jump and shout"),  Jesse Thomas' "Gonna Move to California", Howlin' Wolf's "California Boogie" and "Out In California" by Lawyer Houston:

Well I'm going out on Central
Going to get me a room at the hotel Dunbar
And then I'm going out to Hollywood to become a movie star

"Way out in California, that's where I long to be" sings Walter Davis in "Strange Land Blues." Roy Hawkins cut the doomy "Strange Land" in 1948 and updated it 1961.

We spin three tracks from the series Blues & Gospel Kings which spotlight early blues and gospel from King records. There are four volumes in the series spanning the years 1945 through 1952. Founded by Syd Nathan in 1943, King Records was one of the most influential independent labels of the 1940s and 1950s. By the end of the latter decade, it had become the nation's sixth largest record company. The label originally specialized in country music and." King advertised, "If it's a King, It's a Hillbilly – If it's a Hillbilly, it's a King." The company also had a "race records" label, Queen Records (which was melded into the King label within a year or two) and most notably (starting in 1950) Federal Records which launched the singing career of James Brown. In the 1950s, this side of the business outpaced the hillbilly recordings.

We also feature tracks from west coast record man John Dolphin and King Records. The legendary John Dolphin, also known as Lovin’ John, was one of the first and most well respected, black business man who made his way in the music business of Los Angeles in the 1940s and 50s. Dolphin first entered the music business as a retailer where in 1948, when he opened Dolphin’s of Hollywood, a record store on Vernon Avenue that would stay open 24 hours a day.The store featured deejays broadcasting on the local station of KRKD, in front of the huge, glass window. In 1950, John Dolphin mounted his own label, Recorded In Hollywood, eventually selling the label to Decca. Dolphin launched follow-up labels including Lucky, Money and Cash. In 1958 Dolphin was shot and killed by a disgruntled songwriter. The Ace label has issued two volumes of recordings made by Dolphin: On With The Jive! 1950s R&B From Dolphin's Of Hollywood Vol. 1 and Toast Of The Coast: 1950s R&B From Dolphin's Of Hollywood Vol. 2.

Mabel Hillery
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We play a set of guitar heavy hitters today, most from some recent reissues. The track by Wild Jimmy Spruill comes from a great 2-CD set, Scratchin’: The Wild Jimmy Spruill Story. After arriving in New York in 1955 Spruill went on to play guitar on a staggering number of records notably for Bobby and Danny Robinson’s group of labels, including Fire, Fury, Enjoy, Everlast and Vim. He also cut some terrific sides under his own name. Our Pee wee Crayton cut comes from Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51, the third CD on the Ace label of Crayton's Modern sides. "Long Way From Home" by Guitar Gable comes from another recent Ace reissue, Rhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies the tenth volume in the “By The Bayou” series, pulling sides from the  vaults of J.D. Miller’s Crowley studio.

 

