...The group formed in 1985, playing its first gigs in Dallas's Deep Ellum neighborhood. Its current members are Jim "Reverend Horton" Heath on guitar and lead vocals and Jimbo Wallace on the upright bass. The band signed to Victory Records on November 27, 2012, and released its 11th studio album, REV, on January 21, 2014.The band describes itself as "country-fed punkabilly". The band mixes country, surf, punk, big band, swing and rockabilly into loud, energetic songs with often-humorous lyrics. Video games, cartoons and commercials have used the band's songs, giving The Reverend Horton Heat mainstream exposure. - wiki
trax:01 I Can't Surf 02 Slow 03 Cruisin' For A Bruisin' 04 Fucked Up Ford 05 Instrumental 06 Spell On Me 07 Wiggle Stick 08 400 Bucks 09 Just Me 10 Big Red Rocket Of Love 11 Low Flying Plane 12 Beer: 30 13 Martini Time 14 Crooked Cigarette 15 Big Little Baby 16 Texan 17 Nurture My Pig 18 Psychobilly Freak Out 19 That's Showbiz
Rhythm & Blues legend Andre Williams has taken Green Hornet as opening - and backingband on his 2003- European tour. This long (33 shows, 12 countries, 5 weeks), exhausting and hilarious, but purifying experience resulted in a great live album with Andre Williams on the American Norton records: 'Holland shuffle'. Quite good live album from this 70-year old godfather of R&B, hard and very explicit.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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The key influences on hip hop have been well documented over the years – but this set goes beyond those obvious 70s roots, and attempts to look at a variety of styles over the course of the 20th century – bits of soul, blues, R&B, and gospel that may well show the early emergence of some hip hop ideals – or, at the very least, offer up some great examples of badass spoken bits in music! We're won over mostly by the selection of music on the collection, which is great – and almost care less about the overall pre-hip hop project, as that's somewhat tricky territory to move through – and if you're looking for some great jive and R&B, the set's got plenty to offer – lots of offbeat numbers that include "Road House Boogie" by Big Jay McNeely, "When I'm In My Tea" by Dr Jo Jo Adams, "Puerto Vootie" by Slim Gaillard, "Baby Baby" by Katie Webster & Ashton Conroy, "Caught" by Mamie Ree & Young Wolf, "In Dat Mornin" by Jimmie Lunceford, "Whi I Like Roosevelt (parts 1 & 2)" by Soul Stirrers, "These Hard Times" by Rev JM Gates, "Swamp Root" by Harmonica Frank Floyd, "Just Can't Stay" by Willie Nix, "The Letter" by Vernon Green & The Medallions, and "Number Writer" by Dan Pickett. (Dusty Groove)
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Although it could hardly be called complete, the budget-priced Talkin' Verve offers a good sampling of Lalo Schifrin's recordings for Verve in the second half of the '60s. However, it's not necessarily a representative sampling. Like most Talkin' Verve discs, it leans toward the kitschy, particularly in covers of then-contemporary pop hits, but Schifrin always boasted innovative, or at least intriguing, arrangements, even when he walked the pop line. At only 12 tracks, the compilation is a little brief, but it's still a good, entertaining compilation -- especially for those whose tastes lean toward acid jazz and its cousins. - AllMusic Review by Stephen Thomas Erlewine
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...and the first to really document the full range of his talents, from the R&B years up to the funky 70s! The work here originally appeared on a number of different labels -- Fortune, Chess, Ric-Tic, Alvin, Sport, and others -- and the set also includes 7 tracks that are issued here for the first time ever, making the CD a real discovery of Andre's talents, even if you're already familiar with his work! The massive 28 track set put together nearly 15 years of music in chronological order -- combining Williams' rough early R&B with some of the tighter, groovier funk he cut in the late 60s -- a blend that's totally totally great to our ears, and supported by pages and pages of notes written by Andre himself! (Dusty Groove)
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...The music itself is ultimately what matters, and these 20 tracks are strictly topnotch. The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
...But Williams pulls back the reigns a bit on 2006's Aphrodisiac and the disc shows he can groove a bit easier and still keep the party going. Williams' backing band for this set is Iowa City's latter-day organ groove merchants the Diplomats of Solid Sound who, as expected, don't generate the same sort of noisy attack as the garage rock upstarts he's most frequently been teamed with in recent years. The result is a more laid-back and funky groove that's soulful but potent at the same time, fusing '70s blaxploitation sounds, Jimmy Smith-style jazz figures, and Booker T.-influenced R&B workouts into one solid package. Williams gives as good as he gets on these sessions, and if his voice is a bit frayed around the edges, the old-school toasting of "Uptown Hustler," the potent lovers' pleading of "I'm Not Worthy" and "I Don't Need May (Juana)," and the post-Hurricane Katrina lament of "Three Sisters" confirm the spirit is still more than willing. Williams has certainly sounded more physically powerful than he does on Aphrodisiac, not surprising for a man of 70 years, but he's still capable of getting on the good foot, and this album's biggest drawback is its running time -- at a mere 29 minutes, this album doesn't fuel the party as long as it could or should, though the quality outweighs the quantity. (Mark Deming, Allmusic)
