On This Day – Sonny Boy Arrives, For The First Time

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On this day in 1914 Sonny Boy Williamson was born.

Sonny Boy was a hugely influential blues harmonica player. Arguably all the present blues harmonica players have been influenced to a greater or lesser extent. None more so than Sonny Boy Williamson.

In fact Sonny Boy Williamson was so influential that Sonny Boy Williamson copied Sonny Boy Williamson.

Confused? Don’t worry many avid blues fans have been, and still are, confused by just who is playing when they listen to Sonny Boy Williamson.

Let me explain. The Sonny Boy Williamson born today in 1914 was the original and his birth name was John Lee Curtis Williamson in Jackson Tennessee. He died on 1st June 1948 after being mugged in Chicago. In between he forged a harmonica style that has changed the world of music. He also wrote performed some of the seminal blues songs of the 20th century. His biggest selling song was a massive race record hit (remember, before the 60s in the States the blues and rhythm and blues were thought not to be fit for white people) was “Good Morning Little Schoolgirl”

Good Morning Little Schoolgirl has been recorded by John Lee Hooker, Lightnin’ Hopkins, Mississippi Fred McDowell, Muddy Waters, Doctor Ross, The Grateful Dead, Ten Years After, Johnny Winter, Yardbirds, Rolling Stones among many, many more.

Back to the point of this blog…….

So, Sonny Boy was hugely popular and living and recording in Chicago. Over in Arkansas There was harmonica player called Rice Miller (although he may have been born as Aleck Ford, or Rice Ford, or Aleck Miller, no one is really sure and as to his date of birth just don’t get me started….) Rice Miller appeared on the radio and played in a similar style to Sonny Boy. The radio shows sponsors was King Biscuits.

Arkansas is quite a way away from Chicago and though Sonny Boy’s recoreds were popular there was little chance that he would come to Arkansas to play. To King Biscuit it seemed obvious, call Rice Miller Sonny Boy Williamson and pretend (or least not deny) that it was the real Sonny Boy on their radio show! Strangely, it worked. Sonny Boy never sued over the hijacking of his name (but then Rice Miller did not record as Sonny Boy while Sonny Boy was alive – if you see what I mean). They both just got on with it. After Sonny Boy died Rice Miller recorded as Sonny Boy Williamson II. The trouble is that there are still compilations out there that get the 2 mixed up.

Look on the bright side, they were both great harmonica players, just enjoy the music!

People are still getting them mixed up. This is Rice Miller (Sonny Boy Williamson II) with the song thatgave a great band its name.

With Muddy Waters “Got My Mojo Working”

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On This Day – Lou Bitten

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On this day in 1973 Lou Reed was playing in Buffalo, New York. A fan scrambled up on stage shouted “Leather!” and bit Lou on the Bum.

OK, so it is not the most important ‘On This Day’ that I will ever write but I did miss Lou’s birthday (2nd March) and so will have to wait a year before I can do a big piece on him.

1973 was a year after Transformer and Berlin was not released until July ’73 so this would have been at a concert in support of Transformer. The backing band was The Tots who were;

VINNY LAPORTA, guitar
EDDIE REYNOLDS, guitar
BOBBY RESIGNO, bass
SCOTTIE CLARK, drums

Not sure what happened to the members of the band but here they are with Lou in 1973 (any info about them please let me know, I gather that Laporta was still playing up until 2007).

Lou Reed Live Olympia Theatre, Paris 1973, Walk On The Wild Side , Heroin and White Light, White heat. This is from the “Berlin” tour with the Wagner & Hunter band. Wonderful.

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My 100 Essential Albums – 17 Berlin by Lou Reed

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Berlin by Lou Reed is his greatest album

berlin My 100 Essential Albums – 17 Berlin by Lou Reed

Released in 1973 this is a superb Album. I am biased as I love Lou Reed and all his works, well, the majority of his works I have Metal Machine Music but can not say that I play it. However Berlin is a wonderful album, it is the sort of album that you want everyone to listen to because it is that good.

On its release the critical response was mixed to say the least, Rolling Stone called it a “disaster”. However, in the UK it reached number 7, which goes to prove what a discerning lot we are. It only reached number 98 in the States, which says something about their tastes……..Since its release Berlin has grown in reputation and stature and came in at number 344 in the Rolling Stone list of the top 500 albums of all time. A miserly rating for such a great album.