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ARTISTSONGALBUM
Pee Wee Crayton Central AvenueThe Modern Legacy Vol. 1
Pee Wee Crayton Louella BrownThe Modern Legacy Vol. 1
Pee Wee Crayton Texas HopThe Modern Legacy Vol. 1
Big Mama Thornton Cotton Picking Blues1950-1953
Big Mama Thornton Let Your Tears Fall Baby1950-1953
Big Mama Thornton They Call Me Big Mama1950-1953
Johnny "Guitar" Watson Motor Head Baby1952-1955
Johnny "Guitar" Watson Half Pint of Whiskey1952-1955
Johnny "Guitar" Watson What's Goin' On1952-1955
Pee Wee Crayton Blues After HoursThe Modern Legacy Vol. 1
Pee Wee Crayton Change Your Way of Lovin'The Modern Legacy Vol. 1
Pee Wee Crayton Rockin' The BluesThe Modern Legacy Vol. 1
Big Mama Thornton Walking Blues1952-1955
Big Mama Thornton Hard Times1952-1955
Big Mama Thornton Hound Dog1952-1955
Johnny "Guitar" Watson I Love to Love You 1952-1955
Johnny "Guitar" Watson Hot Little Mama1952-1955
Johnny "Guitar" Watson Too Tired1952-1955
Pee Wee Crayton The Telephone Is RingingTaste of the Blues, Vol. 1
Pee Wee Crayton When It Rain It PoursComplete Aladdin & Imperial Recordings
Big Mama Thornton Willie Mae's Blues1950-1953
Big Mama Thornton I Smell A RatHound Dog: The Peacock Recordings
Big Mama Thornton Rockaby BabyHound Dog: The Peacock Recordings
Johnny "Guitar" Watson Someone Cares for Me Hot Just Like TNT
Johnny "Guitar" Watson Don't Touch Me (I'm Gonna Hit the Highway)Hot Just Like TNT
Johnny "Guitar" Watson Those Lonely, Lonely NightsHot Just Like TNT
Johnny "Guitar" Watson Three Hours Past MidnightHot Just Like TNT
Big Mama Thornton Stop A-Hoppin' on Me Hound Dog: The Peacock Recordings
Pee Wee Crayton Do Unto OthersComplete Aladdin & Imperial Recordings
Johnny "Guitar" Watson One Room Country ShackThe Original Gangster of Love: The Keen Records Sessions
Pee Wee Crayton Runnin' WildComplete Aladdin & Imperial Recordings
Big Mama Thornton Yes, BabyHound Dog: The Peacock Recordings
Johnny "Guitar" Watson Gangster of LoveThe Original Gangster of Love: The Keen Records Sessions
Johnny "Guitar" Watson Looking BackThe Original Gangster of Love: The Keen Records Sessions

Show Notes:

Pee Wee Crayton
Pee Wee Crayton

Today's show is the third of a series spotlighting some fine West Coast artists that I wanted to feature in more depth, the bulk form Texas and California, who cut sides for the myriad labels that popped up in the immediate port-war era. In California the blues thrived around around the Los Angeles, Richmond, Oakland and San Francisco Bay areas. Many of the artists were transplanted Texans who had come to California during the war year to find jobs in the booming defense industry in the Oakland-San Francisco Bay area. Connie Crayton was a transplanted Texan who relocated to Los Angeles in 1935, later moving north to the Bay Area. He signed with the Bihari brothers' L.A.-based Modern logo in 1948, and continued through the 50's cutting fine sides for Imperial and Vee-Jay. Big Mama Thornton was born in Alabama, spent several years singing with Sammy Green's Georgia-based Hot Harlem Revue before relocating to Houston in 1948. In Houston she recorded for the locally based Peacock label through the end of the 50's before settling in San Francisco. Johnny Watson was born in Houston and started playing the jule joints as a teenager, performing as a vocalist, pianist, and guitarist . He moved to Los Angeles around 1950 where he made his debut for Federal in 1952.

Connie Crayton was a transplanted Texan who relocated to Los Angeles in 1935, later moving north to the Bay Area. Crayton told interviewer John Breckow, "We got to be real good friends", speaking of T-Bone Walker. According to another Pee Wee interview, T-Bone "showed me how to string up the guitar to get the blues sound out of it. T-Bone was gonna try to help me learn how to play. My timing was real bad. T-Bone helped me with my timing. He would play the piano or the bass and show me how to play in time." The two went on to stage friendly battles, and when T-Bone's health problems interfered with his gigs late in life, Crayton was on call to fill in whenever he was available. Pee Wee was also influenced by Charlie Christian who he saw perform in 1941 and John Collins who worked with the Nat King Cole Trio. In 1946 he joined Ivory Joe Hunter’s band and appeared on a half-dozen recordings issued on the Pacific label.

Crayton signed with the Bihari brothers' L.A.-based Modern logo in 1948, quickly hit with the instrumental "Blues After Hours" , which topped the R&B charts in late 1948. "Texas Hop" trailed it up the charts shortly thereafter, followed the next year by "I Love You So." But Crayton's brief hitmaking reign was over soon over. After recording prolifically at Modern to no further commercial avail, Crayton moved on to Aladdin and, in 1954, Imperial. Under Dave Bartholomew's production, Crayton made some of his great waxings in New Orleans: "Every Dog Has His Day," "You Know Yeah," and "Runnin' Wild” among others.

