Thursday, December 30, 2004

The Chicken Walk !



A crazed rockabilly one-man band, Adkins has been recording in a tarpaper shack in the hills of West Virginia since the mid-'50s. The absolutely crudest and wildest of all rock & rollers, Hasil's lyrics stray as far from the standard '50s clichés as you can get. Songs about eating peanut butter on the moon, chopping girls' heads off and mounting them on his wall, and doing something called the "hunch" are typical lyrical fare for Adkins. Combining a three-octave voice that can go from sub-glottal Elvis moans to blood-curdling screams with an over-amplified guitar that sounds like a gigantic rubber band, there is nothing in pop music that sounds like Hasil Adkins, a true rock & roll primitive.



Hasil Adkins - Chicken Walk

Tuesday, December 28, 2004

The Night Of The Calypso




Surprised that Robert Mitchum sings Calypso? It would be stranger if he couldn't. Fact is, he was learning the fascinating language of Calypso long before it became the rage in the U.S.A. And he was learning it in its true home, Trinidad.
Deep down, Robert Mitchum is a wanderer, and he probably would have got to Trinidad anyway, but actually it was Hollywood that sent him there, "on location" for two feature films... to Port of Spain, a colorful and sunlit place where people have come from many corners of the earth, mingling accents and spilling out their hearts in a unique musical idiom called Calypso.
In Trinidad, the sharp Mitchum ear was quick to hear the subtle coloration of word and melody that gives this native song its special sound. And, expert mimic that he is, he was quick to give it voice, in every characteristic detail.
For ten months of the kind he likes best, Mitchum followed his Calypso trail, listening acutely to local champions like Lord Melody and Mighty Sparrow, memorizing newer and more intricate lyrics in some small native bistro, absorbing the rhythmic excitement of such festivities as the great annual Jump Up Carnival.
Returning to the States, he was happy enough merely to spread the gospel of the Calypso style among the entertainment fraternity. But show-wise listeners soon recognized the quality of the Mitchum demonstrations, and insisted Bob record the songs himself.



Robert Mitchum - From A Logical Point Of View

Monday, December 27, 2004

Blowing The Whistle




Don't cry children, Christmas is over...once more. So by request, this is an absolutely non-xmas thing from Korea...(By the way, I play this song nearly every morning!).
Few words about this Lp (I'm lazy today, still recovering from food & drink)
From the backstreet haunts and neon-lit clubs of the Far East comes this collection of '60s Asian pop. And while Japan is deservedly famous for regurgitating modern Western musical traditions, places like Malaysia, Singapore, Hong Kong, and Korea have also churned out a healthy supply of ditties brimming over with refashioned bubblegum, lounge, Latin, rock, and jazz elements. The 20 cuts here showcase several talented chanteuses from all of these locales, with a bevy of trad/pop hybrids to choose from. On the more traditional end, there's Korea's Chung-Ae Ahn and Japan's Shojijii, who both lightly shade native tonalities with some modern touches. More intriguing, though, are cinematic workouts like the Malaysian-styled Bond theme by Yao Su-Yong, a fuzz guitar and brass romp by Chang Loo, and some recast rhumba, compliments of the Chung Sisters. Add to that a taste of spaghetti Western music, some polka, and a wealth of mod touches, and you have a fine mix for your next global lounge party. ~ By Stephen Cook, All Music Guide

Che-Hong Beck - Blowing The Whistle

Saturday, December 25, 2004

Howdy Ho !!!



Mr Frost Wishes You A Swingin' Christmas...See You Next Week !

The Brian Setzer Orchestra - Santa Claus Is Back In Town

The Ventures - Frosty The Snoman

Friday, December 24, 2004

The Stars Are Brightly Shining




Nat King Cole recorded the definitive version of "The Christmas Song" in 1946, and while this 1960 re-recording is sublime, seek out the original. Although there is a heavy-handed use of orchestras and choruses on this record, Cole rises above the dreck with stellar versions of "Adeste Fidelis," "O Holy Night," and more. Originally released in September 1963, The Christmas Song [Capitol 1967] was reissued on CD in 1990. Enjoy & Merry Christmas everybody !!!

