LARRY DAVIS/ Complete Early Recordings

LARRY DAVIS/ Complete Early recordings (re-up and revised)

           

Malgré sa forte réputation auprès des amateurs de blues, Larry Davis n'a pas fait une carrière proportionnée à ses talents.

            Né à Kansas City le 4 décembre 1936, Larry est venu très jeune vivre à Little Rock et s'est abreuvé de la musique des bluesmen locaux comme Drifting Slim, Sunny Blair, Sammy Lawhorn ou Fenton Robinson. Il joue alors de plusieurs instruments (batterie, saxophone, basse, piano) mais, sous l'influence des disques de Little Willie John, il se concentre sur son chant et devient, à 14 ans, le vocaliste attitré d'un groupe local de R & B. Cependant, c'est vraiment en s'associant avec Fenton Robinson, et devenant le bassiste (et parfois chanteur) de son orchestre, que Larry embrasse vraiment une carrière de musicien professionnel.

            Ils font la première partie d'un show de Bobby Bland lors de sa venue à Little Rock. Et Bland, impressionné autant par Fenton que par Larry, les recommande au producteur Don Robey (des disques Duke). A 22 ans, Larry fait ainsi ses débuts discographiques à Houston en mai 1958 par un succès, Texas flood qui sera repris par des dizaines de bluesmen et sera même un succès mondial à travers la version qu'en a donnée Stevie Ray Vaughan. Mais Larry Davis déclarera avoir en tout et pour tout touché 300 $ pour ce morceau, Don Robey ayant bien pris soin de le copyrighter sous son nom! Pour être moins connus, tous les autres morceaux enregistrés par Larry Davis pour Duke sont de premier plan avec le magnifique Angels in Houston (d'après le Docteur Clayton) ou Come home.

            Durant les années 60, Davis s'installe à Saint Louis et est essentiellement le bassiste de Billy Gayles, Oliver Sain puis de Albert King qui lui apprend à jouer de la guitare. Et il doit attendre 1968 pour retrouver le chemin des studios pour une série de superbes titres (essentiellement des reprises des succès de B.B. King) pour le label Virgo, propriété éphémère de... B.B. lui-même avec des accompagnateurs mal identifiés mais de premier plan. As the years go passing by (Virgo 100) est un petit succès régional mais Virgo disparaît aussi vite qu'il est apparu et Larry se retrouve sans label. Il tente sa chance à Los Angeles, à Memphis... En 1972, un grave accident de moto suivi d'un AVC le laisse très diminué et il retourne à Little Rock auprès de parents qui peuvent prendre soin de lui.

            Ses 45t pour Duke sont entre temps devenus des "classiques" auprès des fans de blues du monde entier et une poignée d'entre eux le retrouvent en 1981 et le poussent à reprendre une carrière musicale. Larry se produit dès lors en concert sur les campus universitaires, les festivals et en Europe et au Japon!

            En 1982, l'album Funny stuff (Rooster) lui permet enfin d'obtenir la reconnaissance de son talent. Enregistré et produit par Oliver Sain à Saint Louis, entouré des meilleurs sidemen de la ville, Larry Davis y apparaît très en verve: un merveilleux chanteur au timbre velouté, un jeu de guitare expressif à la Albert King. Malgré cela, il lui faut attendre 1989 pour enregistrer un nouvel album I ain't begging nobody (Evidence). La vague du nouveau Blues Revival semblait prometteuse pour lui, lui permettant d'effectuer des tournées internationales, de graver deux autres albums pour Bullseye et Black & Blue. Mais il décédait d'un cancer foudroyant le 19 avril 1994.

            Nous proposons ici l'intégrale de sa première oeuvre extrêmement demandée et très difficile à trouver. Cette compilation aurait été impossible sans l'aide (et le prêt de leurs disques rares) de Pierre Monnery et Timo Koskinen.

                                                                       Gérard HERZHAFT

           

Born in Kansas City 4th décember 1936, Larry went to Little Rock (Arkansas) very young and was quickly buddying the local bluesmen like Drifting Slim, Sunny Blair, Fenton Robinson or Sammy Lawhorn. He learned to play several instruments (drums, bass, saxophone and piano) but concentrated mostly on his singing abilities, largely under the influence of Little Willie John's records. He plays bass with the Fenton Robinson's band, singing also some numbers. When they opened a Bobby Bland's show, the singer was very impressed by their talents and recommended them to his producer, Don Robey, head of Duke Records.