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From the same label which has brought the superb 4-CD sets of the history of rhythm and blues comes this equally excellent 26-song collection of post-war material soaked in Latin rumba-shuffle influence. This is slippery and seductive music with that tricky undercurrrent that the rumba beats bring ... to hear how these diverse musicians adapted and bent it to their own styles is just a whole heap of fun. More than that though, if you take the time to read the liner note essay this collection is instructive history. But history that will put a smile on your face and a dip in your step. - elsewhere.co.nz
Latin rhythms have infiltrated into every new branch of popular music that has emerged during the twentieth century. Jelly Roll Morton and W.C. Handy incorporated the Cuban habanera into early jazz and blues; the Argentinean tango found its way into twenties dance-band music; the Brazilian baion and bossanova styles wound their way through the sixties beat boom and were revived in the drum'n'bass of the nineties. But none had such an all-pervasive influence as the rumba. Its journey from the Middle-East through North Africa and Spain to the New World brought it into American dance halls in the thirties. The syncopated, rhythmic riffs of bandleaders such as Xavier Cugat helped to liberate dancers from stuffy foxtrots and waltzes, opening up an altogether more sensual world of excitement and exoticism. In post-war popular music, rumba is everywhere, from Dave Bartholomew's Country Boy to the Clash's Rock The Casbah, picking up Little Richard's Slippin' and Slidin' and the Beatles' Ballad Of John And Yoko along the way. Even hillbilly records featured rumba bass lines. Its 3-2 clave rhythm, which Bo Diddley stylised and made into his very own, became an integral part of American music and continues to cast its spell over popular music to the current day.
...A pioneer of rock and roll and rockabilly music, Lewis made his first recordings in 1956 at Sun Records in Memphis. "Crazy Arms" sold 300,000 copies in the South, but it was his 1957 hit "Whole Lotta Shakin' Goin' On" that shot Lewis to fame worldwide. He followed this with "Great Balls of Fire", "Breathless" and "High School Confidential". However, Lewis's rock and roll career faltered in the wake of his marriage to his 13-year-old first cousin once removed when he was 23 years old.
Another irreverent, punkish set from the king of sleaze rock, Bait and Switch contains almost no surprises for fans of Andre Williams' predictably wild and raucous R&B. Backed by a garage band featuring the aggressive guitar of Matt Verta-Ray and the greasy, growling tenor sax of Lonnie Youngblood, Williams belts his tales of double-standard misogyny with the same enthusiasm as his early singles back in the 1950s. Fans of music that denigrates women will find "Sling It, Bang It and Give It Cab Fare Home" appealing, but Williams also goes far enough to balance the tables with the hilarious "Put That Skillet Away" (his lover is not cooking with it, but threatening to beat him). Long-lost brother to the late Screamin' Jay Hawkins or thug rapper born 40 years too early, Williams is still a treasure of the American rock underground. ~ John Duffy, All Music Guid
Personnel includes:
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Here’s an Andre Williams album I haven’t seen on the blogosphere. If I had to describe the music I’d say it’s pre-Rap adult R&B. The cover concept was by Swamp Dogg and Bob Jones. All songs were written by Andre Williams. Comments by Swamp Dogg on The Southern Soul List (Yahoo) 3/22/99: “I didn’t produce the album, I put up the money and supervised along the way and the credits reads produced by Andre Williams for Swamp Dogg and Yvonne Williams, etc., … It’s a damn good album even though Andre slipped a couple of old tracks in on me; but at least he remixed them to try to disguise same. The definitive statement after working with Andre is… everyone who thinks Swamp Dogg is crazy should meet Andre.” (Sink Full Of Dishes)
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...Smokey Robinson and the Miracles, The Temptations and all other Detroit male doo wop groups were influenced by the Diablos and their lead singer Nolan Strong who posessed a high tenor, falsetto voice. These transcriptions to CD are probably from phonograph records however, I must commend Regency Records of Canada for doing a first rate job of restoring this music and making it available to the public after 50 years of extinction. This music is as true and as soulful as doo wop gets. Ten stars for Vol. 1.