There are some justified comments about Berlin that critics seize upon. There is not a lot of original material. Most of the songs have been heard before in various reincarnations. Berlin made its first appearance on his first solo album, but it is very much reworked here. Caroline Says II is actually Stephanie Says from VU days. Sad Song and Men of Good Fortune were played by The Velvet Underground. Having said that Lou reworked existing material for his first two albums and Berlin is no different.

What is different is that Berlin was a “rock opera” – a dreadful term. It tells the story of a failing relationship. It deals with dark themes including prostitution, drug use, domestic violence and suicide. This is no a happy album. It is not an easy listen, looking at my list of essential albums not that many are easy, Berlin is the only one that has kids crying on it, though! However, Berlin does have some sublimely beautiful moments in it. It is a quality album and well deserves its inclusion in this list of essential albums.

 

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My 100 Essential Albums – 16 – The Punk Singles Collection, The Adverts

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A compilation of singles by The Adverts the 16th of my Essential Albums

 

The Adverts were a short lived punk band formed in 1976 and gone by the end of 1978. What singled the Adverts out was the quality of the lyrics written by the excellent TV Smith and that they had Gaye Advert as a member. Gaye was called the “first female punk star”, but I would have thought that Souxie Sioux had something to say about that!

This is a great punk album. It has their first single “One Chord Wonders” and the attitude that made punk so refreshing.

 “I wonder what we’ll play for you tonight

Something heavy or something light

Something to set your soul alight

I wonder how we’ll answer when you say

‘We don’t like you – go away

Come back when you’ve learnt to play.”

Also on this compilation is the other single that everyone remembers from The Adverts , Gary Gilmore’s Eyes. Gilmore was an American murderer who wanted his eyes to be donated to science. Obviously, some of the music press – let alone the Daily Mail – did not react well. Sounds called it “the sickest and cleverest record to come out of the new wave” reflecting the clever lyrics that were typical of Smith’s work.

Fame was fleeting for The Adverts. A couple of well received albums followed together with some supreme singles (on this album) that failed to bother the charts. I particularly like “Safety in Numbers”. After the death of their manager and threatened by lawsuits from disgruntled ex members the band sort of dissolved although TV Smith continued with a solo career.

Their legacy? Dave Thompson author and music critic said “nobody would make music like The Adverts and nobody ever has. In terms of lyric, delivery, commitment and courage, they were, and they remain, the finest British group of the late 1970s” I could not put it better myself.

 

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My 100 Essential Albums – 15 – It’s A Beautiful Day , by It’s A Beautiful Day

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It’s A Beautiful Day , a supreme summer of love album, with attitude

its a beautiful day My 100 Essential Albums – 15   It’s A Beautiful Day , by It’s A Beautiful Day

Released in 1969 this is a tremendous album that rewards repeated listening and I can not imagine being parted from it for any length of time.  Perhaps that is a quick definition of an essential album.  When I picked up the album in a record shop I dismissed the claim on the back cover that David LaFlamme played violin like Hendrix played guitar. I was wrong.

Looking back it may seem strange that I loved this album while also loving Velvet Underground and Beefheart, but I do not think that it is that strange. It’s A Beautiful Day sounds like a quintessential Summer of Love album, but it isn’t. The songs have an edge. White bird was written by LaFlamme and his wife while living in a cold and wet Seattle while they were broke and had little food. “Girl With No Eyes” is beautiful love song but so sad. Other tracks are not Summer of Love at all even though It’s A Beautiful day were saddled with that association. “Wasted Union Blues”, “Bombay Calling” and “Bulgaria” all show the power of the band.

The stand out track is “Time Is” a lovely evocation of love. The intertwining voices of LaFlamme and the remarkable Patti Santos, sadly no longer with us, sums up It’s A Beautiful Day for me. A band of power and beauty, and a remarkably good live band. I saw them at Them at The Bath Festival of Blues and Progressive Music bizarrely held at Shepton Mallet in 1970. It’s A Beautiful Day more than held their own against the other bands appearing that included; Led Zeppelin, The Keef Hartley band (who were wonderful), Zappa and the remarkable Hot Tuna.

Those listening to It’s A Beautiful day for the first time may think that they recognise “Bombay Calling”. It is perfectly possible because it was used by Deep Purple as a basis for “Child in Time”.

