Russ’s Old 78s – R&B Album

For your enjoyment, here are 12 old 78 RPM records from my early R&B record collection. Listening to some of these, you may notice a scratchy sound. This is all part of the nostalgia of playing 78s.

If you ever wondered  why a CD or an old vinyl LP is sometimes called an “Album”,  here is how some of us used to store and access our music:

A Record Album


Your comments (at the bottom) on this stuff would be appreciated.

Index to Artists In This Post



WYNONIE HARRIS
Born in Omaha, Nebraska, was an American blues shouter and rhythm and blues singer of upbeat songs featuring humorous, often ribald lyrics.

Wynonie Harris

Early career

With dance partner Velda Shannon, Harris formed a dance team in the early 1930s. The team performed around North Omaha’s flourishing entertainment community, and by 1934 they were a regular attraction at the Ritz Theatre. It was not until 1935, however, that Harris was able to earn his living as an entertainer. While performing at Jim Bell’s new Harlem nightclub with Velda Shannon, Harris began to sing the blues.

He also began traveling frequently to Kansas City, Kansas where he paid close attention to the blues shouters including Jimmy Rushing and Big Joe Turner. Harris became a local celebrity in Omaha during the depths of the Great Depression in 1935. Harris’ break in Los Angeles was at a nightclub owned by Curtis Mosby. It was here that Harris became known as “Mr. Blues”.

With fifteen Top 10 hits between 1946 and 1952, Harris is generally considered one of rock and roll’s forerunners. Here’s a record from 1945:


Wynonie’s Blues
Apollo 362A (1945)

Somebody Changed The Lock On My Door
Apollo 362B (1945)




SONNY THOMPSON
Born: Born Alphonso Thompson in Centerville, Mississippi, Aug 22, 1923
Died: Aug 11, 1989 in Chicago, IL
Bandleader and pianist Sonny Thompson was among the most prolific R&B instrumentalists of the late ’40s and early ’50s. Thompson began recording for Sultan Records in 1946, then did several sessions for Miracle, King, Federal, and Deluxe, while also backing vocalist Lula Reed from 1951 to 1961.

In Canada, the King label was carried by Quality Records. Here’s one of Sonny Thompson’s lessor known recordings released in 1959.  Mellow Blues has some very nice bluesy sax work.


Mellow Blues Pt. 1
Quality 4104A (1959) Sonny Thompson

Mellow Blues Pt. 2
Quality 4104B (1959) Sonny Thompson




AMOS MILBURN
Born in Houston, one of thirteen children, by the age of five years Milburn was playing tunes on the piano. After serving in the Army he organized a sixteen-piece band playing in Houston clubs, and participating with the Houston jazz and blues musicians.

Amos was a polished pianist and performer and, during 1946, he  attracted the attention of a woman who arranged a recording session with Aladdin Records in Los Angeles. Milburn’s relationship with Aladdin lasted eight years during which he produced more than seventy-five sides. However, none became popular until 1949 when seven of his singles got the attention of the R&B audience.

Here’s one from 1950.


Sax Shack Boogie
Aladdin 3064A (1/4/1950) Amos Milburn and his Aladdin Chicken Shackers – [9/1950, #9] RR1506=1

Remember
Aladdin 3064B (5/18/1950) Amos Milburn and his Aladdin Chicken Shackers – RR1549=4




FREDDIE STRONG
Not much info about this artist, but here’s an R&B classic he produced.


Blue Mood
Aladdin 3149A (1952) Freddie Strong with Fats Gains & his orchestra / SF 2001

Gains’ Boogie
Aladdin 3149B (1952) Freddie Strong with Fats Gains & his orchestra / SF 2002




LITTLE JUNIOR’S BLUE FLAMES
Herman Parker, Jr. (May 27, 1932 – November 18, 1971) a.k.a. Junior Parker, was a successful and influential Memphis blues singer and harmonica player.

Little Junior Parker
He is best remembered for his unique voice which has been described as “honeyed,” and “velvet-smooth”. He sang in gospel groups as a child, and played on the various blues circuits beginning in his teenage years.

His biggest influence as a harmonica player was Sonny Boy Williamson, with whom he played before moving on to work for Howlin’ Wolf in 1949.
Around 1950 he was a member of Memphis’s ad hoc group, the Beale Streeters, with Bobby ‘Blue’ Bland and B.B. King.