            In 1958, aged only 22, Larry thus waxes his first 45 for Duke with Texas flood, a Davis composition that he sang regularly in the clubs. Texas flood is a hit which will become a blues standard and even an international rock success through Stevie Ray Vaughan's version. But Larry will earn only $ 300 from this title, Robey having copyrighted the tune under his name. Although less well known, all the other numbers recorded for Duke are first rate like Angels in Houston (adapted from Dr Clayton) or Come home.

            During the 60's, Larry Davis made a living in Saint Louis as an accompanist, playing drums and bass in several bands, chiefly those of Billy Gayles, Oliver Sain and Albert King who taught Larry to play the guitar. It is not until 1968 that Larry was again in the studios, recording several excellent tracks (mostly from the B.B. King's songbook) for the Virgo label, a short-lived venture owned by ... B.B. himself. As the years go passing by is a local hit but the desmise of Virgo prevent the title to go anywhere (at that time, that is!).

            Larry then tried his luck in Los Angeles and Memphis but a motorcycle accident, followed by a stroke, brought him back in Little Rock where he could live among relatives who took care of his health.

            He was largely living outside music when, his early records having earned him a strong following among blues fans in Europe and Japan, a bunch of those went to Little Rock and "rediscovered" him in 1981, urging him to resume his musical career. With Funny Stuff, a remarkable album for Jim O'Neal's Rooster label, Larry was now able to appear in big festivals everywhere. He recorded several other albums, all worthwile for Evidence, Bullseye or Black & Blue and was much in demand. Unfortunately he died of a cancer on April 19th, 1994 in a Los Angeles hospital.

            We have gathered here all his early recordings, all sought after items, many very hard to find. We would like to thank Pierre Monnery and Timo Koskinen for their help and for the loan of their rare records.

                                               Gérard HERZHAFT

LARRY DAVIS

Larry Davis, vcl/bs; Fenton Robinson, g; James Booker, pno; David Dean, t-sax; dms. Houston, Tx mai 1958

01. I tried

02. Texas flood

03. Texas flood (alt)

04. That's all right for you

Larry Davis, vcl; Texas Johnny Brown, g; poss. Fenton Robinson, g or Earl Grant, g; David Dean, t-sax; James Booker, pno; Hamp Simmons, bs; Jabo Starks, dms. Houston, Tx. 19 juin 1959

05. Angels in Houston

06. Little girl

07. Will she come home?

08. Come home (When you're through)

Larry Davis, vcl; Hop Wilson, g; Pete Douglas, g; Elmore Nixon, pno; Ivory Lee Semien, dms. Houston, Tx. 27 octobre 1960

09. I need your love to keep me warm

10. My woman don't quit me (poss. Fenton Robinson, vcl)

11. You don't move me anymore

Larry Davis, vcl; Wesley Farmer, g; Eddie Fisher, g; Oliver Sain, og; horns; bs; Sam Harris, dms. Saint Louis, Mo. 1968

12. Whole world down on you

13. As the years go passing by

Larry Davis, vcl; James Ironhead, pno; Charles Heyer or Bobby Selby, og; horns; Wesley Farmer, g; Eddie Fisher, g; Phil Wesmoreland, bs; Zeke Nettles, dms. Saint Louis, Mo. fall 1968

14. Sweet little angel

15. Driving wheel

16. You upset me baby

17. Rock me baby

18. Woke up this morning

19. Three o'clock blues

20. Sweet sixteen

21. Something about you

Larry Davis, vcl; Sam Rhodes, g; band. Los Angeles, Ca. 1969

22. What they do to me?

23. For five long years

24. I've been hurt so many times

25. A letter to my darling

26. It can only hurt for so long

Larry Davis, vcl/g; band. Memphis, Tn. 29 juin 1973

27. Find'em fool'em and forget'em

28. Same thing they did to me

Larry Davis, vcl/g; band. Little Rock, Ark. 1975

29. Pouring water on drowning man

30. Tears of sorrow

Larry Davis, vcl/g; band. Little Rock, Ak. 1976

31. Down home Funk I & II

EDDIE LANG/ New Orleans Guitar (re-up)

EDDIE LANG/ New Orleans Guitar (re-up)

            Ce guitariste et chanteur de La Nouvelle Orléans, Eddie Lang (Eddie Langlois) n'a évidemment rien à voir avec le guitariste de jazz italo-américain Eddie Lang (Salvatore Massaro) (1902-1933).