In 1957 he hooked up with Vee-Jay in Chicago cutting some find sides, including one of his best, "The Telephone Is Ringing." The next decade brought Pee Wee his least glorious musical period as he mostly drove a truck and played locally. A fine LP he recorded didn't even credit him, appearing under the name of The Sunset Blues Band. Johnny Otis showcased Pee Wee in a memorable program at the 1970 Monterey Jazz Festival (issued on Epic), leading to a comeback LP on Vanguard (The Things I Used To Do), and Otis later recorded an LP by Pee Wee for his Blues Spectrum label. Pee Wee continued to record sporadically and added some prestigious festivals and international tours to his resume. Pee Wee's last two albums were recorded in Riverside, California for Murray Brothers, at the instigation of the label's A & R man, blues harpist Rod Piazza. Pee Wee passed in 1985.

Big Mama Thornton was born in Ariton, Alabama and her introduction to music started in a Baptist church, where her father was a minister and her mother a church singer. Thornton left Alabama at age 14 in 1941, following her mother's death. She joined Sammy Green's Hot Harlem Revue. She spent seven years with them in which she toured the South. In 1948, she settled in Houston, Texas, where she hoped to further her career as a singer She was also a self-taught drummer and harmonica player, and frequently played each instrument onstage. Thornton began her

Big Mama Thornton: I Smell  A Ratrecording career in Houston, signing a recording contract with Peacock Records in 1951.

While working with another Peacock artist, Johnny Otis, she recorded "Hound Dog," written by young songwriters Jerry Leiber and Mike Stoller as requested by Johnny Otis. The record was produced by Johnny Otis, and went to number one on the R&B chart. Although the record made her a star, she saw little of the profits. She continued to record for Peacock until 1957 and performed with R&B package tours with Junior Parker and Esther Phillips.

Her career began to fade in the late 1950's and early 1960's. She left Houston and relocated to the San Francisco Bay Area, where she mostly played local blues clubs. In the arly-'60s she cut 45s for West Coast labels like Irma, Bay-Tone, Kent, and Sotoplay. In 1966, Thornton recorded Big Mama Thornton With The Muddy Waters Blues Band and in 1968 the album Ball 'n' Chain. Thornton performed at the Monterey Jazz Festival in 1966 and 1968, and at the San Francisco Blues Festival in 1979. In 1965 she performed with the American Folk Blues Festival package in Europe. While in England that year, she recorded Big Mama Thornton in Europe and followed it up the next year in San Francisco with Big Mama Thornton with the Chicago Blues Band. Both albums came out on the Arhoolie label. She record through the 70’s, most notably for Vanguard, before passing in 1984. The funeral was led by her old friend, now Reverend Johnny Otis, and many artists paid tribute.

Johnny Watson was born in Houston on February 3, 1935. His father was a pianist who instructed his son in the rudiments of music, and at age 11 Watson was given a guitar by his grandfather, a preacher who disapproved of the blues and made the gift conditional on his never playing that most secular of musical forms. But "that was the first thing I played," Watson recalled in an interview. As a youth, Watson had heard the blues guitar of fellow Texan T- Bone Walker. He was also influenced by guitarist Clarence "Gatemouth" Brown. Moving with his family to Los Angeles around 1950 and entered and won a variety of talent contests and shows. This exposure led to work as a sideman (sometimes still on piano) in various West Coast jump blues and jazz bands of the time, including those led by Chuck Higgins and Amos Milburn. Watson debuted on the Federal label in 1953, billed as "Young John Watson", cutting three sessions for the label through 1954.