In 1951 he formed his own band, the Blue Flames, with guitarist Auburn ‘Pat’ Hare.  Parker was discovered in 1952 by Ike Turner, who signed him to Modern Records. He put out one single on this record label, “You’re My Angel.”  This brought him to the attention of Sam Phillips and Sun Records.

One of the first songs he recorded with Sun in 1952 was “Feelin’ Bad” – The band was listed on the label as “Little Junior’s Blue Flames”.

Little Junior’s Blue Flames – Feelin’ Bad (Sun UNISS 1952)

[I think “Feelin’ Bad” could have been a big hit, had it been released.  Parker and his band subsequently signed onto Sun Records in 1953.]

Mystery Train” was written by Junior Parker and Sam Phillips. [I think Phillips claimed writing credit so he could get royalties. -RS]
It was recorded at Sun with Floyd Murphy (Matt “Guitar” Murphy’s brother) on guitar. Raymond Hill and Matt Murphy were in the backing band with Bill Johnson on piano, Pat Hare on guitar, and John Bowers on drums.

Mystery Train” and “Love My Baby” were released late in 1953 on Sun #192, and from the beginning the sound and feel of “Train” gave Parker his first taste of fame and name recognition.


Mystery Train
Sun 192A (1953) Little Junior’s Blue Flames

Love My Baby
Sun 192B (1953) Little Junior’s Blue Flames

Mystery Train” was ultimately covered by Elvis Presley. For Presley’s version, you can hear that Scotty Moore “borrowed” the guitar riff from Parker’s “Love My Baby“.

The following lines can be found in the Carter Family’s “Worried Man Blues”, their biggest selling record of 1930.

“The train arrived sixteen coaches long, The train arrived sixteen coaches long. The girl I love is on that train and gone.”

Junior Parker sings,

“Train I ride sixteen coaches long. Train I ride sixteen coaches long. Well, that long black train carries my baby home.”

Presley’s version of “Mystery Train” was first released on August 20, 1955 as the B-side of “I Forgot to Remember to Forget” (Sun 223).  His version would be ranked #77 on Rolling Stone’s 500 Greatest Songs of All Time list in 2003. It too was produced by Sam Phillips at Sun.



CLARENCE GARLOW
(Born 27 February 1911 Welsh, La.; Died 24 July 1986, Beaumont, Texas)
Garlow was a Louisianan and a seminal figure in the Gulf Coast music scene of the late 40s and early 50s. He was an important influence on both Clifton Chenier and Johnny Winter.

Clarence Garlow

He recorded the first commercially successful Zydeco record, “Bon Ton Roula“, for Macys Records in 1949.  Other labels he recorded with included Aladdin,  Feature, Lyric, Flair, Folk Star and Goldband in a recording career that extended into the early 60s.

In 1953, he recorded perhaps the definitive version with the Maxwell Davis Orchestra for Aladdin (3179), titled “New Bon Ton Roulay“. The song retained most of the elements of the original song, but there was no progression to the IV chord and some new lyrics were used.


New Bon Ton Roulay
Aladdin 3179A (1953) Clarence Garlow with Bartholomew – No2094

Dreaming
Aladdin 3179B (1953) Clarence Garlow with Bartholomew – No2096




SHIRLEY & LEE
Shirley Goodman and Leonard Lee, born just ten days apart in 1936, scored three massive R&B hits before either one of them were both 20 years old: “Feel So Good,” “Let the Good Times Roll,” and “I Feel Good” were all written by the talented young couple.

Shirley & Lee (click to enlarge)

They had one trait in common among their recordings; this New Orleans-based duo almost never sang in harmony, let alone together at all. Their contrasting male-female duet style was later influential on early Ska and Reggae productions from Jamaica.

Shirley & Lee recorded extensively for Eddie Messner and Leo Messner’s L.A.-based Aladdin label. The Messners — along with former NBC radio exec. Lew Chudd’s Imperial Records and Art Rupe’s Specialty — seemed to have a knack for signing talent straight out of the Crescent City.
Here’s one of their singles from 1954.


Comin’ Over
Aladdin 3258A (1954) Shirley & Lee

Takes Money
Aladdin 3258B (1954) Shirley & Lee




COZY EGGLESTON
Tenor sax player C. J. “Cozy” Eggleston (born May 12, 1920) emerged during the flourishing Chicago postwar scene. An early gig (October 1946 through January 1947) was at the Macomba Lounge (39th and Cottage Grove) where for a time he worked alongside Tom Archia. His first advertised appearance as a leader was in the Cozy Cottage (4019 Indiana) in late 1946 under the name Cozy Eggleston and His Imps of Swing.