Nat King Cole - Oh Holy Night

Thursday, December 23, 2004

Dashing through the snow




The French CBS series of Duke Ellington material was released like loaves of bread coming out of an oven in the '70s. Some of these volumes were all over the place in terms of combining eras, and, in the case of volume 11, the listener can really hear the change between the style the band favored in the late '40s, slightly over the top and full of juice, and the slicker, more powerful big band machine of later decades, which swings much harder. By the time we get to "Asphalt Jungle Twist" we are way out of the jungle and in the urban atmosphere of jewel thieves, tough cops, and girlfriends that look like Marilyn Monroe, or at least this is the sort of image the swaggering themes and heavy backbeat pulse bring to mind. Actually, the theme was written not for the John Houston film, but for a spin-off television series of the same name. Fans of Ellington sidekick Billy Strayhorn can take note of two of his best tunes here, "Snibor" and the sly "Progressive Gavotte." Jumping in and out of various years' recording sessions also guarantees a changing roster of players, with names such as Clark Terry and Charlie Rouse showing up alongside the usual gang of suspects. So here is a great version of "Jingle Bells" from a 1962 session, with a Paul Gonsalves solo that would sound nice under anyone's Christmas tree.

Duke Ellington - Jingle Bells

Wednesday, December 22, 2004

Let It Sleigh !




Johnny Mathis, with his warm, tender vocal style, touches on Christmas songs here that everyone will know, from "Silent Night" to "Sleigh Ride," "Silver Bells" to the Broadway number "We Need a Little Christmas." There probably aren't many homes in America that don't have or haven't heard a Johnny Mathis Christmas song played at one time or another. I'm saying that because I'm french, remember.
Anyway, enjoy this one my friends.

Johnny Mathis - Sleigh Ride

Monday, December 20, 2004

Respect



Our Friend Otis Redding released this single (White Christmas/Merry Christmas Baby) in 1968 ;Otis knocked both these Holiday Cuts out the Box.His Soulful Voice is one of those voices that no matter what Era of music you came from or up on you would still tell Redding's Vocals from.These songs truly get you into the Holiday Cheer. Merry Christmas Ladies!

Otis Redding - Merry Christmas Baby

Saturday, December 18, 2004

Fuck Christmas




Go check out the one man bands web site here.
Happy Holidays !

The Lengedary Tiger Man - Fuck Christmas, I Got The Blues

Friday, December 17, 2004

Wreck The Halls




There's rarely--if ever--been another singer like Ella Fitzgerald, whose glowing personality and seamless singing talents always make it sound deceptively easy to sing as beautifully as she did. Cool phrasing, wonderful intonation, and a guileless voice (perfect for Christmas music) were just a few of her vocal trademarks. Fitzgerald's Christmas record (first released in 1967), however, seems geared more toward mainstream fans and thus may disappoint those keener on her jazz orientation. That said, faithful vocal renditions and arrangements of classics such as "O Holy Night" and "O Come All Ye Faithful" find Ella in her simple but elegant, heartfelt best. One could quibble with the schmaltzy backing vocals that color standards like "We Three Kings" and the more playful "God Rest Ye Merry Gentlemen." But with someone like this queen of song leading the mix, you might just find yourself joining in on the chorus. Ho Ho Ho.


Ella Fitzgerald - Frosty The Snowman

Thursday, December 16, 2004

Damn Christmas !

Sorry for the update, I was trying to find a different way to put some music (fuck 'em)....
I'M BACK !




The Waikikis - White Christmas

(You send it...download file...there you go)
(and the jukebox's gone again...)

Friday, December 10, 2004

Pass That Bottle To Me!