 

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My 100 Essential Albums – 14 – Bitches Brew, Miles Davis

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Bitches Brew Number 14 of My 100 Essential Albums

 

bitches brew My 100 Essential Albums – 14 – Bitches Brew, Miles Davis

Released in 1970 Bitches Brew is a revolutionary album.  Davis moved from his previous “cool” and “modal” style into a freer, more rhythmic, improvising style.  To be honest I had not listened to much, if any, of Davis’ work before this.  I did not know that the use of multiple electric pianos, guitars, two or three drummers and two basses was revolutionary.  I just adored the noise that they made.  The expanded rhythm section provided a solid base for the soloists.

I did not appreciate it at the time but Bitches Brew included many wonderful musicians.  Mind you they had to be wonderful to be able to record this album.  The album itself took just 3 days to record and the musicians were called in at short notice.  As for rehearsals, there were a few, but not many.  It seems that the players were given a few hints about tempo, a few chords, maybe a hit of the melody.  Apart from some comments about the mood that was it.  Davis wanted to work like this so that the musicians had toi listen to each other while they played and give each other space.  It was very spontaneous and you can here Davis saying “keep it tight” at times.

In many ways I was prepared for this album, what with my love of Beefheart.  Trout Mask Replica had come out the year.  After TMR Bitches Brew, shunned by many of the more traditional jazz followers, seemed normal to me.  Normal in a very special way that is.

Bitches Brew opened doors for me into jazz and that would make this one of my essential albums, even if Bitches Brew did not stand up on its own as a fine album.  Through it I started investigating jazz and found Sun Ra, Coltrane, Chick Corea and others.  My life would be much less rich without this magnificent album.  All hail Bitches Brew, a gift to us all.

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My 100 Essential Albums – 9 – George Thorogood and the Destroyers, GT&TD

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 Thorogood is good! George Thorogood and the Destroyers

gtd My 100 Essential  Albums – 9 – George Thorogood and the Destroyers, GT&TD

Recorded in 1977 this was the first George Thorogood album.  Mainly blues covers with only two self penned songs it introduced me to the talent that is George Thorogood.  A love of blues shines through the playing.  It is one of those things, 10 bands can play the same song but you know instinctively which band really feels the music.  Add to that passion a deep talent and you get an album like this.

His influences are obvious, Hound Dog Taylor, Elmore James, John Lee Hooker and Bo Diddley.  You can tell from that list that this will not a willo’ the wisp, guitar twiddling, feint hearted album.  This is full on rocking blues of the highest calibre.

The riffs may be the same but the passion that he displays seem to make them his own.  The power of the music that this band produces explains why the album stands the test of time.  It is also why they have been one of my fave live bands for the last 35 years.

The Iconic “One Bourbon, One Scotch, One Beer” made its George Thorogood debut on this album and it no accident that it is a corner stone of his live performances and that it becomes better every time you see him play.  The same goes for “Ride on Josephine”.  Add to those two tracks standards like “You Got to Lose”, “Can’t Stop Lovin’”, and “Kind Hearted Woman” all played by someone who understands the music and you have the recipe for a stomping good album, and that is exactly what this is.

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My 100 Essential Albums – 13 – Led Zeppelin, by Led Zeppelin

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My 100 Essential Albums – Led Zeppelin the eponymous first album

led zeppelin My 100 Essential Albums – 13   Led Zeppelin, by Led Zeppelin

 

Released in 1969 Led Zeppelin is album was recorded in 1968. It only took 36 hours of studio time to record which might have something to do the band paying for the studio time. The other reason it was quick to record was that a lot of the material were songs that Led Zeppelin had been playing on their inaugural Swedish tour. Also, some of the material was based on the Yardbirds’ numbers that Jimmy Page knew so well. To this day people complain that it was case of plagiarism. I remember one review comparing Led Zeppelin adversely to the Jeff Beck group as they were playing very similar stuff, both Page and Beck having been in the Yardbirds.

 

With the honourable exception of Chris Welch in The New Musical Express the album was panned by the music press. The press can maybe forgiven, it was the day of “super groups” but comparisons to Cream, The Jimmy Hendrix Experience were wide of the mark. This was not another over hyped group of musicians, this was a band that played rock music informed by the blues and folk. Led Zeppelin had to fight to prove their authenticity.