In 1947 he recorded for Columbia with a group called the Memphis Seven. For a time he played in Lil Green’s band, and used a pianist named Sonny Blount (who had likewise been in the Green band) in his own combo.

In 1949, he was appearing at the Manchester Grill (31st and Rhodes) with his wife, Marie Stone Eggleston (born March 3, 1918), who was described as a “blues singer, ace musician, and the bombshell of the alto sax.”

In August 1950 he was holding down a spot at the Victory Club, as his “indefinite” contract (accepted and filed by Musicians Union Local 208) indicates.

Late 1950 saw Cozy and Marie at the Club Evergreen (1322 Clybourn), where they would “leave the stand and come down to blow among the guests,” according to the caption of a December 30 Chicago Defender photo.

(click on image to enlarge)

The lady in the picture blowing the sax was Marie, who changed her name to Marie Stone to tour with Cozy and his band on his gigs. Back in those days, people frowned on married couples working in the same band.

Now, the States label was into recording a whole gamut of African-American popular music styles of the day: blues, jazz, vocal groups, rhythm and blues jumps, and gospel.  The operation recorded its jazz artists for the R&B singles marketplace, which meant beat-driven hook-laden jumps and smooth renditions of ballad standards.

By the time of his States recording session on August 23, 1952, Eggleston had one hot and popular band. The group on this session featured Cozy and Marie Eggleston, Jimmy Boyd on piano, Ellis Hunter on guitar, Curtis Ferguson on bass, and Chuck Williams on drums. Cozy himself played the smoking sax solo.

Despite holding off the release of “Big Heavy” to the public, it became somewhat of a hit when it was used by Alan Freed as his legendary theme on WINS in New York.

“The Hound’s Around!” – The year 1955 saw this recording used further as a radio show theme tune by George “Hound Dog” Lorenz’s each weeknight from 7-10PM and 9PM-3AM on Saturday nights over WKBW in Buffalo, NY, serving the entire Eastern seaboard.


Big Heavy
States 133A (1955) Cozy Eggleston


Cozy’s Boogie
States 133B (1955) Cozy Eggleston

The melody for “Big Heavy “came from Louis Jordan.  Louis Jordan and His Tympany Five recorded “Blue Light Boogie” and it became a popular single, reaching #1 on the Billboard R&B chart, staying there for seven weeks in September and October 1950.




LLOYD LAMBERT
Born: Jun 4, 1928 in Thibodaux, Louisiana
Died: Oct 31, 1995 in New Orleans, Louisiana.
Lloyd Lambert was an American bandleader and bass player in the genres of R&B and Jazz. He pioneered the use of the electric bass. His band consisted of himself on bass, Lawrence Cotton on piano, Joe Tillman, Gus Font Cute and Clarence Ford on saxophones, Oscar Moore on drums and John Gerald on the trumpet.  They played at the Dew Drop Inn, a major music club in New Orleans.

One of Lambert’s most important relationships was with Eddie “Guitar Slim” Jones, who used the Lloyd Lambert Orchestra for all his recordings on the Specialty label. Guitar Slim, was an American blues guitarist whose Hit, “The Things That I Used to Do” (1953 SP-482) made the Rock and Roll Hall of Fame’s top 500, with a young Ray Charles as guest pianist for the session.

Lambert’s band became the session backup group for all Specialty recordings, accompanied by Guitar Slim, for other artists of the label, including Little Richard.

As a very talented studio musician, Lloyd got to work with some of the leading writers and artists of the day such as Jerry Leiber, Mike Stoller, , Richard Penniman, Moms Mableyand Nappy Brown.

Under his own name, Lloyd Lambert also produced a few of his own recordings. One of them was a single November 1955 with two instrumental tracks, “King Cotton” and “Heavy Sugar”.

King Cotton
Specialty XSP-553 (1955) Lloyd Lambert
Heavy Sugar
Specialty SP-553 (1955) Lloyd Lambert




GUITAR GABLE
Born Gabriel Perrodin, 17 August 1937, Bellevue, Louisiana.  Learning guitar in his teens, Gable was influenced by the ringing, melodic style of Guitar Slim.  He recorded for Jay Miller with his band the Musical Kings in 1956/7, and several successful singles were issued on Excello Records. The music was very much in the south Louisiana R&B mould, with a touch of New Orleans rock ‘n’ roll.

