Steve Cropper – Dedicated – A Salute To The 5 Royales (2011)

FrontCover1Steven Lee Cropper (born October 21, 1941), sometimes known as “The Colonel”, is an American guitarist, songwriter and record producer. He is the guitarist of the Stax Records house band, Booker T. & the M.G.’s, which backed artists such as Otis Redding, Sam & Dave, Carla Thomas, Rufus Thomas and Johnnie Taylor. He also acted as the producer of many of these records. He was later a member of the Blues Brothers band. Rolling Stone magazine ranked him 39th on its list of the 100 greatest guitarists of all time.

Born on a farm in Willow Springs, Missouri, Cropper lived in the nearby towns of Dora and [[West Plains, Missouri|West Plains before moving with his family to Memphis at the age of nine. It was in Memphis where he was exposed black church music, which “blew [him] away”. Cropper acquired his first guitar via mail order at the age of 14.

He admired guitarists including Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. (by wikipedia)


Steve Cropper has said in numerous interviews that his main influence as a guitarist was Lowman Pauling, chief songwriter, arranger, and axeman of North Carolina’s 5 Royales, a ’50s-era group that wedded doo wop, jump blues, gospel, and jazz in an R&B style that scored them numerous hits throughout the 1950s. The 5 Royales also featured lead vocalist Johnny Tanner (and occasionally younger brother Eugene) supported by backing singers Otto Jeffries, Jimmy Moore, and Obadiah Carter. Cropper was approached by producer Jon Tiven (who he’d previously worked with on the first of his two collaborations with Felix Cavaliere) about collaborating on a tribute album to the 5 Royales, and jumped at the chance. Dedicated: A Salute to the 5 Royales, which represents the latest chapter in a late-career resurgence for Cropper, one of the most influential soul guitarists in history, combines the talents of a red hot studio band — Cropper, bassist David Hood, keyboardist Spooner Oldham, percussionist Steve Ferrone, drummer Steve Jordan, and Neal Sugarman and Tiven on horns. In addition, Cropper and Tiven enlisted a stellar group of vocalists to perform 5 Royales standards: Lucinda Williams, Sharon Jones, Bettye LaVette, Delbert McClinton, Willie Jones, B.B. King, Shemekia Copeland, Buddy Miller, Dan Penn, Brian May, Steve Winwood, John Popper, and Dylan LeBlanc, fronting a great cast of backing singers.


Despite the historic material and arrangements, Dedicated is a decidedly contemporary recording in production, saving it from the dubious fate of numerous other tribute albums that seek to re-create the actual vibe of original recordings. It begins with an excellent rendition of “Thirty Second Lover” featuring Winwood, but, fine as it is, it’s a teaser for what’s to come. LaVette and Willie Jones tear up “Don’t Be Ashamed.” On “Dedicated to the One I Love,” Williams literally sends shivers up and down the spine as she uses her gauzy, slow, emotive voice to wrench every ounce of emotion from the verses — with Penn adding another dimension to them on the bridge.

Lowman Pauling

Speaking of Penn, an excellent but reluctant lead singer, his reading of “Someone Made You for Me” is one of the most unexpectedly endearing performances on the set. McClinton’s “Right Around the Corner” puts these rhythm & blues in the heart of honky tonk country. The back-to-back readings of “Messin’ Up” by Jones and “Say It” by LaVette come close to stealing the show — but Williams still holds on with the title track and her searingly naked “When I Get Like This” as the closer. Cropper also takes a couple of economical but stinging instrumental breaks on “Help Me Somebody” and “Think” that reveal the depth of Pauling’s genius as well as his own. Given what a mixed bag tribute albums usually are, Dedicated is not only a surprise for its consistency, but a shining example of what they can — and should — be. (by Thom Jurek)


Steve Cropper (guitar, background vocals on 12.)
Steve Ferrone (drums, percussion)
David Hood (bass)
Steve Jordan (drums)
Spooner Oldham (keyboards)
Neal Sugarman (saxophone)
Jon Tiven  (saxophone)
Billy Block (percussion on 05.)
Shemekia Copeland (vocals, guitar on 03.)
Angel Cropper (background vocals on 03., 05., 09.)
Beth Hooker (background vocals on 02., 03., 05., 12.)
Sharon Jones (vocals on 09. + 12.)
Willie Jones (vocals on 02.)
B.B. King (vocals, guitar on 03.)
Bettye LaVette (vocals on 02., 10.
Dylan LeBlanc (vocals on 12., background vocals on 04.)
Brian May (vocals, guitar on 08.)
Delbert McClinton (vocals on 06.)
Buddy Miller (vocals, guitar on 11., background vocals on 12.)
Keb Mo (background vocals on 04., 06., 09. – 11.)
Leroy Parnell (background vocals on 04., 06., 09., 10.)
Dan Penn (vocals on 04., 12.,  background vocals on 11.
John Popper (vocals on 05.)
Harry Stinson (background vocals on 02., 03., 05., 12.)
Jon Tiven (background vocals on 06., 10. – 12.)
Lucinda Williams (vocals on 04. + 15.)
Steve Winwood (vocals, organ on 01.)


01. Thirty Second Lover (Paul/Pauling) 3.55
02. Don’t Be Ashamed (Pauling) 2.50
03. Baby Don’t Do It (Pauling) 2.51
04. Dedicated To The One I Love (Bass/Pauling) 3.15
05. My Sugar Sugar (Pauling) 3.08
06. Right Around The Corner (McCoy/Singleton) 2.36
07. Help Me Somebody (Instrumental) (Pauling) 3.08
08. I Do (Pauling) 2.48
09. Messin’ Up (Pauling) 3.05
10. Say It (Pauling) 2.25
11. The Slummer The Slum (Carter/Pauling) 3.12
12. Someone Made You For Me (Glover) 3.38
13. Think (Instrumental) (Pauling)  4:02
14. Come On & Save Me (Pauling) 2.58
15. When I Get Like This (Jeffires/LeBow) 2.29




The Isley Brothers – Twist And Shout (1962)

FrontCover1The Isley Brothers  are an American musical group originally from Cincinnati, Ohio, that started as a vocal trio consisting of brothers O’Kelly Isley Jr., Rudolph Isley and Ronald Isley. The group has been cited as having enjoyed one of the “longest, most influential, and most diverse careers in the pantheon of popular music”.