Stick McGhee got his nickname during the years when he was pushing his handicapped older brother, future blues legend Brownie McGhee, in a wagon with a stick. Stick (his real name was Granville McGhee) served in the Army during WWII, during which time he often pulled out his guitar to play. One ditty that he wrote during the war had a lyric about, "drinking wine motherfucker, drinking wine." He recorded the song in 1946 for Harlem records, but changed the lyrics to, "Drinking Wine Spo-Dee-O-Dee," and the song got a little airplay. Future Atlantic records founder Ahmet Ertegun heard it, and in 1949 tried to license the track for his new label. It was nowhere to be found, so he took Stick and Brownie back into the studio to record it again, which was fortunate because the 1949 version adopted the new "rocking" rhythm, which was coming into vogue that year. The record became a hit, and was the first smash hit for Atlantic. This is rock 'n' roll, folks. To finish the tale, after the Atlantic record hit the charts, Decca dug up the old Harlem recording from 1946, and re-issued it as a Decca record. It flopped, because it didn't rock.


Listen To Stick McGhee - Drinkin' Wine Spo-Dee-O-Dee

Tuesday, December 07, 2004

White Lightning




Born in 1937 in Littlefield, Texas, Waylon Jennings grew up listening to folk songs and the music of seminal artists like Jimmie Rodgers, and later, to singers that ranged from Hank Williams, Ernest Tubb and Webb Pierce to B.B. King and Bobbie "Blue" Bland. He was a disc jockey at 14, and had already formed his own band at the age of 12, making guest appearances on local station KDAV’s "Sunday Party," where he met Holly in 1955. "Mainly what I learned from Buddy," Waylon says, "was an attitude. He loved music, and he taught me that it shouldn’t have any barriers to it." Holly produced Waylon’s first record and used him as a bass player--it was Waylon who gave up his seat to the big bopper on the plane that would crash, killing Holly and Ritchie Valens as well. By the early-to mid-’60s, Waylon was headlining a club called JD’s in Phoenix, putting out a sound that combined his "chicken-pickin’" Telecaster guitar style, his rough-edged, soulful vocal style and an eclectic repertoire that often borrowed from rock and rockabilly.
This combination was as popular as it was groundbreaking.
"We got long-haired people, lawyers, doctors, and all the cowboys," he says. Word got around, and after a short stint at Herb Alpert’s A&M Records, he was signed to RCA by Chet Atkins.
By 1968, he had hit the top five with "Only Daddy That’ll Walk The Line" and "Walk On Out Of My Mind," and a year later he would win a Grammy for a version of "MacArthur Park," recorded with the Kimberleys, and record several songs for the soundtrack album of Ned Kelly, a feature film starring Mick Jagger.
Still, the Nashville "system," in which producers often stamped their own ideas and formulas onto artists, was something Waylon was struggling against mightily. Jennings has recorded more than 60 albums and had 16 No. 1 country hits. He joined the Country Music Hall of Fame in October, but did not attend the induction ceremony, sending his son in his place to accept the honor.

Listen To Waylon Jennings - White Lightning

Monday, December 06, 2004

Don't Fuck Around With Love





Wanna know everything 'bout the blenders? It's here!


Listen to The Blenders - Don't Fuck Around With Love

Saturday, December 04, 2004

Sixteen Chicks !