            Eddie Langlois est né le 15 janvier 1936 à La Nouvelle Orléans (bien que certaines sources fiables le font naître bien plus tôt) et commence à jouer de la guitare dès le début des années 1950, d'abord au sein des House Rockers de Jessie Hill puis ensuite avec Guitar Slim (Eddie Jones) qui l'influencera beaucoup. C'est d'ailleurs grâce à Slim et en tournée avec lui que Lang enregistre dès 1951 son premier disque pour le label de Nashville Bullett.

            Tandis que Guitar Slim engrange très rapidement de nombreux succès et devient un artiste très populaire et très influent qui tourne avec l'orchestre de Lloyd Lambert, Eddie Lang tente sa chance de son côté, écumant les clubs de Louisiane. Il réussit à enregistrer pour divers labels comme RPM, Ace (de Johnny Vincent), Ron et obtient à son tour quelques modestes hits régionaux avec Easy Rockin' en 1958 (accompagné par Dr John). Malgré la grande qualité artistique de ses disques, Eddie Lang demeure une figure mineure de la scène néo-orléanaise.

            Et il lui faut attendre 1966 pour retrouver vraiment le chemin des studios, cette fois sous la houlette de Eddie Bo qui produit et arrange de belle façon les séances d'enregistrement de nombreux artistes dont lui-même bien sûr et Eddie Lang. Something within me, The fooler sont des succès régionaux qui permettent à Eddie Lang d'enregistrer et de se produire régulièrement dans et autour de La Nouvelle Orléans. Mais c'est avec le roué Food stamp blues, gravé en 1973 pour le petit label Super Dome, que Eddie Lang obtient son plus gros succès.

            En 1977, il fait partie de la tournée européenne curieusement intitulée Mississippi Delta Blues Band qui se produit essentiellement en Scandinavie. Eddie Lang, bien que très mal crédité, est en vedette sur la plupart des titres du disque réalisé à Stockholm pour l'occasion.

            Mais en 1979, un AVC le laisse à demi paralysé, l'empêchant de jouer de la guitare et il décède dans sa résidence de Slidell, Louisiane, le 10 mars 1985.

            Cette compilation regroupe pour la première fois, à l'exception d'un titre, tout ce que cet excellent mais trop méconnu guitariste et bluesman a enregistré. Merci à tous ceux qui ont contribué à ce recueil, en particulier Marie-Antoinette L. et Xyros.

                                                                       Gérard HERZHAFT

            This Eddie Lang (Eddie Langlois) must not be confused with his namesake and pioneer jazz guitarist Eddie Lang (Salvatore Massaro)(1902-1933).

            Eddie Langlois was born in New Orleans on 15th January 1936 (although some sources state his birth much earlier) and he started to play guitar at an early age, first with the House Rockers, a local band formed by Jessie Hill and then with Guitar Slim (Eddie Jones) who will be a strong and lasting influence. This is while touring with Guitar Slim than Eddie Lang waxed his first record for the Nashville label Bullett as early as 1951.

            But while Guitar Slim quickly enjoyed fame and success with a string of hits and then toured through the Southwestern States with the Lloyd Lambert's band, Eddie Lang was left behind. He then started his own band, playing in clubs and small venues around New Orleans. He nevertheless managed to record some excellent 45s in 1956-59 for several labels (RPM, Johnny Vincent's Ace, Ron) having a modest hit with Easy Rockin' in which Dr John Plays the keys.

            Eddie had to wait until 1966 to find himself again in the studios, this time for Joe Banashak and under the wise production of Eddie Bo. Something within me, The fooler were local hits, establishing Eddie Lang as a minor favourite of the Louisiana-Texas scene. In 1973, the smart two parts blues Food stamp blues recorded for the small SuperDome label, was at last a real hit.

            In 1977, Eddie Lang was part of a Scandinavian tour, oddly titled "Mississippi Delta Blues Band". Although ill credited, Eddie Lang sings lead on most of the tracks on the LP recorded in Stockholm for the occasion.

            Suffering a bad stroke in 1979 which left him diminished, unable to play the guitar, Eddie Lang died in his hometown of Slidell (Louisiana) 10 May 1985.