Together with a fourth brother, Vernon, the group performed gospel music until Vernon’s death a few years after its formation. After moving to the New York City area in the late 1950s, the group had modest chart successes during their early years, first coming to prominence in 1959 with their fourth single, “Shout”, written by the three brothers. Initially a modest charted single, the song eventually sold over a million copies. Afterwards the group recorded for a variety of labels, including the top 20 single, “Twist and Shout” and the Motown single “This Old Heart of Mine (Is Weak for You)”, before recording and issuing the Grammy Award-winning hit “It’s Your Thing” on their own label, T-Neck Records.

Influenced by gospel and doo-wop music, the group began experimenting with different musical styles incorporating elements of rock and funk as well as pop balladry. The inclusion of younger brothers Ernie Isley (lead guitar, drums) and Marvin Isley (bass guitar), and Rudolph’s brother-in-law Chris Jasper (keyboards, synthesizers), in 1973 turned the original vocal trio into a complete band. For the next full decade, they recorded top-selling albums including The Heat Is On and Between the Sheets.


The six-member band splintered in 1983, with Ernie, Marvin, and Chris Jasper forming the short-lived spinoff group Isley-Jasper-Isley. The oldest member, O’Kelly, died in 1986 and Rudolph and Ronald released a pair of albums as a duo before Rudolph retired to a life in the Christian ministry in 1989. Ronald reconvened the group two years later in 1991 with Ernie and Marvin; five years later, in 1996, Marvin Isley left the group due to complications of diabetes. The remaining duo of Ronald and Ernie achieved mainstream success with the albums Mission to Please (1996), Eternal (2001) and Body Kiss (2003). Eternal spawned the top twenty hit “Contagious”. As of 2019, the Isley Brothers continue to perform under the lineup of Ronald and Ernie.


The Isley Brothers have had four Top 10 singles on the United States Billboard chart. With their first major hit charting in 1959 (“Shout”), and their last one in 1996 (“Down Low”), they are among the few groups ever to have hit the Billboard Hot 100 with new music in five different decades. Sixteen of their albums charted in the Top 40. Thirteen of those albums have been certified gold, platinum or multi-platinum by the RIAA. The brothers have been honored by several musical institutions, including the Rock and Roll Hall of Fame, which inducted them in 1992. Five years later, they were added to Hollywood’s Rockwalk, and in 2003 they were inducted to the Vocal Group Hall of Fame.[They received the Grammy Lifetime Achievement Award in 2014.


Twist & Shout is the second studio album released by The Isley Brothers on the Wand label in 1962. Their second album after Shout! three years prior, the album was released on the success of the title track, which would later be covered by The Beatles more than a year later for their own hit version. Other stand-outs in the album include Isley-penned tracks such as “Right Now”, “Nobody but Me” and the charter, “Twistin’ with Linda”.

In 1964 the record label rereleased & renamed Twist & Shout album as Take Some Time Out for The Famous Isley Brothers due to the popularity of the Beatles “Twist & Shout” version of the same year.
The cover of Take Some Time Out for The Famous Isley Brothers picture of the trio performing in a night club. (by wikipedia)


On this album, the Isleys tried to mine the “Twist & Shout” groove for all it was worth. Produced by Bert Berns, over half the material was written or co-written by “Russell” — the same Russell who co-wrote “Twist and Shout,” which was a pseudonym for Berns himself. Not that this was necessarily a bad thing. “Twist and Shout” was a stone classic, and many of the other tunes do their best to emulate its groove with Latin rhythms and the Isleys’ frayed, gospelish vocals. Some of the tracks, though, do little more than rework the basic riff, and even the ones that aren’t blatant rewrites don’t measure up to the hit. The ballad “Time After Time” is a nice change of pace, and the brothers are never less than energetic and entertaining, but this is really not that strong as a whole. (by Richie Unterberger)


O’Kelly Isley, Jr (background vocals)
Ronald Isley (vocals)
Rudolph Isley (background vocals)
a bunch of unknown studio musicians

Alternate frontcover:

01. Twist And Shout (Medley/Russell) 2,34
02. I Say Love (Medley/Russell) 2.05
03. Right Now (Jasper) 3.13
04. Hold On Baby (Medley/Russell) 2.21
05. Rubber Leg Twist (Nelson/Jasper) 2.01
06. The Snake (Jasper) 2.13
07. You Better Come Home (Russell) 2.18
08. Never Leave Me Baby (Russell/Medley) 2.21
09. Spanish Twist (Russell) 2.28
10. Time After Time (Styne/Cahn) 2.37
11. Let’s Twist Again (Mann/Appell) 2.10
12. Don’t You Feel (Russell/Drowty) 3.06



King Curtis – Soul Twist (1962)

FrontCover1.jpgCurtis Ousley (born Curtis Montgomery; February 7, 1934 – August 13, 1971), who performed under the stage name King Curtis, was an American saxophonist known for rhythm and blues, rock and roll, soul, blues, funk and soul jazz. Variously a bandleader, band member, and session musician, he was also a musical director and record producer. Adept at tenor, alto, and soprano saxophone, he played riffs and solos on such hit singles as “Respect” by Aretha Franklin, and “Yakety Yak” by The Coasters (the latter of which later became the inspiration for Boots Randolph’s “Yakety Sax”) and his own “Memphis Soul Stew”

R&B tenor sax great King Curtis recorded for a variety of labels during his career, including stints at Capitol and Atlantic, but what is arguably his finest session came for Bobby Robinson’s Harlem-based label Enjoy Records in 1962. Curtis apparently regarded this as a trial run, since he left Enjoy without signing a contract that same year, in spite of having “Soul Twist” sitting on top of the R&B charts.