After his session for the Federal label he hooked up with RPM, a subsidiary of Modern, cutting several sessions for the label through 1956. He scored his first hit in 1955 for RPM with a note-perfect cover of New Orleanian Earl King's two-chord swamp ballad "Those Lonely Lonely Nights." One day, Watson and company co-owner Joe Bihari went to see the 1954 Sterling Hayden film "Johnny Guitar," and Watson acquired the nickname that would stick with him for his entire performing career.Johnny Watson was born in Houston on February 3, 1935. His father was a pianist who instructed his son in the rudiments of music, and at age 11 Watson was given a guitar by his grandfather, a preacher who disapproved of the blues and made the gift conditional on his never playing that most secular of musical forms. But "that was the first thing I played," Watson recalled in an interview. As a youth, Watson had heard the blues guitar of fellow Texan T- Bone Walker. He was also influenced by guitarist Clarence "Gatemouth" Brown. Moving with his family to Los Angeles around 1950 and entered and won a variety of talent contests and shows. This exposure led to work as a sideman (sometimes still on piano) in various West Coast jump blues and jazz bands of the time, including those led by Chuck Higgins and Amos Milburn. Watson debuted on the Federal label in 1953, billed as "Young John Watson", cutting three sessions for the label through 1954.

Those Lonely Lonely NightsWatson toured with such luminaries as Little Richard and acquired a reputation for exciting stage theatrics. "I used to play the guitar standing on my hands," he recalled in an interview. "I had a 1 50-foot cord and I could get on top of the auditorium–those things Jimi Hendrix was doing, I started that." During this period he also began to style himself as the "Gangster of Love," after the title of a 1957 single Watson cut for the Keen label. Watson scored a number six rhythm-and-blues hit with "Cuttin' In" on the King label in 1962. During the 1960s he also teamed frequently with vocalist Larry Williams, with whom he toured successfully in Britain as well as in the U.S. and recorded the much-covered "Mercy Mercy Mercy" in 1967.

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Madelyn James Long Time BluesMemphis Blues 192 -1938
Madelyn James Stinging Snake BluesMemphis Blues 192 -1938
Holy Ghost Sanctified SingersJesus Throwed Up A Highway For MeMemphis Sanctified Jug Bands 1928-1930
Eli Green Brooks Run Into The OceanYou Got To Move
Eli Green Bulldog Blues You Got To Move
Blind Willie JohnsonYou're Gonna Need Somebody on Your BondThe Complete Blind Willie Johnson
Willie Lee HarrisNever Drive a Stranger from Your Door Rare Country Blues 1928-1937
Hammie NixonThe Judge, He Pleaded (Viola Lee Blues)Tappin' That Thing
Nat RiddlesCross My Heart New York Really Has the Blues Vol. 3
Roy Dunn Rollin' MillBlues Come To Chapel Hill
Frank Edwards Love My BabyBlues Come To Chapel Hill
Elester AndersonFurther Down The Road
Carolina Country Blues
Henry JohnsonSittin' Down ThinkinCarolina Country Blues
Rosie Mae Moore Stranger BluesFour Women Blues
Memphis MinnieWhen The Sun Goes Down (Part 2)Four Women Blues
Clara SmithWoman to WomanThe Essential
Sunset Blues Band & Pee Wee CraytonPiney Brown Blues Funky Blues
Kansas City RedOpen Your Heart Original Chicago Blues
Lovie Lee West Side WomanGood Candy
Cousin Joe Juice On The Loose Cousin Joe Of New Orleans
Cousin Joe Evolution BluesCousin Joe Of New Orleans
Buddy Lewis Lonesome Bedroom BluesJuke Joint Blues 2
Left Handed CharlieMiss My LagnionJuke Joint Blues 2
Big ChenierPlease Try to RealiseJuke Joint Blues 2
Larry Johnson & Nat RiddlesI Believe Basin' Free
Larry Johnson & Nat RiddlesJohnson! Where Did You Get That Sound?Johnson! Where Did You Get That Sound?
Larry JohnsonFour Women Blues Fast & Funky
Charlie PattonJersey Bull BluesThe Best Of
Johnnie TempleJinks Lee BluesJohnnie Temple Vol. 3 1940-1949

Show Notes:

Cross my fingers, this is the first mix show in some time that I'm not featuring somebody who just passed away. Lots of interesting records on tap today including a set revolving around the Memphis Jug Band, twin spins of Eli Green, Cousin Joe, several tracks featuring New York artists Larry Johnson and Nat Riddles, some  fine latter day Chicago blues and some exceptional pre-war blues.  We spotlight several out-of-print records including a pair on the Flyright label and an obscure one featuring the great Pee Wee Crayton.