            We have gathered here all the recordings made by this excellent but underrated bluesman and guitarist (minus one title). Thanks to all who made this possible, particularly Marie-Antoinette L. and Xyros.

                                                                                   Gérard HERZHAFT

EDDIE LANG

Complete Recordings

Eddie Lang, vcl/g; band. Nashville, Tn. 1951

01. Darling you know I love you

02. My baby left me

Eddie Lang, vcl/g; Huey Smith, pno; Lee Allen, pno; band. New Orleans, La. 19 février 1954

03. Hallelujah

Eddie Lang, vcl/g; band. New Orleans, La. septembre 1956

04. Come on home

05. I'm all alone

06. I'm beggin' with tears

07. You got to crawl before you walk!

Eddie Lang, vcl/g; Ronnie Barron, pno; Dr John, g; Earl Stanley, bs; Paul Stahli, dms. New Orleans, La. 25 octobre 1958

08. On my way

09. Easy Rockin'

10. Troubles troubles

11. She's mine all mine

12. You sure is fine

Eddie Lang, vcl/g; band. New Orleans, La. 1959

13. Let me tell you bout it

Burning inside

Eddie Lang, vcl/g; James Black, dms; band. New Orleans, La. 1966

14. The love I have for you

15. Something within me

Eddie Lang, vcl/g; band. New Orleans, La. 1 mars 1967

16. I'm gonna make you eat those words

17. The Fooler I & II

Eddie Lang, vcl/g; band. New Orleans, La. 28 juin 1967

18. The sad one

19. Souling

Eddie Lang, vcl/g; Sonny Randall, pno; band. New Orleans, La. 1973

20. Food Stamp blues I & II

Eddie Lang, vcl/g; band. New Orleans, La. 1974

21. Bringing back those old days

22. Mean sad world

Eddie Lang, vcl/g; Vincent Blakey, g; Lee Crisp, hca; Jesse Alexander, bs; Richard Milton, dms. Stockholm, Suede, 25 avril 1977

23. Mean old world

24. Slippin' and slidin'

25. Woke up this morning

26. Struttin'

27. My own fault

WALTER SPRIGGS

WALTER SPRIGGS

           

I'm quite often puzzled when finding in Blues Discography (Leslie Fancourt/ Eyeball Publisher) names almost unknown to me who have nevertheless quite a large discography...

            Walter Spriggs, also recording under the names Wally Wilson or Ray Scott, being one of them, Blue Eye couldn't do otherwise that try to gather all or most of all his "blues" records made for Apollo, Blue Lake, Sabre, Atco, Antler, Tri-Ess, Decca, Jubilee....

            Walter Spriggs is largely undocumented in Blues Magazines and the few things I have been able to gather come from Robert Pruter, Rob Ford, Jim O'Neal (who made a sleuth work!) and a few others hardcore researchers' writings, mostly on the net

            Walter was born in Arkansas in 1933, the son of William and Ollie Spriggs who moved to Saint Louis (Mo) when Walter was a child. He seems to have played piano, guitar, drums when still a teenager. Whatever, we find our man in Chicago in 1952, singing the blues backed by Deacon Brown's band and around the same time in New York where he waxed a record for Apollo with saxophonist Charlie Ferguson's unit. According to the same sources (Chicago Defender), Walter Spriggs was quite active in Chicago during the mid-50's, playing in South Side's clubs with different bands like drummer Larry Wrice's Chicago All Stars. This is during those years that Walter recorded his bluesiest tracks for Chance and Blue Lake. And around the same time, he also recorded several singles as the tenor singer of the pre-doo woop vocal group The Five Echoes.

           

To complicate things a little more, Walter changed his name as Ray Scott around 1955 when another different (according to Jim O'Neal) Ray Scott was a Chicago drummer recording behind Little Willie Foster and Jimmy Reed! While Ray Scott-Walter Spriggs was still active in Chicago, Spriggs joined under his real name and as the featured vocalist the Kansas City Tomcats, a band led by guitarist Lucky Enois who was touring extensively from coast to coast. They recorded in New York City for Josie/ Jubilee two singles in 1955 and 1956.