Whatever the chemistry was at these sessions (the complete results of which are included here), Robinson managed to convince Curtis not to blow the house down every second of every track, and the ensemble feel that emerged between the saxophonist and organ player Ernie Hayes and guitarists Billy Butler and Joe Richardson is strong, loose, and darn near perfect. Featuring mostly instrumentals, the Enjoy sessions spotlight a studio band (billed as the Noble Knights) that has a little of the same magic that would later make Booker T. & the MG’s so special, a certain soulful exactness, and yet still loose enough to swing. “Soul Twist” is a classic. Curtis’ strong, stuttering tenor sax is a major part of why things work, but these 15 cuts are solidly a group effort, and King Curtis never really bettered the feel he found with these musicians. because King Curtis never sounded better or more relaxed … King Curtis never sounded better or more relaxed. (by Steve Leggett)


King Curtis (saxophone)
The Noble Knights ‎ (a bunch of unknown studio musicians)


01. Soul Twist King (Curtis) 2.51
02. Twisting Time (Curtis) 2.44
03. What’d I Say (Charles) 2.29
04. I Know (George) 2.54
05. Sack O’ Woe Twist (Adderley) 2.40
06. Camp Meetin’ (Ousley/Pierce) 2.35
07. Wobble Twist (Curtis) 2.34
08. Irresistible You (Kasha/Dixon) 2.54
09. Big Dipper (Curtis) 3.06
10. Twisting With The King (Curtis) 2.47
11. Midnight Blue (Ousley/Butler) 5.36



King Curtis (February 7, 1934 – August 13, 1971)

Curtis was stabbed on August 13, 1971, during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montanez refused to move from the entrance. A fight ensued and Montanez stabbed Curtis. Curtis was transferred to Roosevelt Hospital, where he died. (by wikipedia)

Roy Brown – Cheapest Price In Town (1978)

FrontCover1.jpgThere is an on-going debate about the origins of Rock’n’Roll, but there is little doubt that it sounded very much like the R&B that Roy Brown was producing in New Orleans around 1950. His powerful, emotional Gospel style vocals, with melismatic swoops, shrieks and bellowing choruses, influenced the singing of generations of Rockers and Bluesmen that followed. Bobby ‘Blue’ Bland, Little Richard and James Brown all took a lesson from Roy, but he could also write a great song, and his best remembered composition saw him inducted into the Blues Hall of Fame.

Roy Brown was born in New Orleans in 1925, and grew up in Louisiana and Texas but moved to Los Angeles when his mother died in 1942. His vocal skills were honed in Church, but Roy was keen on becoming a boxer and fought as a welterweight, although Roy Brown01he was rejected for Military service on account of his flat feet! Roy won a singing contest, then moved to Galveston, Texas, where he fronted a band and started to play some Blues. When he wrote a song called ‘Good Rockin’ Tonight’, he tried to get his idol Wynonie Harris to record it, but he didn’t take it up. In June 1947, Roy went to Cosimo Matassa‘s J&M studio across from Congo Square in New Orleans, and he emerged with his own version of ‘Good Rockin’ Tonight’, which put his Gospel vocals over a driving rhythm and “talked a little dirty”, making it a prime candidate to be a rock’n’roll anthem. It got some airplay on ‘white’ radio stations, and the local ‘black’ stations, especially ‘Poppa Stoppa’s Show’, played it almost non-stop, and Roy’s version reached No.13 in the R&B charts. Wynonie Harris finally recognised a ‘good thing’ and his version went to No.1 in the following year, and Elvis, Jerry Lee Lewis, Ricky Nelson and Bruce Springsteen have all had success with Roy’s composition. Further big hits in the same vein, like ‘Hard Luck Blues’, ‘Miss Fanny Brown’ and ‘Cadillac Baby’, made Roy the best selling R&B artist from 1949-51.

After a backstage bust-up with Fats Domino that divided opinion in the New Orleans Roy Brown04music community, in 1952 Roy won a court battle for access to his royalty payments from Wynonie’s records on the King label. This was a double-edged victory that may have caused him to be black-listed by record companies, and it certainly caused him trouble with the IRS, because he did some jail-time for tax evasion, despite Elvis generously writing him a cheque. Roy’s career never recovered, although he made the R&B charts in 1957 with ‘Let the Four Winds Blow’. He sold encyclopedias door-to-door, sold the rights to ‘Good Rockin’ and played only the occasional gig. In 1970, he played the Monterey Festival with the Johnny Otis Show and had a reasonable hit with ‘Love for Sale’, and a low-key revival started. He toured in Europe in 1978 and his final appearance in 1981 was at the New Orleans Jazz Festival, one month before he passed away from heart trouble at home in California. (

And this is the last album by Roy BRown and it´s another fine album by of the most importnt musicians of this very special New Orleans mixture of Blues, Jazz & Gospel ..

Listen and enjoy!


Roy Brown (vocals)
Don Cook (trombone)
Darryl Coleman (bass)
Tony Coleman (percussion)
Leslie Drayton (trumpet)
Charles Givings (drums)
Jimmy Gough (guitar)
Johnny Paul (trombone)
Herman Riley (saxophone)
Johnny Ross (piano)
Charles Brown (drums on 01., 05. + 10.)
Duke Burrell (piano on 01., 05. + 10.)
Bill Clark (saxophone on 01., 05. + 10.)
Pee Wee Crayton (guitar on 01., 05. + 10.)
Leon Goss (percussion on 01., 05. + 10.)
Bill Walker (bass on 01., 05. + 10.)
Evans Walker (guitar on 01., 05. + 10.)
background vocals:
Charles Givings – Deborah Givings – Johnny Ross

Roy Brown02

01. Love For Sale (Cheapest Price In Town) (R.Brown) 3.58
02. This Land Is My Home (R.Brown) 3.53
03. Louise,Louise (R.Brown) 6.19
04. Boss Lover Blues (R.Brown) 6.39
05. Good Sweet Loving (R.Brown) 2.57
06. Poon Tang Time (R.Brown) 3.18
07. Separation Blues (R.Brown) 2.43
08. Grits ‘N’ Gravy (Crayton) 5.28
09. Midnight In Texas (Crayton) 5.57
10. Lack Of Nookie (R.Brown) 8.04