Rockabilly singer/guitarist Joe Clay was on the cusp of stardom in 1956, when he appeared on The Ed Sullivan Show at 17 and won a contract with RCA Records. But Ed Sullivan, in typical repressive fashion, told the young singer to play The Platters subdued "Only You" instead of his rollicking "Duck Tail," and Clay's domineering manager refused to allow him to play outside New Orleans and eventually drove RCA away. But it wasn't the last the world would hear from Joe Clay. Born in Louisiana's Cajun territory as Claiborne Joseph Cheramie, Clay began playing in a country band at 12 which went on to get a gig on WWEZ radio. RCA created a subsidiary called Vik Records, which called the station looking for talent. The label then offered Clay a contract, to which Clay replied, "Hell yes!" Clay, who had already recorded , , and in Houston, was flown to New York, where he recorded with some of the finest black rhythm musicians of the time (guitarist Mickey Baker, guitarist Skeeter Best, bassist Leonard Gaskin, and drummers Bobby Donaldson and Joseph Marshall) in one of the earlier integrated studio sessions. But the raucous music went nowhere. Clay played like Carl Perkins and Elvis Presley, and appeared on Sullivan months earlier than Elvis Presley, but only succeeded in playing backup on some Elvis Presley recordings. Clay spent the next 30 years singing in the Bourbon Street lounges of New Orleans, eventually driving a bus to support himself. By the 1980s, after he'd given up performing, Clay was becoming a star in Europe, unbeknownst to him. A West German label issued a '50s revival album featuring Clay that took off, and a diehard English promoter spent years trying to track Clay down, placing classified ads, calling DJs, and working contacts. Willie Jeffrey finally found Clay and arranged a tour of England in 1986. ~ Ron DePasquale, All Music Guide

Listen To Joe Clay - Sixteen Chicks

(The Jukebox's Back!!!)

Thursday, December 02, 2004

I'm The Wolf Baby





The Wolf began playing "folk blues" acoustic music when he got his first guitar in 1928. Influences include Charlie Patton and Sonny Boy Williamson (Rice Miller). Although he began in an acoustic style, he is best known for his loud and boisterous electric blues. This part of his career began flowering in post-war Memphis, Tennessee. He performed on local radio station KWEM and later cut some sides for Sam Phillips of the famous Sun recording studios. By 1953, The Wolf had arrived in Chicago where he became a full time blues musician at Chess Records. Musicians in Wolf's band included blues great Willie Dixon (bass), Willie Johnson (gtr.), and Earl Phillips on drums. Hubert Sumlin later replaced Willie Johnson. It is maintained by some blues writers that Delta Blues artists, of which Wolf is an example, came from a tribe in Africa which communicates microtonally, that is, in harmonic increments that are smaller than those in the European 12 tone scale. In addition to the polyrhythmic playing, it is what sets these blues apart not only from other types of music but also from other types of blues. The feeling produced can often be very eerie and "magical" as if the music somehow escapes time and the harmonic constraints of European music.

Listen To
  • Howlin' Wolf - I'm The Wolf


  • Get It !
  • Wednesday, December 01, 2004

    You Better Dig It !



    IT'S KARAOKE TIME AGAIN !
    You better dig it you hear!Baby-baby-baby, you better leave your blues, ooh yeah!Honey-honey-honey, put on your rockin' shoes, yeah!Don't you be no square, you better dig it you hear, yeah!Well, I love you pretty baby, when you rock'n'roll, ooh yeah!I love you pretty baby, when you're doin' the stroll, yeah!Well, I love you pretty baby, you satisfy my soulOoh-ooh-ooh-ooh-ooh-ooh!Well, I love you pretty baby, when you rock 'n' roll, ooh yeah!I love you pretty baby, when you're doin' the stroll, yeah!Well, I love you pretty baby, you satisfy my soulYes! Baby-baby-baby, you better leave your blues, ooh yeah!Honey-honey-honey, put on your rockin' shoes, yeah!Don't you be no square, you better dig it you hear, yeah!Now come on baby, it's all right nowGit here babe, don't be no squareYeah! Ooh-ooh-ooh-ooh-ooh-ooh!
    (Written By C. Underwood)(SUN Unissued, 1960)


    Listen To
  • Bill Johnson & His 4 Steps Of Rhythm - You Better Dig It

  • All MP3's are up for a limited time ("on the 7th day, God shall withdraw them")and are for illustrating and evaluation purposes only. Music is posted with respect, not with the intention for profit or to violate copyright. If you are the creator (or copyright owner) of a song, excerpt, essay, graphic or photo posted on this blog, please contact me if you want to comment on the selection or wish to have it removed. (And if you like the tracks, please go out & buy them) Email me at reverendfrost-at-gmail.com