            While coming back to Chicago, Spriggs/ Ray Scott ran the Scotty's Rock and Roll Inn until at least 1957. Spriggs was there leading the house band who featured a very young Luther "Guitar Junior" Johnson and in 1959 Little Walter recorded his famous piece Nobody but you, a song composed by Walter Spriggs. The following years, we find Walter recording in New York for the Atco label and singing with the Jesse Stone's band. Other records for the tiny Antler and Tri-Ess labels were made under the name Ray Scott.

            And then here is our man in Los Angeles singing in clubs and recording under the moniker Ray "The Great" Scott. A paper in the L.A. Sentinel on May, 30, 1963 unveils some details:  "Ray Scott, versatile singer, dancer, musician and comedian, who was christened Walter Spriggs and was born in Arkansas. According to the McGee piece, Scott had arrived in LA from New York City for a comedy gig at the Club Hideaway. He had begun billing himself as "The Great Scott." Spriggs/Scott had been doing comedy since 1959, and was said to know George Kirby and Redd Foxx, both of whom he would have had multiple opportunities to meet and observe in Chicago. His most recent recordings were mentioned, including "Silk, Satin & Lace.... He played bongos with Ray Hamilton, Billy Williams and Johnny Ray and toured 27 countries of Europe" !!!

            During the 1960's Spriggs played comedy and also recorded raunchy tracks for Dootsie Williams in L.A. At last, we find Spriggs/Scott in New York City once again, running from his apartment of Central Park West a music publisher company called Spriggs Production in 1974. And a little later, Jim O'Neal spotted Spriggs in a Chicago club where he was opening for Johnnie Taylor! While at that time, Walter Spriggs was living permanently in Texas where he probably died unnoticed!

            Whatever, we have tried to gather the most possible tracks recorded by this quite mysterious singer, bluesman, comedian, doo woop vocalist, etc... hoping to put some "real" music to lines of the current discography.

            A lot of thanks to all those who helped on this research!

                                                                       Gérard HERZHAFT

Walter Spriggs, vcl; Charlie Ferguson, t-sax; George Rhodes, pno; band. New York City, février 1953

01. I don't want you

02. Let me love you

Walter Spriggs, vcl; Red Holloway, t-sax; Mc Kinley Easton, t-sax; Willie Jones, pno; Lucky Enois, g; Quinn Wilson, bs; Vernell Fournier, dms. Chicago, Ill. 17 janvier 1954

03. If you don't love me

04. The hunt

Walter Spriggs, vcl; Sonny Cohn, tpt; Leon Washington, t-sax; Mc Kinley Easton, b-sax; Lucky Enois, g; Earl Washington, pno; Jimmy Richards, bs; Red Saunders, dms. Chicago, Ill. 8 octobre 1954

05. I'm not your fool anymore

06. Weekend man

Walter Spriggs, vcl; Lucky Enois, g; Eddie Saunders, t-sax; Brooks Lewis, bs; Jimmy Waters, dms. New York City, octobre 1955

07. Nobody knows

08. Meet me meet me baby

Walter Spriggs, vcl; Sam Taylor, t-sax; Ernie Hayes, pno; Mickey Baker, g; Doles Dickens, bs; Panama Francis, dms. New York City, 3 août 1956

09. I pawned everything

10. Love you, love you, love you

Walter Spriggs, vcl; King Curtis, t-sax; John Mc Farland, pno; Kenny Burrell, g; Doles Dickens, bs; Joe Marshall, dms. New York City 18 novembre 1957

11. You're movin' me

12. Rack'em back

Walter Spriggs (as Ray Scott), vcl/bongos; Harold Ousley, t-sax; LeRoy Glover, pno/org; Wild Jimmy Spruill, g; Jimmy Breedlove, bs; Pola Roberts, dms. New York City, 12-15 juillet 1959

13. Happy organ

14. Take it and git it

15. Bongo rock

16. Fulltime baby

Walter Spriggs (as Ray Scott), vcl; band. Chicago, Ill. septembre 1959

What it means to have a friend

17. Let's be friends

Walter Spriggs (as Ray Scott), vcl; band. New York City, 1960

18. We need love

19. Silk satin and lace

Walter Spriggs, vcl; band. New York City, 1962

Joy Ran Dee

20. Looking for you

Walter Spriggs, vcl; band. New York City, 23 mars 1967

21. Love piled on top of love

22. The real thing

23. Can't get over losing you

24. I can't get you on TV baby

Walter Spriggs, vcl; band. New York City, 1970

25. The prayer

26. Lily white mama, Jet black dad

HOUSE OF THE RISING SUN

HOUSE OF THE RISING SUN/

Origines et Evolution du célèbre Folk Song/ Origins and evolution of this famous folk song