Roy Brown03Roy James Brown (September 10, 1920 or 1925 – May 25, 1981)

Roy Brown05

Various Artists – The Memphis Recordings From The Legendary Sun Studios – Vol. 1 (2016)

FrontCover1.jpgAnd now I will start with a collection of 30 CD´s … and I´m  talkin´about the legendary Sun Studos and Records in Memphis:

Sun Studio is a recording studio opened by rock-and-roll pioneer Sam Phillips at 706 Union Avenue in Memphis, Tennessee, on January 3, 1950. It was originally called Memphis Recording Service, sharing the same building with the Sun Records label business. Reputedly the first rock and roll single, Jackie Brenton and his Delta Cats’ “Rocket 88” was recorded there in 1951 with song composer Ike Turner on keyboards, leading the studio to claim status as the birthplace of rock & roll. Blues and R&B artists like Howlin’ Wolf, Junior Parker, Little Milton, B.B. King, James Cotton, Rufus Thomas, and Rosco Gordon recorded there in the early 1950s.

Rock and roll, country music, and rockabilly artists, including Johnny Cash, Elvis Presley, Carl Perkins, Roy Orbison, Charlie Feathers, Ray Harris, Warren Smith, Charlie Rich, and Jerry Lee Lewis, recorded there throughout the mid-to-late 1950s until the studio outgrew its Union Avenue location. Sam Phillips opened the larger Sam C. Phillips Recording Studio, better known as Phillips Recording, in 1959 to replace the older facility. Since Phillips had invested in the Holiday Inn Hotel chain earlier, he also recorded artists starting in 1963 on the label Holiday Inn Records for Kemmons Wilson. In 1957, Bill Justis recorded his Grammy Hall of Fame song “Raunchy” for Sam Phillips and worked as a musical director at Sun Records.


In 1969, Sam Phillips sold the label to Shelby Singleton, and there was no recording-related or label-related activity again in the building until the September 1985 Class of ’55 recording sessions with Carl Perkins, Roy Orbison, Jerry Lee Lewis, and Johnny Cash, produced by Chips Moman.

In 1987, the original building housing the Sun Records label and Memphis Recording Service was reopened, by Gary Hardy as “Sun Studio,” a recording label and tourist attraction that has attracted many notable artists, such as U2, Def Leppard, Bonnie Raitt, and Ringo Starr.




In 2005, Brian Setzer (of Stray Cats fame) released his Rockabilly Riot Vol. 1: A Tribute To Sun Records album. Although not recorded at Sun it did feature various Sun Records recordings including some hits and other more obscure songs. In 2007, Canadian rockabilly band the Kingmakers recorded a selection of originals and classics such as Elvis Presley’s “That’s All Right” at Sun Studio, released as their first CD “Live at SUN Studio”. In May 2009, Canadian blues artist JW-Jones recorded with blues legend Hubert Sumlin, Larry Taylor and Richard Innes for his 2010 release at the studio. In July 2009, John Mellencamp recorded nine songs for his album No Better Than This at the studio. In 2011, Chris Isaak released “Beyond the Sun,” a collection of songs recorded at Sun Studio, most of which are cover versions of songs originally released on Sun Records.


In January 1950, WREC radio engineer Sam Phillips opened the Memphis Recording Service at 706 Union Avenue with his assistant and long-time friend, Marion Keisker. Phillips had dreamed of opening his own recording studio since he was a young man, and now that it was a reality he was overjoyed. However, getting the company off the ground was not an easy task. To create revenue at the beginning, Phillips would record conventions, weddings, choirs, and even funerals. He also held an open door policy, allowing anybody to walk in and, for a small fee, record their own record. Phillips’ slogan for his studio was “We Record Anything, Anywhere, Anytime.”[3] In June, Phillips and a friend, local DJ Dewey Phillips who was no relation, set up their own record label called Phillips Records. The purpose of the label was to record “negro artists of the South” who wanted to make a recording but had no place to do so. The label failed to make an impact and folded after just one release; “Boogie in the Park” by Joe Hill Louis, which sold less than 400 copies.




After the failure of Phillips Records, Phillips began working closely with other record labels such as Chess Records and Modern Records, providing demo recordings for them and recording master tapes for their artists.[5] It was during this time that Phillips recorded what many consider to be the first rock and roll song, Jackie Brenston’s “Rocket 88”.[3] Some biographers have suggested that it was Phillips’ inventive creativeness that led to the song’s unique sound, but others put it down to the fact that the amplifier used on the record was broken, leading to a “fuzzy” sound.[5] The Sun Studio tour lends credence to the latter, with the tour guide saying the amplifier was stuffed with wads of newspaper.


In early 1952, Phillips once again launched his own record label, this time calling it Sun Records. During his first year he recorded several artists who would go on to have successful careers. Among them were B.B. King, Joe Hill Louis, Rufus Thomas, and Howlin’ Wolf. Despite the number of singers who recorded there, Phillips found it increasingly difficult to keep profits up. He reportedly drove over 60,000 miles in one year to promote his artists with radio stations and distributors. To keep costs down, he would pay his artists three percent royalties instead of the usual five percent that was more common at the time. Phillips turned to alcohol when it looked like his label would once again fail, and he was put into a mental hospital at one point, reportedly getting electric shock treatment.