Features the only tracks by McDowell's mentor, Eli Green.
Reissued on CD as You Got To Move

A month ago we did an in-depth feature on the Memphis Jug Band. Today we open up with an addendum of sorts with two tracks by singer Madeyln James and one by the Holy Ghost Sanctified Singers. There's speculation that the Memphis Jug Band was the group who recorded in Memphis on a February 21, 1930 date resulting in four gospel and two secular sides. As the the Holy Ghost Sanctified Singers on "Thou Carest Lord, For Me", "Jesus Throwed Up A Highway For Me", "Sinner I'd Make A Change", "When I Get Inside The Gate" and backing singer Madelyn James on "Stinging Snake Blues" and "Long Time Blues."

Eli Green was a mentor to Mississippi Fred McDowell and also Junior Kimbrough. With McDowell's help, Chris Strachwitz of Arhoolie records, located Green in Holly Springs, Mississippi in 1965. He recorded him on the two songs, "Brooks Run Into The Ocean" and "Bulldog Blues", with backing by McDowell. These are the only recordings Green ever cut and are available on the Arhoolie CD, You Got To Move.

Born December 20, 1907 in Wallace, Louisiana, Cousin Joe made a name for himself on the Crescent City nightclub circuit of the mid-1930s before relocating to New York City in 1942; there he recorded prolifically through the 40's. He returned to New Orleans in 1947, recording material for the Deluxe and Imperial labels before signing a five-year pact with Decca; however, he entered the studio only rarely in the years to follow. After a long hiatus, he recorded and released an impromptu 1971 session under the title Bad Luck Blues, followed in 1973 by Cousin Joe from New Orleans where today's tracks come from. His activities were again curtailed in the years to follow, although he cut a final album in 1983 and in 1987 he published an autobiography, Cousin Joe: Blues from New Orleans. He died October 2, 1989.

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Nat Riddles played an important role in the New York blues scene during the late 1970's to mid 1980's. He became known in New York blues circles for his street performances with guitarist Charlie Hilbert and as well as performing with Larry Johnson. He also performed regularly at Dan Lynch's in NYC  a blues hotbed that that saw the emergence of recording artists like The Holmes Brother and Bobby Radcliff. Almost Riddles' recordings are out of print: he has scattered sides on various albums for the Spivey label (appears on several volumes of New York Really Has The "Blues Stars") plus a whole album on the label (The Art Of Nat Riddles). Riddles also appears on a fine recording with Larry Johnson for the L + R label, Johnson! Where Did You Get That Sound?, and a posthumous album of live recordings with Charlie Hilbert that came out in 2007. Riddles died of leukemia in August 1991 at the age of 39.

After a stint in the Navy from 1955 to 1959, Larry Johnson moved to New York and befriended Brownie and Sticks McGhee and began playing on records by Big Joe Williams, Harry Atkins, and Alec Seward. It was Seward who introduced Johnson to his future mentor, Rev. Gary Davis. He released his first single, "Catfish Blues"/"So Sweet," in 1962 and appeared on numerous live dates with Davis. By 1970, Johnson began releasing albums on small labels. Although never prolific, he cut consistently fine albums including Fast and Funky from 1971 and where our featured track, "Four Women Blues" comes from, the out-of-print Basin Free with Nat Riddles on the Spivey label and the marvelous Blues For Harlem issued in 1999.

We spin some terrific latter day Chicago blues from the under recorded Kansas City drummer/singer Kansas City Red and pianist Lovie Lee. By the early 1940's Red was hanging round with Robert Nighthawk. One night the band’s drummer took ill right before a gig and he offered to fill in despite never having played drums before. He ended up playing drums for Nighthawk until around 1946. After his split with Nighthawk he briefly hooked up with Honeyboy Edwards. He had an uncanny knack for hustling gigs and began singing by this period. In the 1950s he formed a band with Earl Hooker and pianist Ernest Lane. He moved to Chicago in the 1950's, occasionally sitting in with Muddy Waters. He formed a group with Walter Horton that included Johnny Young and Johnny Shines. During this period he played with Robert Lockwood Jr., Eddie Taylor, Jimmy Reed, Floyd Jones, Blind John Davis, Elmore James, and others. Starting with the Club Reno, he managed a number of Chicago bars and owned a couple as well. Through the 1970's and 1980's he held down stints at a number of Chicago clubs. His recorded legacy is slim with a handful of sessions for Barrelhouse, JSP, and Earwig. His last major engagement was at the 1991 Chicago Blues Festival. He died of cancer on his sixty-fifth birthday on May 7, 1991. Today's cut comes from a hard-hitting record issued on the JSP label and the Japanese P-Vine label, Original Chicago Blues, that also features Big John Wrencher and Eddie Taylor.

