30 November 2011

28 November 2011

BLACK DiAMOND HEAViES - ONE NiGHT ONLY! DEC.11.2007!

 You might have seen a couple videos from Deep Blues Festival 2009 of the a-fkn-mazing Black Diamond Heavies show (which features a reunion with guitar Buddha Mark "Porkchop" Holder as they cover Nutbush City Limits and Paul Wine Jones' Guess I Gone and Fucked It All Up!).

At 9pm EST on December 7th, 2011 
will be streaming the Black Diamond Heavies show in it's entirety.
Mark your calendars, kids!

26 November 2011

LiTTLE JOE AYERS Brings that Mississippi Hill-Country Sound BACKATCHYA!


 A conglomerate (kəŋˈɡlɒmərɨt/
is a rock consisting of individual clasts within a finer-grained matrix that have become cemented together.

Earl "Little Joe Ayers is a conglomeration of Junior Kimbrough, R.L. Burnside, T-Model Ford, Son House, and Little Joe Ayers.
 .44 (I Wore My .44 So Long) by DevilDownRecords

     Backatchya was recorded on
the front porch of the home of former R.L. Burnside guitarist Kenny Brown. It was recorded by Reed Turchi (Devil Down Records boss) and mixed in Memphis at the famed Ardent Studios. Ayers sounds like he's in the room with you as you listen. 



    Ayers brings a firm and strong, yet almost pretty, touch to the guitar. Where Junior Kimbrough got weird with one chord, R.L. Burnside was groovin' and dirty, and T-Model is slashin' and rubbing, Ayers' picking is tough and lovely. Ayers played bass for Kimbrough for years so covers of Junior abound on Backatchya, but played in Ayers' deft,  well-picked style. Little Joe Ayers sounds best to me sitting at my desk, the volume not too high, so I can really hear him. Vinyl would be even better.  It makes me listen to what he's playing and really hear just how good he is.  But you have to be able to slow down, come sit and listen to him.  I think you'll be moved.

Don't Leave Me Baby by DevilDownRecords 

PS- Kudos to Devil Down Records
Each of their releases are worthy of your money.



23 November 2011

20 November 2011

Today In History: Bo Diddley Appears On Ed Sullivan - Nov. 20th 1955

Born Ellas Otha Bates in McComb, Mississippi, in 1928, the man better known as Bo Diddley introduced himself and his namesake beat to the world on this day in 1955 with his television debut on The Ed Sullivan Show.
Bo Diddley opened his appearance on Ed Sullivan with the eponymously titled song "Bo Diddley,". This now-famous number set portions of the children's rhyme "Mockingbird" to what is now known as "the Bo Diddley beat"—a syncopated rhythm in 4/4 time that is the foundation of such rock-and-roll classics as Buddy Holly's "Not Fade Away" 



and the Stangeloves' "I Want Candy," 



among countless others. Five months before Elvis Presley would make his famous Ed Sullivan debut, Diddley's performance gave many Americans their first exposure to rock and roll, though that term was not yet familiar to mainstream audiences. Neither was the Bo Diddley beat, yet within just a few seconds of the drum-and-maraca opening of "Bo Diddley,"



the live Ed Sullivan audience can be heard spontaneously clapping along to the distinctive rhythm in the surviving kinescope recording of the performance.
As Diddley would later tell the story, Ed Sullivan had expected him to perform only a cover version of "Tennessee" Ernie Ford's "Sixteen Tons" 



and was furious enough with him for opening with "Bo Diddley" that Sullivan banned him from future appearances on his show. 



Be that as it may, Diddley's appearance on this day in 1955 introduced a sound that would influence generations of followers. As blues-rock artist George Thorogood—who performed and recorded many Bo Diddley covers during his own career—once told Rolling Stone: "[Chuck Berry's] 'Maybellene' is a country song sped up... 'Johnny B. Goode' is blues sped up. But you listen to 'Bo Diddley,' and you say, 'What in the Jesus is that?'"

19 November 2011

Keep Your Lamp Trimmed and Burning

Matthew 25 - NiV

The Parable of the Ten Virgins
 1 “At that time the kingdom of heaven will be like ten virgins who took their lamps and went out to meet the bridegroom. 2 Five of them were foolish and five were wise. 3 The foolish ones took their lamps but did not take any oil with them. 4 The wise ones, however, took oil in jars along with their lamps. 5 The bridegroom was a long time in coming, and they all became drowsy and fell asleep.