Rufus Thomas’ “Bearcat”, a recording that was similar to “Hound Dog”, was the first real hit for Sun in 1953. Although the song was the label’s first hit, a copyright-infringement suit ensued and nearly bankrupted Phillips’ record label.[6] Despite this, Phillips was able to keep his business afloat by recording several other acts, including the Prisonaires, a black quartet who were given permission to leave prison in June 1953 to record their single, “Just Walkin’ in the Rain”, later a hit for Johnnie Ray in 1956.[7] The song was a big enough hit that the local newspaper took an interest in the story of its recording. A few biographers have said that this article, printed in the Memphis Press-Scimitar on July 15, influenced Elvis Presley to seek out Sun to record a demo record. (by wikipedia)

And on this Volume 1 you can hear – in chronological order – the first nine singles from this legendary label (1952/1953). Discover artists like Johnny London, Handy Jackson or Dusty Brooks. A milestone in the history of Blues and Rock N Roll … and I will present all 30 CD´s , the last CD maybe in the year 2025 …



Johnny London:
01. Drivin’ Slow (London) 3.00
02. Flat Tire (London) 2.30

Handy Jackson:
03. Trouble (Will Bring You Down) (Phillips/Jackson) 3.00
04. Got My Application, Baby (Phillips/Jackson) 3.07

Joe Hill Louis:
05. We All Gotta Go Sometime (Louis) 2.43
06. She May Be Yours (Phillips/Louis) 3.00

Willie Nix:
07. Seems Like A Million Years (Phillips/Nix) 2.42
08. Baker Shop Boogie (Phillips/Nix) 2.44

Jimmy De Berry & Walter Horton:
09. Easy (Walter Horton) (unknown) 3.01
10. Before Long (Jimmy De Berry) (De Berry) 2.59

Rufus Thomas:
11. Bear Cat (Phillips) 2.54
12. Walking In The Rain (Thomas) 2.25

Dusty Brooks:
13. Heaven Or Fire (Brown) 2.42
14. Tears And Wine (Brown) 2.43

D.A. Hunt:
15. Lonesome Old Jail (Hunt) 3.01
16. Greyhound Blues (Hunt) 2.39

Big Memphis Ma Rainey:
17. Call Me Anything, But Call Me (Dubrover) 3.03
18. Baby, No, No (Keisker/Addington) 2.44




Supercharge – Local Lads Make Good (1976)

FrontCover1.jpgSupercharge were a 1970s English rock band from Liverpool, founded by singer/saxophonist Albie Donnelly and drummer Dave Irving. They had a number three hit single in Australia with “You’ve Gotta Get Up and Dance” in 1977.

Founded in early 1974, by Liverpool tenor-saxophonist, Albie Donnelly (born Albert Edward Donnelly, 12 August 1947, Huyton, Liverpool), and drummer Dave Irving (born David Geddes Irving, 18 November 1946, Crosby, Liverpool) after they had both left the ‘In Crowd’ cabaret band, Supercharge soon built up quite a cult following in Liverpool at ‘The Sportsman’, a popular city-centre pub on Sunday and later Monday nights and also at the ‘Dove and Olive’ at Speke.
Original members included Donnelly (bandleader, vocalist, and tenor saxophonist), Ozzie Yue (guitar/vocals) (born Austin J Yue, 12 August 1947, Liverpool), Allen ‘Gaz’ Gaskell (tenor sax, guitar, harmonica, and vocals), Alan Peters (trumpet), Bob Robertson (baritone sax), Pete Newton (bass guitar), Tony Dunmore (bass) and Dave Irving (drums).
Supercharge also quickly established themselves as a major player on the UK college / university circuit. Their first album Between Music and Madness, which was locally produced, soon followed.

Around 1975, in an attempt to attract a major record label offer, Supercharge began to gig regularly on the London live circuit at venues such as the Hope and Anchor, Islington, the Nashville Rooms, and the Marquee Club. As a result, Supercharge were soon signed by Virgin Records, and with the company’s new record producer, Robert “Mutt” Lange, they had a number three hit in Australia with their 1976 single “You’ve Gotta Get Up and Dance”. Personnel on these recordings also included organist Iain Bradshaw. It was also in Australia that their first album, Local Lads Make Good went gold – resulting in a number of successful major tours with a version of the band that included Les Karski on guitar.


And here´s is their beautiful album called “Local Lads Make Good” and it´s a real crazy mixture between Rhythm & Blues and the Disco Sound from this period … you can´t believe it?

Listen and enjoy this total crazy stuff  … between music and madness …


Iain Bradshaw (keyboards)
Albie Donnelly (saxophone, flute, vocals)
Tony Dunmore (bass, vocals)
Dave Irving (drums)
Les Karski (guitar, vocals)
Ozzie Yue (guitar, vocals)

01. Lonely And In Love (Lange) 3.35
02. Hole Town (Karski) 5.33
03. Everyone! Everywhere! (Lange) 5.29
04. I Believe In You (Robertson/Bradshaw) 4.13
05. Get Down Boogie (Lange) 3.16
06. Only You (Karski) 4.02
07. Gimme Your Love (Lange) 3.43
08. You’ve Gotta Get Up And Dance (Lange) 2.57
09. She Moved The Dishes First (Donnelly) 7.01



David Clayton-Thomas – Same (1969)

FrontCover1.jpgDavid Clayton-Thomas (born David Henry Thomsett, 13 September, 1941) is a Canadian Juno Award-winning musician and singer. As the lead vocalist for the band, Blood, Sweat & Tears he rose to fame, and maintained a busy solo career over the years as well.

Clayton-Thomas was born in Kingston upon Thames, Surrey, UK, the son of a decorated Canadian soldier of World War II who met his piano-playing mother when she came to entertain the troops at a London hospital. They were married, and when the war ended, the family moved to Willowdale, Ontario, a suburb of Toronto, when Clayton-Thomas was not yet school-aged.

Growing up, he was taught music by his mother but had difficulties in what was a dysfunctional family. He left home in his early teens. He idolized the music of John Lee Hooker and began playing guitar and singing, and by the time he was 21 had his own band, The Shays. David Clayton-Thomas & The Shays recorded for Roman Records of Toronto. Clayton-Thomas released two albums on the record label, “A Go Go” (with The Shays) and “Like It Is” (with The Bossmen).


In February 1966, he joined a new band, The Bossmen, fronted by the child prodigy, pianist Tony Collacott, who had played with Sarah Vaughan at New York’s Carnegie Hall at the age of 14. The group recorded a lone single, the jazz-rock song “Brainwashed,” which was a Canadian hit record in June 1966 and gave an indication of his future work.