Lovie Lee grew up in Meridian, Mississippi, and was self taught piano player. He found part time employment playing with the Swinging Cats in the early 1950's. The outfit included Carey Bell, who Lee took under his fatherly protection, and they jointly relocated to Chicago in September 1956. Lee worked during the day in a woodworking factory, and for many years played in the evening in numerous Chicago blues nightclubs. After he retired from full-time day work, Lee joined Muddy Waters band in 1979, replacing Pinetop Perkins. Lee made some private recordings in both 1984 and 1989, and this work plus later contemporary tracks, were released as the album Good Candy in 1992.

As always we spotlight a few long out-of-print records including two companion albums issued on the Flyright label in 1973: Blues Come To Chapel Hill and Carolina Country Blues. These were recorded in March 1973 live at the Chapel Hill Festival at the University of North Carolina, Chapel Hill by Pete Lowry. Most of the artists were recorded by Lowry for his Trix label including Frank Edwards, Roy Dunn, Tarheel Slim, Henry Johnson, Peg Leg Sam, Willie Trice and Guitar Shorty. Elester Anderson and Tommy Lee Russell were recorded extensively by Lowry but nothing was issued commercially.

The generically titled and plain looking album, Sunset Blues Band: Funky Blues, was released on the Sunset budget label and recorded for the United Artists/Liberty group in 1969 featuring Pee Wee Crayton with a session group. Pee Wee's name is not credited on the LP and Pee Wee admitted he did not know what happened to this material after he recorded it. This has been re-released years ago on Charly records.

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Dave AlexanderLove Is Just For Fools Oakland Blues
Dave AlexanderCold Feelin' The Dirt On The Ground
Dave AlexanderThe RattlerThe Rattler
Joe DeanMexico Bound Blues Down In Black Bottom
Charlie Spand Rock And RyeRoots N' Blues: Booze & The Blues
Walter ColemanCarry Your Good Stuff Home Rare Country Blues Vol. 3
Pete Johnson & Joe TurnerLovin' Mama BluesBoogie Woogie And Blues Piano
Ramp Davis Rampart Street Blues California Jump Blues
Lucky Enois QuartetKC Limited Pt. 2California Jump Blues
Etta James Something's Got A Hold On MeEtta Rocks The House
Etta James You Know What I MeanThe Complete Modern and Kent Recordings
Sleepy John Estes & Hammie NixonYour Best Friend's Gone Lost Blues Tapes: More American Folk Blues Festival 1963-65
Memphis SlimBlues EverywhereLost Blues Tapes: More American Folk Blues Festival 1963-65
Johnny OtisNew Orleans ShuffleMidnight At The Barrelhouse
Johnny OtisI Believe I'll Go Back HomeCold Shot /Snatch And The Poontangs
Eli FramerFramer's Blues Never Let The Same Bee Sting You Twice
Clifford GibsonIce And Snow BluesClifford Gibson 1929-1931
Louis LaskyTeasin' Brown BluesNever Let The Same Bee Sting You Twice
Eddie BoydLife Gets To Be A BurdenChess Piano Greats
Eddie BoydGot Lonesome HereChess Piano Greats
Eddie "Cleanhead" VinsonCleanhead's BluesThe Johnny Otis Show Live at Monterey
Pee Wee Crayton The Things I Used To DoThe Johnny Otis Show Live at Monterey
Rosa HendersonLow Down Daddy Blues Rosa Henderson Vol. 3 1924-1926
Josh WhiteHow Long Has That Evening Train Been Gone?Freedom: The Golden Gate Quartet & Josh White At The Library Of Congress
Blind Willie McTellSouthern Can Is MineThe Classic Early recordings 1927-1940
Johnny OtisJohnny Otis Radio Show Signature Tune Rock Me Baby: The Mercury And Peacock Sides
Johnny OtisAll Night LongMidnight At The Barrelhouse
Etta JamesSoul of a ManNever Let The Same Bee Sting You Twice