His first record was “Congo Mombo” (Excello 2082), a fast-paced percussive instrumental, which took off in southern territories. Even better, the record became a two-sided regional hit when Gable’s vocalist King Karl (Bernard Jolivette) sang “Life Problem“, a bluesy ballad which is now a Louisiana swamp-pop standard.


Congo Mambo
Excello 2082A (1956) Guitar Gable & the Musical Kings

Life Problem
Excello 2082B (1956) Guitar Gable & the Musical Kings




BIG CONNIE
No info for this artist could be found.
Here’s one of his Honkin’ and Hollerin’singles on the Groove label from 1956.


Mumbles Blues
Big Connie LABL Groove REC# 4g-0142 YEAR 1956

Wait Til Next Week Baby
Big Connie LABL Groove REC# 4g-0142 YEAR 1956




CRAWFORD BROTHERS
Paul Crawford & James E. Crawford recorded this very cool instrumental R&B in December 1957. It was used as a theme song for a while by The Hound (George Lorenz). Both sides are excellent grinding music.


Midnight Mover Groover
Aladdin 3375A (1957) Crawford Brothers

Life Problem
Aladdin 3375B (1957) Crawford Brothers


I hope you enjoyed listening to some of my old R&B records.

Your comments would be appreciated.


–o–

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13 responses to “Russ’s Old 78s – R&B Album

  1. Love the Mellow Blues sax work. Sounds like a young Russ Strathdee! The 78 scratch sound is fun too – sounds like your 78s are in very good condition. I used to use thorn needles to try to make them last but the standard issue were steel needles that you had to change every 10 minutes and they were mounted in a 40lb gramophone head which chewed right through the 78s. Also had to change the gramophone wind up spring – the old one let go in violent serpentine fury and almost decapitated me.

    • Ah, yes. I used to have an old Victrola myself, and you’re right about the 40 lb head. The supply of spare steel needles were put in a little cup shaped holder right next to the turntable, which was covered in green felt. I never knew about thorn needles. Sounds like a great idea. The trick in not breaking the main spring was to avoid winding it all the way. My Victrola was a table top model that had little doors at the front that you could open up if you wanted to crank up the volume. Here’s a picture of it. My old Victrola

  2. I played a lot of blues piano in my time and it’s great to hear the real stuff.

  3. I just discover your site… I am in BLUES HEAVEN!!!
    I love your 78 collection. I have a few myself. Do you have April Showers by Buddy Lucas., That song I’ve not heard in awhile…

    Love your site!!!

    Big Up!@!

    • Hi Raphy
      Thanks for enjoying my old 78’s. You made my day. Sorry, I do not have April Showers by Buddy Lucas. If I come across it, I’ll let you know.
      – Russ

  4. Pingback: Freddy King / Freddie King | Russ & Gary's "The Best Years of Music"

  5. Russ
    The record called New Bon Ton Roulay is English for what the Cajuns say in French which when translated to English is ” Let the good times roll “.In French it is Laissez les bon temps rouler.

    FYI

  6. Well, Don… I did not know that – Let the good times roll (rouler)… makes sense with the little bit of Grade 9 French I can barely recall. Les bon temps = The good times. I consider this expression to be one of the finest. In high school (Earl Haig, Willowdale) our slogan was Carpe Diem = sieze the day. This has a similar intent. As the farmers used to say, “Make hay while the sun shines”. These ARE the good old days… I could go on. Don’t get me going. LOL
    – Russ

  7. Is that your only Shirley & Lee? My favourite by them is FEEL SO GOOD (Now that you’re Home), and as you know mine are LOST. Feels good to let them roll while I check the rest of your valuable and fun-sounding website.

  8. Hi Connie,
    FEEL SO GOOD is definitely one of my all-time favourites by Shirley & Lee. You can hear this song on one of our other posts: https://strathdee.wordpress.com/2010/05/06/soul-couples-mickey-sylvia-shirley-lee/

  9. I think you have Junior Wells photo where Little Junior Parker should be!

  10. Pingback: Freddy King / Freddie King | Russ & Gary's "The Best Years of Music"

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