The band broke up soon afterward and he traveled to New York. In October 1967, he joined forces with former members of the Toronto R&B outfit, Jon and Lee & The Checkmates and renamed them his new backing band, The Phoenix. The group started a residency at a New York nightclub, Steve Paul’s The Scene, but he was soon deported for working illegally in the States.

In February 1968, Clayton-Thomas formed a new band in Toronto, the David Clayton-Thomas Combine with former Bossmen guitarist Jack Mowbrey, ex-Phoenix bass player Peter Hodgson, and drummer Pat Little from Luke & The Apostles. The group recorded the original version of his hit “Spinning Wheel” but the band broke up a few months later when Clayton-Thomas was offered a more attractive offer from Bobby Colomby, the drummer with Blood, Sweat & Tears. (by wikipedia)

Clayton-Thomas02.jpgA few years before he joined Blood, Sweat and Tears, David Clayton-Thomas was the lead vocalist with the Shays in Canada. In 1964, David-Clayton Thomas and the Shays recorded the single “Boom Boom.” In 1965, the album “David Clayton-Thomas And The Shays: A Go-Go” was released in Canada. The songs on this “David Clayton-Thomas” album date from around that time. Young David’s vocals were somewhat raw, yet very strong. Even at that age, his gritty voice was best suited for covering blues songs. That makes the song selections on this album uniformly great. Below is the track listing for the album.

Later, David Clayton-Thomas became the lead vocalist of the Bossmen. In 1966, they had a number one hit single in Canada with “Brainwashed,” an anti-Vietnam war anthem. In 1968, David Clayton-Thomas became the lead singer of Blood, Sweat and Tears. The rest, as they say, is history. (by Michael King)

And yes, this a real great album from the early days of David Clayton-Thomas with great versions of classic Blues & R&B tunes !


David Clayton-Thomas (vocals)
a bunch of unknown studio musicians


01. I Got A Woman (Charles) 4.30
02. Say Boss Man (McDaniels) 3.07
03. Who’s Been Talkin’ (Clayton-Thomas) 2.29
04. Call It Stormy Monday (Walker) 4.56
05. Done Somebody Wrong (Clayton-Thomas) 2.27
06. Tobacco Road (Loudermilk) 5.11
07. Boom Boom (Hooker) 2.38
08. Good Lovin’ (Kirkland/Taylor/Jesmet) 2.03
09. Poison Ivy (Leiber/Stoller) 2.12
10. Howlin’ For My Darling (Dixon/Burnett) 2.34



Etta James – Tell Mama (1968)

FrontCover1.jpgIn 1967, a pregnant Etta James traveled to rural Alabama to work with the world-class musicians of Muscle Shoals Studios. Country fiddler Rick Hall, who ran the studio, had the perfect song for James, ‘Tell Mama.’ James made four trips to Muscle Shoals in 1967 and 1968 to work with Hall’s creative touches. Hall’s subtle nuances gave Leonard Chess a magnificent record from start to finish. The album features a high-octane version of the title cut, which may be James’ most recognizable song after ‘At Last.’ Also on the album are the gorgeous Soul ballad ‘I’d Rather Go Blind,’ Rosco Gordon’s ‘Just A Little Bit,’ Otis Redding’s ‘Security, and two Don Covay songs, ‘Watch Dog’ and ‘I’m Gonna Take What He’s Got.’ The combination of James’ vocal convictions and Hall’s Muscle Shoals musicians makes this record, released on Chess’s subsidiary label, Cadet, one for the ages. (

Leonard Chess dispatched Etta James to Muscle Shoals in 1967, and the move paid off with one of her best and most soul-searing Cadet albums. Produced by Rick Hall, the resultant album boasted a relentlessly driving title cut, the moving soul ballad “I’d Rather Go Blind,” and sizzling covers of Otis Redding’s “Security” and Jimmy Hughes’ “Don’t Lose Your Good Thing,” and a pair of fine Don Covay copyrights. The skin-tight session aces at Fame Studios really did themselves proud behind Miss Peaches. (by Bill Dahl)


Carl Banks (organ)
Barry Beckett (organ)
Charles Chalmers (saxophone)
George Davis (piano)
Roger Hawkins (drums)
David Hood (bass)
Etta James (vocals)
Jimmy Ray Johnson (guitar)
Albert Lowe, Jr., (guitar)
Gene Miller (trumpet)
James Mitchell (saxophone)
Floyd Newman (saxophone)
Dewey L. Oldham (keyboards)
Marvell Thomas (piano)
Aaron Varnell (saxophone)

01. Tell Mama (Carter) 2.24
02. I’d Rather Go Blind (Foster/Jordan) 2.37
03. Watch Dog (Covay) 2.08
04. The Love Of My Man (Townsend) 2.43
05. I’m Gonna Take What He’s Got (Covay) 2.35
06. The Same Rope (Caston/Webber) 2.42
07. Security (Redding) 2.31
08. Steal Away (Hughes) 2.23
09. My Mother-In-Law (David/Diamond) 2.24
10. Don’t Lose Your Good Thing (Killen/Oldham/Hall) 2.28
11. It Hurts Me So Much (Chalmers) 2.37
12. Just A Little Bit (Gordon) 2.08




Various Artists – Holy Smoke – Don´t Let Love Fool You (2018)

FrontCover1.jpgHere´s a real great compilation with 28 tracks from the grat R & B Era in the USA and we heart aritsts like Jimmy Shaw, Eddie Moore, Jay Nelson, Sonny Boy Williams, Jimmy Mcphail, Little Johnny Cook or Joe Boots.

“Don’t let love fool you!” Attached to this latest release of predominantly rhythm and blues artists from along-gone era is a message warning of the potential pitfalls that can be associated with that thing known as ‘love’. Without wishing to put any dampeners on any future romance, KoKo Mojo sets out its stall with another twenty-eight tracks that certainly rock and blow away any suggestions of the blues. In fact, what any listener is likely to experience for their listening pleasure via ‘Holy Smoke’ is a collection of tracks culled from history and selected for their addictive qualities when it comes to rhythm, but also their relevance to the subject matter at heart here. Therefore, expect songs that are filled with lovesick sentiments where infatuation can take hold – Baby Clifford King ‘Want To Jump With You’ or Tony Allan’s vocals capturing the mood to perfection during the album’s title track – or unrequited love via the forceful rhythm and blues of ‘Don’t You Want A Man Like Me’ from Jay Nelson.