(re-up)

           

Si House of the Rising Sun est aujourd'hui un thème célèbre dans le monde entier et a engendré des centaines (!) de versions différentes et dans toutes les langues, cela na guère été le cas avant les années 1960. Il s'agit alors d'une ballade parmi d'autres et il faut attendre 1933 et Clarence Ashley pour en graver sur disque la première version. Ashley, originaire des Appalaches et que l'on redécouvrira dans les années 1960, avouera avoir appris cette chanson de son grand père mais en avoir retrouvé d'autres versions lors de ses années passées dans les spectacles itinérants sudistes, les medicine shows.

            On ne sait rien de sûr à propos des lointaines origines de cette chanson qui est, généralement, considérée comme la complainte d'une jeune fille séduite par un souteneur et amenée dans l'infâme maison close "Rising Sun" de la Nouvelle Orléans. Mais les versets (qui varient selon les versions, en tout cas jusque dans les années 1960) ne sont pas aussi clairs et peuvent aussi renvoyer à une prison pour femmes ("I got one foot on the platform, The other foot on the train/ I'm goin' back to New Orleans To wear that ball and chain"), voire un sanatorium! Comme toujours dans les folk songs américains, on leur trouve des réminiscences des Iles Britanniques (une vieille ballade anglaise du XVIIIème siècle mentionne "ask for The Rising Sun, there you'll find two old whores and my old woman's one") ainsi que des références en vieille France, la "nouvelle aube" stylisée par un soleil levant flamboyant étant le symbole de la rédemption et de la guérison, choisi par l'ordre des Ursulines fondé au XVème siècle et dont les couvents sont aussi toujours des hospices pour nécessiteux.

            Mais comme toujours aussi, les folk songs américains sont bien sûr... américains. On trouve à la Nouvelle Orléans plusieurs bâtiments qui peuvent correspondre au "Soleil Levant". D'abord, avec certitude, une maison close du Vieux Quartier, célèbre dans les années 1808-22 jusqu'à sa destruction par un incendie et qui abrite aujourd'hui le Musée Historique de La Nouvelle Orléans. Le Vieux Couvent des Ursulines, installé par les Français au XVIIIème siècle et, comme signalé, décoré de deux fresques représentant des Aubes flamboyantes, a été transformé en prison pour femmes à la fin du XIXème siècle. Enfin, une certaine Mme Marianne Le Soleil possédait une autre maison close dont les murs étaient ornés de fresques représentant des "Soleils Levants" (d'après bien sûr son nom) encadrés de trois Eros décochant leurs flèches. On a retrouvé ces fresques dans le bâtiment de Mme Le Soleil, aujourd'hui occupé par une agence immobilière!

            Quoi qu'il en soit, il est intéressant de retracer l'évolution de ce folk song à partir du premier enregistrement par Clarence Ashley en 1933. Il s'agit alors d'un blues à la façon "Hillbilly". Les Callahan Brothers et Roy Acuff qui ont connu le morceau par Ashley en donnent des versions similaires. Lomax enregistre une chanteuse amateur Georgia Turner qui interprète ce thème. Par Lomax, le morceau passe dans le répertoire des bluesmen et folk singers qui constituent alors la scène new-yorkaise, en particulier Josh White, Woody Guthrie et Lead Belly. Mais c'est l'actrice de théâtre et chanteuse Libby Holman (1904-71), une proche amie de Josh White, qui lui "emprunte" House of the Rising Sun et en enregistre une version de style cabaret de l'époque qui est un grand succès.

           

House of the Rising Sun restera alors dans le répertoire presque obligé des folk singers New Yorkais, Weavers, Pete Seeger, Woody Guthrie et al. Mais c'est en fait Dave Van Ronk qui, au début des années 1960 (et bien que lui-même n'enregistre le morceau qu'en 1964) qui signe les arrangements que l'on connaît aujourd'hui. Et c'est Bob Dylan - qui loge chez Van Ronk - qui lui emprunte sa version et la fait figurer sur son premier album. C'est d'après Dylan que le groupe britannique les Animals font de House of The Rising Sun un succès planétaire!

