Lloyd Price All Of Me - The Ultimate Albums Collection

Die Arbeit der Linken Banke ist seit langem ein schwer fassbarer heiliger Gral für die Vintage-Pop-Fanatiker. Die legendäre 'Barockrock'-Kombo zählt zu den Werken mit der größten amerikanischen Musik der 1960er Jahre, und bleibt geliebt von anspruchsvolle Pop-Kenner auf der ganzen Welt. Seit Jahrzehnten vergriffen und trotz seiner langjährigen Nichtverfügbarkeit, hat die Musik der Left Banke im Laufe der Jahre ein immer höheres Ansehen erlangt hat und weiterhin eine mächtige Mystik in der Legion der Gruppe von Bewunderer.The Left Banke's 1967er Debütalbum 'Walk Away Renee/Pretty'. Ballerina gilt als eines der größten Debütalben der Welt. 60er Jahre, dank Frontmann Steve Martin's stimmgewaltigem Leadgesang, dem Harmonien der Bandmitglieder Tom Finn und George Cameron, der ambitioniertes Songwriting von Keyboarder Michael Brown, und exquisit, klassisch beeinflusste Arrangements, die anders waren als alle anderen in der 'Walk Away Renee', veröffentlichte das Album 'Walk Away Renee'. die erste Single der Band, ist nach wie vor eine der größten erkennbare (und meist abgedeckte) Standards. Zusätzlich zu 'Walk Away Renee' und seinem Nachfolgehit 'Pretty Ballerina', das Album enthält auch solche denkwürdigen Nummern wie 'She May Call You Up Tonight', 'Barterers and Ihre Frauen' und 'Schatten, die über meinem Kopf brechen.'Die lang erwartete Neuauflage dieses Klassikers auf CD und Vinyl-LP hat die wurde von den Original-Stereo-Masterbändern bezogen und beinhaltet die Original-Titelliste des Albums. CD mit unsichtbaren Fotos und neuem Liner Notizen mit aufschlussreichen Interviews mit Bandmitgliedern.CD auf SUNDAZED RECORDS von LEFT BANKE - Walk Away Renee - Pretty Ballerina(2011/FV) 89 Tracks - Digisleeve mit 20-seitigem Booklet.
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The Wizard of the West Coast: Wailin' Maxwell Davis. Seine Arbeit als Saxophonist, Bandleader, Arrangeur und Produzent hat ihm den Titel Father of West Coast R&B eingebracht.CD1 ist den besten Seiten gewidmet, die von Davis zwischen 1945 und 1956 veröffentlicht wurden, während auf den CDs 2 & 3 dieses Set sich auf Aufnahmen (aus den 40er und 50er Jahren) konzentrierte, auf denen Davis als Begleiter auftritt, sei es als Bandmitglied, Sessionspieler oder Bandleader. aber immer mit einem spannenden Tenorsaxophon-Solo oder zwei!
Die Labels, mit denen Davis in Verbindung gebracht wurde, stellen einen atemberaubenden Rollenaufruf der Hauptakteure in Post War R&B dar: legendäre Indies wie Aladdin/Philo, Modern/RPM, Imperial/Colony, King/Federal, Exclusive/Excelsior, Specialty, Down Beat/Swing Time und Black & White, sowie Major Labels wie Capitol, Decca/Brunswick, Mercury und RCA Victor und kleinere Betriebe wie Supreme, Pacific, Miltone und Chesterfield.
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Likewise lesen sich die Künstler, mit denen Davis arbeitete, wie ein Who's Who of Post War Blues und R&B: Helen Humes, Amos Milburn, Charles Brown, Floyd Dixon, Johnny Otis, Joe und Jimmy Liggins, Gene Phillips, Lloyd Glenn, Clarence 'Gatemouth' Brown, Big Joe Turner, Little Willie Littlefield, Pete Johnson, Lowell Fulson, T-Bone Walker, Louis Jordan, Percy Mayfield, Johnny 'Guitar' Watson, Etta James und B B B King. Davis passte auch gut in die Jazzszene (Charlie Mingus, Marshal Royal, Jay McShann, Lee und Lester Young, Ray Anthony und June Christy) und die Rock'n' Roller (Oscar McLollie, Dolly Cooper, Donna Hightower und Rusty McDonald).