There’s a wonderful performance from Juke Boy Barner who delivers what sounds like a ramshackle performance during ‘Rock With Me Baby’, only for closer inspection to reveal that there’s deft hands at work here with far more going on under its bonnet. This, however, is only the beginning as from here on, the variety displayed ups its game further from Prince Royals’ superbly understated and centre of attention, ‘Anna Mae’, to the “great” Eddie Alexander & The Greats ‘I’m In Love’ (complete with accompanying ducks!), before rattling off a whole host of sophisticated rhythm and blues numbers such as ‘My Pretty Baby’ (Ernie Williams), ‘Ding Dong Babe’ (Jimmy McPhail), ‘I’ll Be True To You’ (Billy Fair & Orch.), and Little Johnny Cook with ‘Try Your Love’. There’s too much goodness to be found here, despite any notions of hearts being broken, because ‘Holy Smoke’ offers a passionate and classy taste of rhythm and blues that’s packing enough variety to keep any listener entertained for many hours. Top of its class! (by Nathan Olsen-Haines)

In other words: If you plan your next BBQ-Party, don´t forget to play this album … and you´ll have a real hot and crazy party !

This entry is dedicated to all these unknown heroes of Rhythm & Blues !!!


01. Baby Clifford King: Want To Jump With You (King) 3.26
02. Johnny Stewart: A Whole Lot Of Lovin’ (Trimble) 2.04
03. Jimmy Shaw: Take A Chance On Me (Shaw/Harris) 2.22
04. Tony Allan: Holy Smoke Baby (E. Mesner/L. Mesner) 1.32
05. Jay Nelson: Don’t You Want A Man Like Me (Miller/Nelson) 2.02
06. The Jaguars: Ginny Ginny (Johnson/Penniman) 2.28
07. Rufus Gordon: Long Tall Sally (Johnson/Penniman/Blackwell) 2.08
08. Nat The Cool Cat: Come By Here (Andersen) 2.49
09. Juke Boy Barner: Rock With Me (Welson) 2.52
10. Prince Royals: Anna Mae (unknown) 2.42
11. Elmar Parker: You Know I Love You (Parker/Christian) 2.08
12. Eddie Alexander & The Greats: I’m In Love (Jenkins) 2.17
13. Ernie Williams: My Pretty Baby (Gordon/Williams/Web) 1.58
14. Freddie Williams & The Keynotes: Linda Lu (Sharpe) 2.55
15. Piney Brown: Sugar In My Tea (Price/Brown) 2.27
16. Jimmy McPhail: Ding Dong Babe (Harris/Francis) 2.41
17. Billy Fair & Orchestra: I’ll Be True To You (Darge/Weller) 2.20
18. Little Johnny Cook: Try Your Love (Keys/(Woods/Burton) 2.17
19. Leo Price & Band: Hey Now Baby (Price) 2.31
20. Jimmy Trotter: Hungry And Thirsty (Trotter) 1.56
21. Sonny Boy Williams: Alice Mae Blues (Williams) 2.28
22. Lenny Johnson: Walk Ginny Walk (Otis) 2.17
23. Eddie Moore: Touch Of Your Love (Johnson/Moore) 2.15
24. Hayward Lee: My Love (Lee) 2.14
25. Johnny Spain: I’m In Love (Scott/Terry) 2.33
26. Joe Boots: Squeeze Me (Boots) 2.12
27. Modest ‘Show Stopper’ Clifton: Pretty Little Baby (Clifton) 1.55
28. Frank Linkenberg: Ball Of Fire (Butler/Graham) 2.08




Jools Holland & His Rhythm & Blues Orchestra – Jools Holland & Friends (2011)

FrontCover1.jpgJulian Miles “Jools” Holland, OBE, DL (born 24 January 1958) is an English pianist, bandleader, singer, composer and television presenter. He was an original member of the band Squeeze and his work has involved him with many artists including Sting, Eric Clapton, Mark Knopfler, George Harrison, David Gilmour, Magazine, The The and Bono.

Since 1992, he has hosted Later… with Jools Holland, a music-based show aired on BBC2, on which his annual show Hootenanny is based.[1] Holland is a published author and appears on television shows besides his own and contributes to radio shows. In 2004, he collaborated with Tom Jones on an album of traditional R&B music.

Holland also regularly hosts the weekly programme Jools Holland on BBC Radio 2, which is a mix of live and recorded music and general chat and features studio guests, along with members of his orchestra.

Holland was educated at Shooters Hill Grammar School, a former state grammar school on Red Lion Lane in Shooter’s Hill (near Woolwich), in the Royal Borough of Greenwich in southeast London, from which he was expelled for damaging a teacher’s Triumph Herald.

Holland began his career as a session musician; his first studio session was with Wayne County & the Electric Chairs in 1976 on their track “Fuck Off”.

Holland was a founding member of the British pop band Squeeze, formed in March 1974, in which he played keyboards until 1981 and helped the band to achieve millions of record sales, before pursuing his solo career.


Holland began issuing solo records in 1978, his first EP being Boogie Woogie ’78. He continued his solo career through the early 1980s, releasing an album and several singles between 1981 and 1984. He branched out into TV, co-presenting the Newcastle-based TV music show The Tube with Paula Yates. Holland used the phrase, “be there, or be an ungroovey fucker” in one early evening TV trailer for the show, live across two channels, causing him to be suspended from the show for six weeks. He referred to this in his sitcom The Groovy Fellers with Rowland Rivron.[citation needed] Holland also appeared as a guest host on MTV.

In 1983 Holland played an extended piano solo on The The’s re-recording of “Uncertain Smile” for the album Soul Mining. In 1985, Squeeze (which had continued in Holland’s absence through to 1982) unexpectedly regrouped including Holland as their keyboard player. Holland remained in the band until 1990, at which point he again departed to resume his solo career as a musician and a TV host.