...Loosely aligned with LA's Paisley Underground scene, Tolman continued to surround himself with some of the musicians who were key during that period, in particular Steve Wynn, formerly of the Dream Syndicate who has remained his friend and occasional collaborator. Upon relocating to LA in the mid-'80s, Tolman's first solo recording, "Totem Poles and Glory Holes"(1986, Restless) had him dabbling in similar western motif terrain as his old band (not to be confused with country-or with the twang of No Depression). He followed with two more "California" albums in the confessional singer-songwriter vein, "Down in Earthquake Town"(Restless, 1987) and "Goodbye Joe" (Skyclad, 1988), before he retreated for a spell overseas. While living and touring throughout Europe, Tolman released "Road Movie" (1992, New Rose) and "Sweet Spot"(Brilliant 1994) and found an enthusiastic audience for his All-American sound among the Europeans long enamored of the romantic imagery of Bob Dylan and Leonard Cohen. Ultimately, Tolman returned to the San Francisco Bay Area for the recording and release of "City Lights" in 1997 (Blue Rose); "New Quadraphonic Highway" followed three years later. Allmusic
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…In the same way his friend Ike Turner created a modern, post-blues persona from his Mississippi to Memphis arc, Andre carved his from the doo-wop genre in Detroit – a cousin city of Memphis for its own unique mix of country and blues. This set contains the record that put Andre on the map, “Bacon Fat”, which was a legendary contribution to an era that mapped the land of a thousand dances, and with tracks like “Jail Bait”, the compilation also portrays the stirrings of his envelope pushing sexuality. As a whole, A Fortune of Hits contains the single greatest body of work that contributes to the legend of Andre Williams. (The Guardian)
...The music itself is ultimately what matters, and these 20 tracks are strictly topnotch. The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
...Side one is a showcase for Nelson's blues belting and piano, particularly on "Down So Low" and "Mother Earth."…
…Not to be overlooked is the blues shuffle "I Did My Part" and R.P. St. John's sardonic "Living With the Animals" and "Marvel Set," which features him on lead vocals. Side two doesn't hold up quite as well, though there are stellar moments here as well, including "Cry On" and "Goodnight Nelda Grebe," with fine horn section work and excellent Nelson vocals…
...Written and fronted by St. John, "The Kingdom of Heaven Is Within You" is a brilliant closer; it's nocturnal, moody, and spacy and showcases beautiful muted trumpets and reeds with a gorgeous flute solo by Link Davis Jr. The album was reissued on CD by Wounded Bird in 2004. - AllMusic Review by J.P. Ollio
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...The R&B legend is best known for co-writing and producing "Twine Time" for Alvin Cash & the Crawlers, "Shake a Tailfeather" by the Five Dutones, and a greasy solo recording, "Bacon Fat," where Williams talked over a funky, crude rhythm.
It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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Definitely in my list of top 5 RHH records, this one is one fire! Quite possibly the hardest hitting openers are found on this one, they are also some of their personal favorites to play these days. Watching them play 'One time for me' to the wild, rowdy crowd at the Showbox this summer - I really came to understand what that one reviewer was saying when he compared the show to "putting on a stainless steel suit and running full bore into an electric fence". Buy this record now. Reviewer: B.M "cliff_anderson" (Seattle, WA)
Reverend Horton Heat:
Killer 1960's Greasy Rhythm & Blues & Soul. This and the Three other Volumes Gather all of Andre's Finest Rhythm & Blues, Vocal Group & Soul recordings together.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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...Oddly enough, a fairly contemporary rhythm section was used (keyboardist Bob James, vibraphonist Dave Samuels, bassist Ron Carter, drummer Harvey Mason, and in one of his first recordings, guitarist John Scofield). However, some of the old magic was still there between the horns, and in addition to two of Mulligan's newer tunes, this set (the first of two volumes) also includes fresh versions of "Line for Lyons" and "My Funny Valentine." - AllMusic Review by Scott Yanow
This 4 LP set pulls together songs that Andre either wrote, produced or performed on. He is deeply involved in every song on all four LP’s- almost 75 songs total. The other volumes will follow, with Volume 2 next.
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It's just me having fun with my 45's and whatever random record I pull out of the boxes. I will try to give both sides of the 45 unless one side is dull, unbearable or unplayable. I hope you enjoy. (Gyro1966)
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...There are liner notes (written by someone or something called "Musashimaru"), and they discuss with a fan's abandon many of the performers included here. The music itself is ultimately what matters, and these 22 tracks are strictly topnotch. The masters are no big deal in terms of quality, but it seems likely that there are fewer than a couple of handfuls of the original singles on the planet, so what are you going to do? These are definitely mastered from records, not session tapes. This collection is symptomatic of a genre of music that was widely recorded -- like doo wop before it -- and barely documented. While it's true that this is for the most part only a bootleg, it is perhaps the only source for music that deserves to be studied, disseminated, and -- most of all -- played for perpetuity.(Thom Jurek, Allmusic)
4 Fantastic Lps featuring all Andre Williams own recordings from the 1950s and 60s and the very best of his productions! All 4 lp's come with a pullout sheet with more photos and his life story in his own words.
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