                                                                       Gérard HERZHAFT

            Let's leave (but not too far, don't be afraid!) the hardcore blues to study a little bit one of the most famous American folk song House of the Rising Sun with its hundreds of recordings in dozens languages!.

            In fact, before the 1960's, House of the Rising Sun was just a bluesy Old Time ballad among many others. It was only first recorded by Clarence Ashley in 1933. Ashley who was from Tennessee and was rediscovered during the 1960's Folk Boom told he learned this song from his grandfather and took it in his repertoire while touring around the South with a medicine show.

            The far origins of this song (generally sung from a young girl's speech who was seduced by a gambler and doomed to an infamous "Rising Sun" in New Orleans) are very uncertain. And the verses of the different early versions may refer to a brothel but also to a prison (I got one foot on the platform, The other foot on the train/ I'm goin' back to New Orleans To wear that ball and chain) or even a hospital. Like so very often, one can find British origins of the song: a XVIIIth Century English ballad has those verses: "ask for The Rising Sun, there you'll find two old whores and my old woman's one". Or French origins, the "new dawn with a flamboyant sun" being the symbol of medical redemption and healing provided by the Ursulines Convents since the XVth Century.

            But as always, the American Folk Songs are first and foremost... Americans. One find in New Orleans several buildings with a "Rising Sun" connection. First, a brothel situated in the French Quarter, very famous during the years 1808-1822 when a fire almost destroyed the building which is today the home of the Historic New Orleans Collection Museum. The old Ursulines' Convent created by the French during the early XVIIIth Century has become a prison for women at the end of the XIXth Century. And has still the original decorations of two Rising Sun mural paintings, common to this religious order. There is also an other brothel formerly owned by a certain Madam Marianne Le Soleil (Mrs The Sun!) whose walls were decorated with several Rising Suns (from the Madam's name) surrounded by three cherubs! This very building is occupied today by a real estate who kept the original paintings!

            Whatever, it is rewarding to follow the evolution of this folk song from the very first 1933 Clarence Ashley recording which was mostly a "Hillbilly blues". The Callahan Brothers and Roy Acuff have learned the song from Ashley and their renditions are close to the "original". In 1937, Lomax recorded the song by an amateur singer from Kentucky, Georgia Turner who might have learned the song from the records or from local singers. Anyway, with this version, House of the Rising Sun takes root among the numerous folk singers and bluesmen playing in the New York area: Weavers, Pete Seeger, Woody Guthrie, Lead Belly, Josh White. But it's Libby Holman (1904-71) a cabaret singer and an actress, a close friend of Josh White who hit big with her version recorded in 1942.

            The today well known arrangements of the song have in fact been created by Dave Van Ronk during the early 1960's (although he didn't record it before 1964). Bob Dylan who was at that time living in Van Ronk's apartment borrowed him the song and recorded it on his very first album. The British band, The Animals took the Dylan/ Van Ronk version, electrifies it and enjoyed a huge commercial success throughout the world, then making the previous obscure The House of The Rising Sun one of the most recorded American Folk Song of all times!

                                                                       Gérard HERZHAFT

HOUSE OF THE RISING SUN

01. Clarence Ashley: Rising sun blues (1932)

02. Callahan Brothers: Rounder's luck (1934)

03. Georgia Turner: House of the Risin' Sun (1937)

04. Roy Acuff: The Rising Sun (1938)

05. Libby Holman: The house of the Rising Sun (1942)

06. Josh White: House of the Rising Sun (1944)

07. Lead Belly: House of the Rising Sun (1944)

08. Woody Guthrie: Rising Sun blues (1944)

09. Weavers: House of the Rising Sun (1959)

10. Joan Baez: House of the Rising Sun (1960)

11. Pete Seeger: House of the Rising Sun (1961)

12. Fred Gerlach: Risin' Sun (1962)

13. Bob: House of the Rising Sun (1962)

14. Nina Simone: House of the Rising Sun (1962)

15. Isla Cameron: The House of the Rising Sun (1962)

16. Karen James: The House of the Rising Sun (1962)

17. Roscoe Holcomb: House in New Orleans (1962)

18. Jack Elliott: House of the Rising Sun (1963)

19. Dave Van Ronk: House of the Rising Sun (1964)

20. Animals: The House of the Rising Sun (1964)

21. Doc Watson: Rising Sun blues (1964)

22. Supremes: House of the Rising Sun (1964)

LOS ANGELES BLUES Volume 3

LOS ANGELES BLUES/ Volume 3

           

