Though Big Jay McNeely is one of the lesser-known 1950s R&B saxophonists, his outsized, crowd-pleasing style, which incorporated long, swooping notes and blustering honks set against a raw, swinging backbeat, is still immensely appealing. The second volume of the French Classics R&B label's McNeely retrospective includes cuts like "Nervous Man Nervous," for which a pre-"Smoke Gets in Your Eyes" Platters supplied background vocals, as well as several previously released sides with overdubbed crowd noise added to simulate a live performance. This volume resumes with the rest of Big Jay McNeely's body of work for Ralph Bass' Federal label in 1953/54, including the breathtaking instrumental "3-D" and "Nervous Man Nervous" with ensemble vocal by the pre-breakthrough Platters. This CD follows Mc Recording information: Chicago, IL (06/23/1953-03/15/1955); Cincinnati, OH (06/23/1953-03/15/1955); Los Angeles, CA (06/23/1953-03/15/1955). Personnel: Big Jay McNeely (vocals, tenor saxophone); Bob McNeely (vocals, baritone saxophone); Leonard "Tight" Hardiman (vocals, drums); Cecil "Butterball" Harris (vocals); John Anderson (trumpet); Earl DeWitt (piano, organ). Liner Note Author: Dave Penny. (Allmusic)
trax:
01 3-D 02 Nervous Man Nervous w/The Platters 03 Rock Candy 04 Texas Turkey w/The Platters 05 She Don'T Work 06 Hot Cinders 07 Mule Milk 08 Ice Water 09 Whipped Cream 10 Beachcomber 11 Let'S Work 12 Strip Tease Swing 13 Hardtack 14 Hometown Jamboree 15 Teen Age Hop 16 Catastrophe 17 Calamity 18 Jay'S Rock 19 Big Jay'S Hop 20 Three Blind Mice
...served by Gyro1966...
.JPG)
%2045%20-%203642A.png)
.jpg)
.jpg)
%2001.jpg)
12 comments:
Big Jay McNeely - The Deacon 1953-1955, Unabridged, Vol. 3
...served by Gyro1966...
gitit! no pw
http://www68.zippyshare.com/v/39004177/file.html
BONUS 1 OF 4
DOM MARIANI - Rewind and Play (2010) @320 & Flac
@320
http://www19.zippyshare.com/v/22627887/file.html
FLAC
http://www.gamefront.com/files/24258781/dom_mariani_Rewind_and_Play_zip
Dom Mariani is somewhat of a hidden Australian pop-rock treasure. Through bands such as The Stems, The Someloves and DM3 he created a body of work that should have him regarded as a peer of acclaimed international artists of a similar ilk like Ken Stringfellow, Evan Dando, Pat Dinizio, Matthew Sweet and Mitch Easter – masterful creators of melodic power-pop tunes and memorable, often under-stated sparkling indie gems. On this album he takes a selection of songs from all three of those bands, a couple of solo recordings and even one cover (Here Comes The Night as previously performed ina more epic manner by Van Morrison) and re-makes them in a semi-acoustic mode. “Semi-acoustic” shouldn’t be taken to mean a folky album of strummed guitars though– the core arrangements are supplemented by some lovely keyboard work and plenty of tasty electric guitar lines. There are some absolute gems here – Just Like Nancy (Girl In Boots), Melt and Sunshine’s Glove are three that jump out at me immediately and of course At First Sight (which closes this album) is, and always will be, one of Australia’s great contemporary guitar pop songs. Great songs performed with great taste and pure intent – you can’t ask more than that. (Hey Hey My My)
INFO
http://www.discogs.com/Dom-Mariani-Rewind-And-Play/release/3652403
http://www.allmusic.com/album/rewind-and-play-mw0002379927
BONUS 2 OF 4
Soulsugar, Vol. 1
http://www77.zippyshare.com/v/59817689/file.html
Fine soul comp from 2004 released on Sony Records. Out of print.