Show Notes:

It's already starting out to be a bad year for the blues with the recent deaths of Dave Alexander, Johnny Otis and Etta James. We pay tribute to all three on today's show as well as featuring twin spins of  Eddie Boyd, a pair of cuts from the American Folk Blues Festival and some fine pre-war blues numbers.

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Born in Shreveport, Louisiana, in 1938, Dave Alexander (he later changed his name to Omar Shariff) grew up in Marshall, Texas and moved to Oakland, California, in 1957. There played with Big Mama Thornton, Jimmy Witherspoon, Muddy Waters, Buddy Guy and Albert Collins. Later in 1968, he recorded his first songs for the World Pacific label release called Oakland Blues, a compilation album of artists from that city. This is a great collection that has never been issued on CD featuring fine cuts from Lafayette Thomas, L.C. Robinson as well as Alexander. We open the show from that album with "Love Is Just For Fools" featuring backing from Albert Collins and George "Harmonica" Smith.

Alexander performed at the Ann Arbor Blues and Jazz Festival in 1970, and played at the San Francisco Blues Festival, many times from 1973 onward. He recorded a pair of albums, The Rattler (1972) and The Dirt on the Ground (1973), for the Arhoolie label. In the 90's he recorded a trio of albums for the small blues label Have Mercy. In the 2000's Alexander lived and performed mostly in the Sacramento area. He died on January 8, 2012.

Etta James died Jan. 20th in Riverside, Calif. She was 73. Etta James began her professional recording career in 1954, auditioning at the age of 14 for bandleader Johnny Otis before recording her first singles for Modern Records in Los Angeles with her vocal group, The Peaches. Her first single, "The Wallflower" (aka "Roll With Me Henry"), an answer song to Hank Ballard's 1954 #1 R&B hit "Work With Me Annie," hit #1 on Billboard's R&B chart in 1955, and "Good Rockin' Daddy" reached #6 on the chart the same year. When some disc jockeys complained that the title was too suggestive, the name was changed to “The Wallflower.” In 1960 she was signed by Chess Records and quickly had a string of hits, including “All I Could Do Was Cry,” “Trust in Me” and “At Last,” which established her as Chess’s first major female star. She remained with Chess well into the 1970s, reappearing on the charts after a long absence in 1967 with “Tell Mama.” In the late ’70s and early ’80s she was an opening act for the Rolling Stones.

We stick mainly to the early years spinning a fine early Modern number "You Know What I Mean" and her bruising "Something's Got A Hold On Me" from Etta Rocks The House which has to rank as one of the greatest live blues record. The set was cut at Nashville's New Era club in 1962 in front of a raucous crowd. We close the show with the impassioned "Soul Of A Man", a previously unissued cut that can be found on a 3-CD Chess box set.

The following comes from Midnight at the Barrelhouse a biography of Johnny Otis written by George George Lipsitz who I interviewed back in 2010: "From the moment Johnny Otis first arrived in Los Angeles in 1943, everyday seemed to offer a marvelous new experience. He led the house band at the club Alabam and later opened his own nightclub, the Barrelhouse, in Watts. As a recording artist, he succeeded in placing fifteen songs on the best-seller charts from 1950 to 1952. Otis had one of the biggest pop music hist of all time with "Willie and the Hand Jive" in 1958. He composed top-selling songs that became successes for other artists as well including "Every Beat of My Heart" for Gladys Knight and then Pips, "So Fine" for the Fiestas, "Roll With Me Henry", which became the "Wallflower" for Etta James, and "Dance With Me Henry" for Georgia Gibbs." As a promoter, producer, and talent scout for Savoy, King , Duke. and other independent record labels, Otis discovered and launched the careers of Etta James, Hank Ballard, Esther Phillips, Jackie Wilson, Big Mama Thornton, Sugar Pie DeSanto, Linda Hopkins, and Little Willie John, among others. He produced big hits for Little Esther, Etta James, and Johnny Ace, as well as less commercially successful but even more artistically triumphant recordings by Charles Williams, Barbara Morrrison, and Don "Sugarcane" Harris.