 

Whatever the press said Led Zeppelin was very successful commercially. We bought it in our droves. This was new, improved version of powerful blues rock. It laid the bedrock on which hard rock was built. More than that it was not just heavy, it was intelligent and very well recorded. Jimmy Page produced the album and had the sound he wanted in his head. One innovation was the way he arranged the mikes. Until then, with the exception of Joe Meek and a few others the mikes were in front of the amps, and that was it. Page did that but he also placed mikes back from the amps. He balanced the output to give a more ambient sound. It was like a breath of fresh air.

 

The music was arranged with dynamics used to produce light and shade. The music and vocals fitted together perfectly. The blues device of call and response was used with Plant’s voice echoing Page’s guitar. Page used a violin bow to produce the sounds he wanted. Where Vanilla Fudge was heavy they now sounded muddy and confused. Led Zeppelin, both the album and the band changed rock forever.

 

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My 100 Essential Albums – 11 The Great 28 Chuck Berry

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My 100 Essential Albums number 11, The Great 28 by Chuck Berry

great 28 My 100 Essential Albums – 11 The Great 28 Chuck Berry

How could Chuckles not be in my 100 essential albums? This is a greatest hits album released in 1982. I normally do not like greatest hits albums. To me there is something wonderful about hearing a track in its intended place, in context. Besides there are usually some duff tracks on a greatest hits compilation. Not so with this one. I am not the only one who thinks that this is an essential album so did the people who put together Rolling Stones’ 500 Greatest Albums of All Time. They had this marvelous collection of Chuck Berry tunes at 21. The only compilation that ranked higher was Presley’s “The Sun Sessions”

The album covers Chuckles’ first 11 years with Chess records and so does not include My Ding-a-ling (which is a mercy). As you can see from the track listing this is a wonderful album and really does deserve to be in anyone’s list of essential albums.

1. “Maybellene”

2. “Thirty Days”

3. “You Can’t Catch Me”

4. “Too Much Monkey Business”

5. “Brown Eyed Handsome Man”

6. “Roll Over Beethoven”

7. “Havana Moon”
8. “School Days”

9. “Rock and Roll Music”

10. “Oh Baby Doll”
11. “Reelin’ and Rockin'”
12. “Sweet Little Sixteen”

13. “Johnny B. Goode”

14. “Around and Around”

15. “Carol”

16. “Beautiful Delilah”
17. “Memphis”

18. “Sweet Little Rock and Roller”
19. “Little Queenie”

20. “Almost Grown”

21. “Back in the U.S.A.”

22. “Let It Rock”

23. “Bye Bye Johnny”
24. “I’m Talking About You”

25. “Come On”

26. “Nadine (Is It You?)”

27. “No Particular Place to Go”

28. “I Want to Be Your Driver” (from Chuck Berry in London)

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My 100 Essential Albums – 12- Complete Recordings, Robert Johnson

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My 100 Essential Albums number 12 The Complete Recordings by Robert Johnson

robert johnson My 100 Essential Albums – 12  Complete Recordings, Robert Johnson

This is, for me, one of my essential albums because it really shows what real blues was all about.  Robert Johnson was the archetypal blues man.  Born in 1911, his family was run out of town by some white businessmen, he was brought up by his mother before being sent to live with his father.  Later he went back to live with his mother and her new husband.  Later on he became an itinerant blues player.

The real myth about Robert Johnson is that he went away for a few months and when he returned he was a much better guitarist.  The story, at the time, was that he had sold his soul to the devil in return for being a master guitar player.  It obviously worked!  Years later while listening to Johnson on the album “King of the Delta Blues Singers” Keef Richards though that there were two guitarists playing!  Hi death is also in keeping with the blues man myths.  He died in 1938, probably after drinking poisoned whiskey.  It was poisoned, it is thought, by a jealous husband because in keeping with the stereotypes Johnson was a hard drinking, hard loving man.

Back to this, one of the most essential albums.  It contains everything that Johnson recorded in 1936 and 1937.  This is what most people regard as the “true” blues.  There is the argument that Johnson does not represent the real blues because blues was a popular music form and so people like the Mississippi Sheiks (a dance band) would represent The Blues.  It is like saying that The Bay City Rollers were more representative of Rock in the latter part of the 20th century because they were more popular than say, The Velvet Underground.

Another reason why this is one of the essential albums of all time is that it is direct link back to type of music that has informed and influenced almost everything that came later.  The songs themselves have been covered by countless others.  Countless musicians have also cited this album as an influence.  Robert Johnson died nearly 80 years ago but he lives on through his music and this album is key to understanding his legacy.

Clearly, a remarkable album and one of my 100 essential albums

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