1. Lou Rawis - Too Much Living To Do
2. James Brown - Out Of Sight
3. Vibrations - Love In Them There Hills
4. Patty Drew - Hard To Handle
5. Otis Redding - Papa's Got A Brand New Bag
6. Ted Taylor - Somebody's Always Trying
7. Edwin Starr - 25 Miles
8. Jackie Wilson - Didn't I
9. Kip Anderson - I Wanna Be The Only One
10. Isley Brothers - Love The One You're With
11. The Metros - Since I Found My Baby
12. Billy Larkin - Pygmy Pt.1, Part 2
13. Lou Rawls - Natural Man
14. Timmy Thomas - You're The Song
15. Coke Escovedo - Runaway
16. Cornelius Bros. And Sis Rose - Treat Her Like A Lady
17. Johnny Nash - Love Aint' Nothing
18. Sergio Mendez - Aqua De Be Ber
19. Bunky Green - Let Me Go
20. Oscar Brown Jr. - The Snake
21. Holland Dozier - Baby Don't Leave Me Now
22. Joe Simon - The Chokin Kind
23. Sweet Inspirations - (Gotta Find Me) A Brand New Lover
INFO
http://www.discogs.com/Various-Soulsugar-Vol-1/release/678738
http://www.amazon.de/Soulsugar-Vol-1-Various/dp/B0001EJ7K4
BONUS 3 OF 4
LAZY LESTER - Harp & Soul (1988) @320
http://www53.zippyshare.com/v/88443345/file.html
After a lengthy hiatus from the music business, Lester was in the midst of his comeback when he waxed this album for Alligator. The overall sound is redolent of those Louisiana swamp blues classics, but with a cannily updated contemporary edge that works well. (Bill Dahl, Allmusic)
In the late 1950s and the first six years of the 1960s, multiinstrumentalist Leslie "Lazy Lester" Johnson helped define the Louisiana "swamp blues" sound of Jay Miller's Excello label. Lester recorded again in the late 1980s, and this set of originals and cover material (hooray for Slim Harpo and James Carr, nix on Bo Diddley and Eddie Boyd) captures all of his distinctiveness: an indolently swinging voice whose tonality belongs to country and western and Cajun music rather than blues, and a plaintive-happy harmonica that suggests Jimmy Reed's without any mimicry. Lester's King Snake sessionsmen are ham-handed in their attempts at conjuring peat bog ambience. (35:24/1988) -- © Frank John Hadley 1993 -- From Grove Press Guide to Blues on CD
INFO
http://www.amazon.com/Harp-Soul-Lazy-Lester/dp/B0000009Z3
BONUS 4 OF 4
JOHN NEMETH - Memphis Grease (2014) @320
http://www34.zippyshare.com/v/47929314/file.html
''Németh is one of the finest young additions to the soul blues scene.'' -----AllMusic
'Németh has been bringing in new fans by the bushel. ... Németh is the fastest rising star in the blues firmament, a supremely versatile performer who has made true believers of some of the biggest names in the business.'' -----Seattle Times
''Classic soul and R&B styles have been revitalized in recent years by a cadre of young and relatively young artists such as James Hunter, Eli ''Paperboy'' Reed, and Sharon Jones. You can include John Németh on any list of the best of them.'' ----Philadelphia Inquirer
Soulful vocalist and harmonica player John Nemeth was originally from Idaho before moving to the West Coast where he played with guitarists including Junior Watson and Kid Anderson and made several records for Blind Pig. He has now relocated to Memphis and hooked up with producer/bass player Scott Bomar and his band the Bo Keys, which includes Memphis music veterans who have played on records by amongst others Rufus Thomas, B.B. King, Bobby Bland, Ike Turner and Ann Peebles.