As a musician, Otis played the drums on Big Mama Thornton's recording of "Hound Dog", on Illinois Jacquet's "Flying Home", and Lester Young's "Jammin' With Lester." Otis provided the hauntingly beautiful vibraphone accompaniment to Johnny Ace's "Pledging My Love", played vibes on his own recording of "Stardust", featuring Ben Webster on tenor saxophone, and he played piano and tambourine on Frank Zappa's Hot Rats album. When the occasion demanded it, Otis could also play harpsichord, celesta, and timpani. As an artist, promoter, disc jockey, and television host, he brought Black music to new audiences, in the process inspiring some of his listeners to become performers themselves.

 Johnny Otis with his son Shuggie

…For all his immersion in African American life and culture, Johnny Otis was not actually Black. He was a white man born as John Alexander Veliotes into an immigrant Greek family. He had grown up among Blacks and had lived much of his life as if he were Black. …At an early age Johnny felt captivated by Black culture, by the spiritual, moral, and intellectual richness he encountered in the sanctified churches that he attended with his Black playmates, by the music of gospel choirs, jazz bands, blues singers, by the way Black people dressed, danced, and talked."

We spin a couple of early numbers plus  sides  from the albums Cold Shot! and The Johnny Otis Show Live at Monterey. Though Johnny's 1969 album Cold Shot! wasn't much different from the straightforward R&B he'd been doing for years, it did have some updated rock, soul, and funk influences, due in large part to the presence of his teenage guitarist son, Shuggie Otis. Otis cut another album that year credited to Snatch and the Poontangs. Both albums were combined onto one CD on an Ace reissue in 2002, with the addition of two previously tracks. Live At Monterey was an R&B oldies show in 1970 that featured artists Johnny  had worked with back in the early days and they were still in fine form. The disc stars Otis, Esther Phillips, Eddie Vinson, Joe Turner, Ivory Joe Hunter, Roy Milton, Roy Brown, Pee Wee Crayton, and Johnny’s guitar wielding son, Shuggie.

Among the tributes we find some time to play some terrific pre-war blues from Charlie Spand, Joe Dean, Clifford Gibson and R0sa Henderson among others.

Charlie Spand was one of several heavy-hitting blues, boogie-woogie and barrelhouse pianists who performed on Brady and Hastings Streets in Detroit, MI during the '20s. In 1929 Spand moved to Chicago where he began hanging out and gigging with guitarist Blind Blake. Between June 1929 and September 1931 Spand recorded 24 sides for the Paramount label. The only other Charlie Spand recordings known to exist are eight sides cut for the Okeh label in June of 1940. Our cut, "Rock And Rye", come from the latter session and features some nice interplay between Spand and guitarist Big Bill Broonzy.

Joe Dean recorded one great 78 in 1930: “I'm So Glad I'm Twenty-One Years Old Today b/w Mexico Bound Blues.” Dean was  born in St. Louis on April 25, 1908.  He remained musically active on a part-time basis into the 1960's. He eventually became the Rev. Joe Dean and died on June 24 1981. He was interviewed by Mike Rowe for Blues Unlimited magazine in 1977.

Rosa Henderson started out in carnival and tent shows around 1913 and moved to New York in 1923 where she made her recording debut. She recorded a hundred odd sides throughout the 1920’s and made her final record in 1931. She was a fine singer who often suffered from some rather lackluster accompanists. 1925's "Low Down Daddy" was a good one with some tough words about her man:

I had a dream one night, my daddy laid down and died (2x)
The devil wouldn't own him, cause he couldn't burn his hide

Clifford Gibson left behind a small batch of superb, highly creative recordings that deserve wider attention. Gibson cut ten sides (four have either never been found or were never issued) in June 1929, four sides in November 1929, eight sides in December 1929 and two sides in 1931. In addition he did some session work and lasted long enough to wax a few scattered post-war sides in the 1950's and 60's.

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