6 “At midnight the cry rang out: ‘Here’s the bridegroom! Come out to meet him!’



  7 “Then all the virgins woke up and trimmed their lamps.



 8 The foolish ones said to the wise, ‘Give us some of your oil; our lamps are going out.’



  9 “‘No,’ they replied, ‘there may not be enough for both us and you. Instead, go to those who sell oil and buy some for yourselves.’



 10 “But while they were on their way to buy the oil, the bridegroom arrived. The virgins who were ready went in with him to the wedding banquet. And the door was shut.



11 “Later the others also came. ‘Lord, Lord,’ they said, ‘open the door for us!’


 
   12 “But he replied, ‘Truly I tell you, I don’t know you.’

 
   13 “Therefore keep watch, because you do not know the day or the hour.

 

18 November 2011

15 November 2011

SCOTT H BiRAM - BORN iN JAiL - Video

MiSSiSSiPPI MEETS MANHATTAN: Robert Belfour and T-Model Ford Do New York

 An olde show review from two-thousand-ought-seven by Matt Rogers:


"The Black Keys? I ain't never met 'em. I ain't scared of 'em, though." When reminded that he had indeed met "those two white boys from Ohio," T-Model responded: "They play a different style of music. I'm playing the hard blues, and they can't play that. They play rock, and I don't like rock. They wants my style. Don't you think they don't now."

And so four days after the much-hyped Black Keys blasted a sold-out Mercury Lounge, Fat Possum label-mates T-Model Ford and Robert "Wolfman" Belfour gave the same venue a lesson in straight-up Mississippi blues.
The thickly sideburned Mr. Belfour, clad elegantly in slick brown suit, matching top hat and fat gold rings, assumed the catbird seat first. With the help of his "RPB"-initialed steel-string acoustic guitar and a heavy fuzztone amp, the elder Wolfman masterfully finger-picked originals from his latest release, "Pushin' My Luck," (e.g. "Black Mattie") and classic covers (e.g. "Baby Please Don't Go," which he declared was the first song he learned when he was 7) while howling about women who wouldn't cook after a hard day's work or had left yet again with a best friend.

Throughout the hour-long set the retired construction worker rocked forward and back, tapping his foot hard while he forcefully strummed, his booming hill-country sound — part Howlin' Wolf, part Lightnin' Hopkins — interrupted only by sips of J.D. chased by Bud, and a late busted string.
Hence, we were nicely awash with raw Mississippi lament when the 80-year-old T-Model Ford, dressed-down in jeans and ball cap, hobbled with his cane to center stage. Once sitting he adjusted his glasses, smiled and greeted the main inspiration for his music: "Hello, ladies. If y'all ain't never seen him, this is T-Model Ford. And I'm the blues man. And that's fo' sho'!" And with that he picked up his electric black Peavey Razor, which looked like it might have belonged to Eddie Van Halen when he was hot for teacher; smiled again at the twenty somethings lined in front; then signaled with a yelp for his longtime drummer Spam to begin the steady four-beat march of the duo's crunching boogie-woogie style.
This was music full of hootin' and hollerin', foot-stomping blues meant to help sweat any sorrow out of your system.


This was T-Model's brand of Viagra, as he wiggled and squirmed in his chair, massaging the metallic twang from his "Black Nanny" with nimble chords and finger-picking as if he were working one of his previous five wives, all the while his eyes gleaming and grinning at the ladies shaking it before him.

A shout of "It's Jack Daniels time!" punctuated the end of each song, and then he'd reach down for his cup. His two-hour set was relentless (and by his standards short; back home he regularly plays eight hours straight), filled with favorites like "Chickenhead Man" and "To the Left to the Right," and gradually wore down the younger generations until the self-proclaimed "tail-dragger from Greenville, Mississippi," was nearly dancing alone, still ready to get it on. And that's fo' sho'!


11 November 2011

Kudzu Jesus, Mississippi

A little something I made last night...

07 November 2011

Goddamn, Hell, It's HAMPER McBEE from Monteagle, Tennessee!

I don't know how I managed to miss this guy but thanks to Jim Quine i'm all fixed up. Hamper McBee has an album available from Drag City
I just ordered it. Y'all should, too.