In 1987, Holland formed the Jools Holland Big Band, which consisted of himself and for the show Gilson Lavis from Squeeze. This gradually became the 18-piece Jools Holland’s Rhythm and Blues Orchestra. The Orchestra includes singers Louise Marshall and Ruby Turner and his younger brother, singer-songwriter and keyboard player, Christopher Holland.

Between 1988 and 1990 he performed and co-hosted along with David Sanborn during the two seasons of the music performance programme Sunday Night on NBC late-night television.[5] Since 1992 he has presented the music programme Later… with Jools Holland, plus an annual New Year’s Eve Hootenanny.

In 1996, Holland signed a recording contract with Warner Bros. Records,[3] and his records are now marketed through Rhino Records.

On 29 November 2002, Holland was in the ensemble of musicians who performed at the Concert for George, which celebrated the music of George Harrison. In January 2005 Holland and his band performed with Eric Clapton as the headline act of the Tsunami Relief Cardiff.


On 29 August 2005, Holland married Christabel McEwen, his girlfriend of 15 years and daughter of artist Rory McEwen. Holland lives in the Westcombe Park area of Blackheath in southeast London, where he had his studio, Helicon Mountain, built to his design and inspired by Portmeirion, the setting for the 1960s TV series The Prisoner.[6] He also owns a manor house near medieval Cooling Castle in Kent.[7][8]

He appeared on the cover of Railway Modeller magazine in January 2019. In the attic of his house, Holland has spent ten years building a 100-foot (30 m) model railway. It is full of miniature buildings and landscapes that stretch from Berlin to London. He started with photographs and paintings from early 1960s London. “In the evenings, he builds some trains and buildings before switching on some music, pouring a glass of wine and switching on the trains to watch them move around the room.”

He received an OBE in 2003 in the Queen’s Birthday Honours list, for services to the British music industry as a television presenter and musician. In September 2006, Holland was appointed a Deputy Lieutenant for Kent. Holland was appointed an honorary fellow of Canterbury Christ Church University at a ceremony held at Canterbury Cathedral on 30 January 2009. On 1 February 2011 he was appointed honorary colonel of 101 (City of London) Engineer Regiment.


In June 2006 Holland performed in Southend for HIV/AIDS charity Mildmay, and in early 2007 he performed at Wells and Rochester Cathedrals to raise money for maintaining cathedral buildings. He is also patron of Drake Music.

A fan of the 1960s TV series The Prisoner, in 1987 Holland demonstrated his love of the series and starred in a spoof documentary, The Laughing Prisoner, with Stephen Fry, Terence Alexander and Hugh Laurie. Much of it was shot on location in Portmeirion, with archive footage of Patrick McGoohan, and featuring musical numbers from Siouxsie and the Banshees, Magnum and XTC. Holland performed a number towards the end of the programme.

Holland was an interviewer for The Beatles Anthology TV project, and appeared in the 1997 film Spiceworld as a musical director.

In 2008, Holland commissioned TV series Bangla Bangers (Chop Shop) to create a replica of the Rover JET1 for personal use. Holland is a greyhound racing supporter and has previously owned dogs. (by wikipedia)


And here´his first “Friends” album including a lot of great artists (see tracklist) … and you will her this great mixture between Big Bnd Jazz and Rhythm & Blues…

It´s hot, baby !!!


Mark Flanagan (guitar)
Roger Goslyn (trombone, accordion)
Lisa Graham (saxophone)
Christopher Holland (organ)
Jools Holland (piano)
Gilson Lavis (drums, percussion)
Nick Lunt (saxophone)
Jason McDermid (trumpet)
Derek Nash (saxophone)
Rico Rodriguez (trombone)
Winston Rollins (trombone)
Michael Bammi Rose (saxophone)
Jon Scott (trumpet)
Chris Storr (trumpet)
Dave Swift (bass)
Phil Veacock (saxophone)
Fayyaz Virji (trombone)
background vocals:
Sam Brown – Ruby Turner
a lot of guests (see tracklist)

01. Horse To The Water (feat. George Harrison) (G.Harrison/D.Harrison) 4.57
02. Marie (feat. Herbert Grönemeyer) (Newman) 3.14
03. The Informer (feat. Ruby Turner) (Holland) 3.33
04. Wohin die Liebe fällt (Wheel Of Fortune) (feat. Valerie) (Holland/Bronner) 4.01
05. Seventh Son (feat. Sting) (Dixon) 3.04
06. Out Of This World (feat. Melanie C) (Holland/Brown/Hynde) 3.38
07. I Love Every Little Thing About You (feat. Roger Cicero) (Wonder) 5.17
08. Übers Meer (feat. Ina Müller) (Reiser) 4.17
09. Mabel (feat. Eric Clapton & Solomon Burke) (Burke/Clapton/Holland) 4.52
10. I Put A Spell On You (feat. David Gilmour & Mica Paris) (Hawkins) 4.08
11. Think (feat. Tom Jones) (Malone/Cracklin) 4.00
12. I Went By (feat. Louise Marshall) (Ash Howes Radio Mix) (Holland) 2.59
13. Ba-Ba Boo-Boo (Into Your Heart) (feat. The Baseballs) (Brans) 4.14
14. The Kiss Of Love (feat. Nick Cave & Sam Brown) (Holland/Brown) 4.23
15. Let The Boogie Woogie Roll (feat. Robert Plant) (Ertegun/Wexler) 2.37
16. Just To Be Home With You (feat. Herbert Grönemeyer) 2.29
17. Tuxedo Junction (Dash/Feyne/Hawkins/Johnson) 3.35
18. Miniatur Wunderland (feat. Axel & Torsten Zwingenberger) (Holland/ A.Zwingenberger)) 2.40
19. Say Hello, Wave Goodbye (feat. Marc Almond) (Almond/Ball) 4.33
20. If You Wear That Velvet Dress (feat. Bono) (Clayton/Evans/Mullen/Hewson) 6.15