As is to be expected the album is soul heavy with a real Stax-Hi groove - with funky bass and drums (courtesy of Howard Grimes) - and I think that the change has really re-energised John, it’s a big step up from his last two albums. The record starts with several up-tempo brass-led Stax-style songs but “If it ain’t broke” is a nice pleading soul ballad and “Crying” is the old Roy Orbison song completely transformed into deep soul torch song. John manages to add his blues harp to a couple of the songs, including chromatic on “Bad luck is my name”, with two fine blues songs coming towards the end “Keep the love a comin’” and “Elbows on the wheel”. The last song on the album is a beautiful laid-back ballad “I wish I was home” with subtle guitar and Hammond organ and John’s restrained vocals. Despite the wonderful really authentic-sounding backing it’s John’s rasping vocals (and harmonica playing) that are the real stars of every song and I think that this record is his best yet. (GE Harrison, Blues World)
JOHN NEMETH - Memphis Grease (2014) (Continued)
An Idaho native with Hungarian roots serving up Southern funk? Sure, blues artist John Németh is all over the map, but his new album, Memphis Grease (out Tuesday on Blue Corn Music), has a uniformly "easy, greasy groove," he says.
"It's like a train just rolling down the track and (the fans) are really going to dig it," Németh says. "They'll dig the songwriting, too. There's a lot of songs from the heart, a lot of songs about personal life and things like that."
Memphis Grease has been a long time coming. Németh initially connected with the album's producer Scott Bomar in October 2012, when Bomar approached him about working with his Memphis-based soul/jazz band The Bo-Keys. Once he relocated to Tennessee with his family in January 2013, Németh hit the studio with The Bo-Keys and recorded the album in a "leisurely" three days, he says.
"They did it like they do in Memphis," Németh says. "It's really cool, their process of simplifying the music and leaving lots of space. That itself is a real art form. Then they put the sophistication of the horns on top of the simple guitar, bass, drum and organ parts."
Németh and The Bo-Keys are currently touring in support of the 13-track album, which includes 10 original songs (written by Németh and his road band in 2012) and covers of Roy Orbison (Crying), Otis Rush (Three Times a Fool) and Howard Tate (Stop). His favorite cut off the album is his own If It Ain't Broke. (USA Today)
John Németh was probably the only kid in Boise who grew up in the 1980s listening to Chicago blues... In the three decades since, Németh has transformed himself from a fan to a modern soul-blues purveyor of the highest order, receiving five Blues Music Award nominations in 2012 and two in 2013, including the B.B. King Entertainer of the Year award. It's a journey that took him to San Francisco, then Oakland, California, followed by a relocation to the birthplace of blues, soul and rock-and-roll, Memphis. He landed in the perfect place: Electraphonic Studio, home of producer and musician Scott Bomar, who composed the film scores for ''Hustle & Flow'' and ''Black Snake Moan' and produced Cyndi Lauper's ''Memphis Blues.'' Support by the Bo-Keys, Bomar's group of veteran Memphis performers who made their names backing the likes of Al Green, O.V. Wright, Rufus Thomas and the Bar-Kays, Németh quickly laid down thirteen tracks that as he describes it, ''Live in the style like I live in the style.'' That style is a deeply forged amalgamation of scorching harmonica-driven blues and sweet blue-eyed soul ala The Box Tops or Roy Head, delivered via two fistfuls of originals and a trio of carefully chosen covers. ''Memphis Grease,'' the long-awaited follow up to 2010's ''Name The Day!'', embodies everything that sets Németh apart from the soul-blues revivalist pack: it's innovative and unique while epitomizing the absolute best of the genre.
INFO
http://www.amazon.com/Memphis-Grease-John-Németh/dp/B00I89RQB6
I love the variety of these bonus batches. As always, my deep thanks!
SO MUCH QUALITY MUSIC!!!
THANKS SO MUCH!!
PVC
Thanks
I appreciate everyone who leaves a comment, I know how busy we all are trying to DL every single album ever released. (3 comments on this combined post, already a combined over 1000 DL.)
Can't wait to enjoy some Memphis Grease. Thanks so much, G.
Iggy
Man, y'know, I like being on a week-long internet-less vacation as much as I like coming home and seeing what I missed on this blog. Thank you, again, a thousand times over.
- d.
Post a Comment