Lloyd Price

Not only did Lloyd Price break down musical and social barriers with his pioneering 1952 smash Lawdy Miss Clawdy, one of the first R&B blockbusters to attract serious interest from white teens hellbent on escaping the drudgery of the era's whitebread pop hit parade, the New Orleans native with the wide, sunny smile devised a savvy pop-accessible approach as the 1950s progressed that earned him widespread crossover stardom late in the decade and right into the '60s.

Along with Sam Cooke, Jackie Wilson, Clyde McPhatter, Brook Benton, and a few more, Lloyd was in the first vanguard of stand-up R&B singers to crash the pop charts on a consistent basis during the late '50s. So universal was his appeal that on June 28, 1959, he guested on Ed Sullivan's popular Sunday evening CBS-TV variety extravaganza—hardly an R&B hotbed—to sing his smash Personality for a national viewing audience. And long before Cooke formed his SAR label, Price launched his own KRC imprint in 1957—a revolutionary move at the time for a black performer still well shy of his 25^th birthday.

Born into a huge Crescent City family on March 5, 1933, Price grew up in a devout Baptist household, though the church played no role at all in his musical development. ”When I was a kid, my little brother Leo and I used to beat on beer boxes and cans and stuff, makin' rhythm," says Lloyd. "And we did that for quite a while." A talented drummer and singer, Leo would follow in Lloyd's footsteps, co-penning Little Richard's 1957 hit Send Me Some Lovin' and cutting a few singles of his own, notably a pair of strong mid-'50s rockers,What's It All About and I Cried, for New Orleans-based Meladee as Little Leo.

Their mother operated a small food store on the outskirts of the Big Easy boasting a jukebox stocked with the latest jump blues 78s by Amos Milburn, Roy Milton, and Joe and Jimmy Liggins. Little Lloyd would sing and dance along with the records as the patrons tipped him nickels in appreciation. "Louis Jordan was my favorite back in those days. We'd listen to the radio because of that. He was very popular," says Price. "I was a kid when I heard Joe Turner sing 'Chains Of Love.' I thought that was some song. I really liked him as an artist."  Lloyd began to learn his way around a piano, WBOK deejay James 'Okey Dokey' Smith serving as the catalyst for the teenager's music career.

"He had one commercial, and it was Maxwell House Coffee. And he would say, 'Lawdy Miss Clawdy, eat Mother's Homemade Pies and drink Maxwell House Coffee!' And then he'd play a record," says Price. "One day, he came out to Kenner. That's about seven miles outside of New Orleans. It's now where the New Orleans airport is. We lived out that way. My mother had what you call a sandwich shop. She sold gumbo and fish sandwiches and chicken sandwiches. So he was very popular. He came by to get a sandwich, and I got him to listen to me do 'Lawdy Miss Clawdy,' the way I had put it together. I knew nothing about writing no songs, or anything like that. I just banged it out on the piano. I knew how to play what they call eight-bar blues chords. And I did that, and he said, 'Oh, I like that!'

"And from that, he decided that we should go on the road, because we had this little band. There was about five of us. He said, 'Listen, I play baseball every Sunday. You guys should come out and play for me. Play one or two songs before we start playing, and I'll pay you guys.' So he did that. So we did that with him for a few months, and one day Dave Bartholomew, who at that time was like the boss of New Orleans--he was working at Cosimo's--he came out. And he stopped for a sandwich. And this time I was on the piano, and I was singing 'Lawdy Miss Clawdy' again. And he said, 'Hey, I like that!' To hear that from Dave was like thunder coming from the sky, and I had been hit by a thunderbolt!

"He said he liked it, and he asked me to do it a couple of times. I did, and he said, 'You know what? I've got a guy coming in from California who might record you, you know? I want him to hear that.' So Dave Bartholomew saying that was like Santa Claus bringing me the biggest gift I ever wanted. Didn't believe him, but he said it, and I don't know why I thought he might have had a reason to be joking. He didn't know me, I didn't know him. He was Mr. Dave to me.

Lloyd Price Lloyd Price - Lloyd Rocks
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