06 November 2011

The Complete Record Album Covers of R. Crumb

"Robert Crumb first began drawing record covers in 1968 when Janis Joplin, a fellow Haight Ashbury denizen, asked him to provide a cover for her album Cheap Thrills. It was an invitation the budding artist couldn't resist, especially since he had been fascinated with record covers-particularly for the legendary jazz, country, and old-time blues music of the 1920s and 1930s-since he was a teen. This early collaboration proved so successful that Crumb went on to draw hundreds of record covers for both new artists and largely forgotten masters. So remarkable were Crumb's artistic interpretations of these old 78 rpm singles that the art itself proved influential in their rediscovery in the 1960s and 1970s. Including such classics as Truckin' My Blues Away, Harmonica Blues, and Please Warm My Weiner, Crumb's opus also features more recent covers done for CDs. R. Crumb: The Complete Record Cover Collection is a must-have for any lover of graphics and old-time music."
IN STORES NOW. More info HERE

THUMBS CARLILLE Picks Blackberry Boogie with Lil' Liza Jane

Evidently the singer is unknown. 
Don't miss Thumbs Carlille at about 1:20



04 November 2011

SCOTT H BiRAM - Victory Song - Live at Last.fm

SCOTT H BiRAM - Just Another River - Live at Last.fm

SCOTT H BiRAM - Truck Driver - Live at Last.fm

The Denunciation of Ricky Skaggs From On High by Steve Scafidi

Originally published in The Oxford American Magazine twelfth annual music issue. 
I pity the fool that does not subscribe.


The Denunciation 
of Ricky Skaggs 
From On High
by Steve Scafidi


No more light strumming of your mandolin
and the whispered tone and the sap-
happy featherweight songs in my honor.

Ricky, no more treacly bullshit. I actually
rose up from the dead. Do you understand
what that means exactly? A God. A mother-

trucking god is who you are singing to. Did 
Zeus get tickled with a zither and prance
on his tippy-toes like a little girl from outer

space? No. Did my Father get weepy little
valentines and thank-you notes for nothing
but pain and suffering for a thousand years?

He got hollering and screams and fists raised
at the sky. He got rockabilly eventually and
heavy metal and thrash. Listen to Bill Monroe.

He won't just kiss my ass. Ricky you have
suffered in your life enough to know better
than to sing that stuff. It pains me to hear it.

Stick to what hurts most and mean it. Cut open
something valuable and bleed it. Hang it
upside down in your yard and let it drain.

into the grass. My god Ricky I might have to
come down there and show you what I mean.
Don't make me. I got eyes like laser beams

and a voice like Ralph Stanley but deeper
down darker. No more sweetness Ricky.
You are not a bee. There is a broken down

burning house inside the soul and someone
in the window waves. It is me. Dammit
Ricky, do something. Sing something true

the way you used to. Heaven is not a given.
make a ladder of what happens to actually
matter to you-blood, strings, and the ear.







03 November 2011

PiNK & FLOYD







SONNY BOY NELSON - How You Want Your Rollin' Done (1978)


Via LOMAX on YouTube
Sonny Boy Nelson aka Eugene Powell - WiKi

The Night James Brown Saved Boston - April 5th, 1968

James Brown's show on April 5th, 1968 is credited with saving the city of Boston from full scale rioting following the assassination of Rev. Martin Luther King the night before in Memphis. The gig had been scheduled for months but was cancelled by the city due to riots in the predominantly black area of Roxbury and South End.

City Councilman Tom Atkins pushed for the show to not only procede but to be televised via WGBH. Brown stood to lose $60,000 if the show was cancelled, and had a non-compete clause with a TV special, titled Man To Man, that he was filming at the time. 

Mayor Kevin White wisely approved the show and agreed to meet Brown's financial requirements. The show went on, though attendance was only 2500 compared to the 15,000 expected, and was simulcast on WGBH. As a result Boston was largely spared the widespread damage and violence that occured in other large cities around the country.



























From James Brown- Man To Man Tv Special James Brown was filming at the time of the Boston gig.


Here's the concert as broadcast in it's entirety tho the clips above are a better quality.





01 November 2011

EViL!

''Somebody has been cashing checks and they've been bouncing back on us,'' ''And these people, the poor class of Negroes and the poor class of white people, they're getting tired of it. And sooner or later it's going to bring on a disease on this country, a disease that's going to spring from midair and it's going to be bad. It's like a spirit from some dark valley, something that sprung up from the ocean. . . . Like Lucifer is on the earth.''  -Howlin Wolf