We start this third volume of our Los Angeles blues series with pianist (and not guitarist as it is written in Blues Discography) Memphis Eddie who was already featured in Los Angeles blues Volume 2. But thanks to our friends Mike & Mike from Australia, we now have the complete recordings of this fine artist. Memphis Eddie Pee is in fact Eddie P. Johnson, born in Hughes (Ark) 16 April 1919 and died in Los Angeles on 16th June 1963. He remains an almost unknown although he has recorded several 78s for Globe, Foto and RPM between 1945 and 1950.

            Blues Taylor is Johnny Taylor who recorded a handful of tracks in 1949 for Capitol and Blue and another batch in 1954 for the Hollywood label. Contrarily as one can read on so many websites, this Johnny Taylor has nothing to do with the others bluesmen of the same name.

            Rickey Jordan had a brief career in the mid-1940's as a blues and jazz singer, seeming to be the featured vocalist of the bassist Vivien Garry all-girl band in the Los Angeles area. May be a white cabaret singer, Ricky has a strong and swinging voice and it's too bad she recorded so few.

Vivien Garry

            Bobby Nunn was born Ulysses Nunn in Birmingham (Alabama) on 20 September 1925. He started a boxing career while serving at the US Air Force. After his discharge in 1947 he settled in Los Angeles and started a musical career, singing, performing and recording with The Robins as well as a duet with Esther Phillips. He also recorded under his own name in 1949-50 for several independent West Coast labels. Nunn died at his Los Angeles home on November 5, 1986.

            Thanks to Mike & Mike, John S. and the ever faithful Jose Yrrabera for sharing some of the rarest tracks inhere.

                                                           Gérard HERZHAFT

LOS ANGELES BLUES

Volume 3

MEMPHIS EDDIE (Eddie Pee), vcl/g; William Bates, a-sax; Prince Albert, pno; band. Los Angeles, Ca. June 1945

01. Mistreated all the time

02. Going back to Smoky Mountain

Memphis Eddie, vcl/g; Prince Albert, pno; William Bates, a-sax; band. July 1945

03. Big leg mama

04. My house fell down

Memphis Eddie, vcl/g; pno; bs. Los Angeles, Ca. December 1947

05. Trouble blues

06. Hep chick

Memphis Eddie, vcl/g; band. Los Angeles, Ca. 25 May 1950

07. Velma Lee

08. Lonesome change

09. Mercy blues

10. I believe

Memphis Eddie, vcl/g; band. Los Angeles, Ca. 26 September 1950

11. Good time woman

12. Highway 61

13. Real fine girl

14. Baby Lou

JOHNNY "BLUES" TAYLOR, vcl; Gerald Wiggins, pno; Ulysses Livingstone, g; John Simmons, bs; Lee Young, dms. Los Angeles, Ca. 22 February 1949

15. Hackensack mama

16. Unwelcome blues

Somewhere someday

People are talking

Johnny "Blues" Taylor, vcl; band. Los Angeles, Ca. June 1949

17. West Coast baby

18. Rocky mountain blues

19. Mr Monkey man

20. Back alley blues

RICKEY JORDAN, vcl; Teddy Buckner, tpt; Les Robinson, a-sax; Lucky Thompson, t-sax; Teddy King, pno; Arv Garrison, g; Vivien Garry, bs; Edward Hall, dms. Los Angeles, Ca. october 1946

Vivien Garry Orchestra

21. A.B.C. blues

22. Blues in the storm

23. Night and day

24. Rickey's blues

Rickey Jordan, vcl; Lucky Thompson, t-sax; band. Los Angeles, Ca. november 1946

25. Drop dead

26. Stormy weather

BOBBY NUNN (Ulysses Nunn), vcl; Bumps Myers, t-sax; band. Los Angeles, Ca. 1949

27. I got a country gal

28. Anticipating blues

29. I am clappin' and shoutin'

30. Bring your loving back to me

31. I am telling you

Bobby Nunn, vcl; The Robbins, vcls; band. Los Angeles, Ca. february 1950

32. Rockin'

33. That's what the good book says

Bobby Nunn, vcl; Que Martyn, t-sax; band. Los Angeles, Ca. 1952

34. Christmas bells