Spread The Good Word !

Charlie Feathers was a key engineer of the bridge between country music and rock & roll. No one really knows if he taught the Sun masters all they know, as he often claimed, but his records make that case irrelevant, since they stand very tall on their own merits. Feathers' stubborn insistence on combining elements of country, raw blues, and bluegrass to make his own version of the rockabilly experience showed him to be one of the genre's most original and enduring artists. I’m tellin’ ya, the man was a true hero. Charlie Feathers - Cant Hardly Stand It Charlie Feathers - One Hand Loose Charlie Feathers - Why Don't You

To start this week, let’s go Back in Portland, Oregon 1966… Brutal Sonics style Northwest pounderoos! Godlike 2-sided northwest utter-frantic 60s punk stomper!!! Hallelujah Brothers & Sisters ! The Jolly Green Giants - Busy Body The Jolly Green Giants - Caught You Red Handed

Formed in Cape Cod, Massachusetts, in 1963, The Barbarians got their big break in 1964, when they scored a slot on the T.A.M.I. Show. The band's barbaric, nonconformist image was a big part of their appeal. They grew their hair longer than most of their contemporaries and wore leather sandals instead of Beatle boots. And then there was their drummer Moulty, who had a hook for a left hand. Moulty was hardly self-conscious about his handicap; on the tiny hit single immortalized on Nuggets (titled, logically enough, "Moulty"), he tells the story of the triumph over his loss in no uncertain melodramatic terms. The band also managed a somewhat bigger hit single, the British Invasion-inspired novelty "Are You a Boy or Are You a Girl." The Barbarians - Moulty The Barbarians - Are You A Boy Or Are You A Girl FRIDAY BONUS ! Paul Robeson - My Curly Headed Baby Allez, bonne nuit les petits & see you monday.

Macy Skipper (Born 1920 in St. Louis)'s "Bop Pills" is one amazing Calypso inspired groove with vocals just south of dementia in an early fifties vein. Big grins on this one, delivered by piano and that classic Sun rockabilly sound (actually, it was recorded in 1956 for Sun but the 45 was unissued). So everytime you’re feeling a bit under the weather, call a doctor and ask him a pill (hmmmm) and start to bop. Sick. Macy Skipper - Bop Pills Macy Skipper - Slow Rock'n'Roll

James Carr was born June 13, 1942, in Coahoma County, MS, near Clarksdale. One of the greatest pure vocalists that deep Southern soul ever produced, Carr is often mentioned in the same breath as Otis Redding, Percy Sledge, and Aretha Franklin in terms of the wrenching emotional power in his delivery. Or at least he is by hardcore soul aficionados; despite producing several classic R&B singles and some of the most intense country-soul ever waxed, Carr never achieved the pop crossover success that could have made him a household name, and his material wasn't always as distinctive as that of Stax artists like Sam & Dave. Ultimately, though, Carr's greatest obstacle was himself: he was plagued for much of his life by severe depression that made pursuit of a career -- or, for that matter, even single recording sessions -- extraordinarily difficult, and derailed his occasional comeback attempts. Regarded by many as the greatest soul singerof all time, Carr's major &

Equally powerful and just as possessing as Howlin' Wolf or Charley Patton ,was the whisky-charcoaled singing of Tommy McClennan . His rawboned 1939-1942 Bluebird recordings were no-frills excursions into the blues bottoms. He left a powerful legacy that included "Bottle It up and Go," "Cross Cut Saw Blues," "Deep Blue Sea Blues" (aka "Catfish Blues"), and others whose lasting power has been evidenced through the repertoires and re-recordings of other artists. Blues researchers have yet to even trace the date or circumstances of his death. Tommy McClennan - I Love My Baby Tommy McClennan - Deep Blue Sea Blues

In the history of Sun Records, Ray Harris is but a minor footnote. He only saw two singles released on the little yellow label, but his inclusion in any rock history book is based on the fact that both of those records just happen to some of the greatest and rawest rockabilly ever recorded at Sun or anywhere else in the 1950s. The two singles he recorded, "Come On Little Mama" and "Greenback Dollar Watch & Chain" both did brisk local sales but were both too ultimately raw to be heard on radio stations North of the Mason-Dixon line. After playing lead guitar on a few stray sessions at the Sun studio (he can be heard on Jimmy Wages' sessions), Harris defected to the other side of the glass, becoming a successful producer for Hi Records in the late 1950s and early '60s. Ray Harris - Come On Little Mama Ray Harris - Love Dumb Baby

One of the best of the many instrumental surf bands working the Southern Californian region in 1963, the Lively Ones’ recordings were built around storming, reverb-drenched Fender guitars (the slightly demented guitar troika of Jim Masoner (lead), Ed Chiaverini (rhythm), and Ron Griffith (bass)), embellished by occasional raunchy sax breaks. They had a couple of hits in the L.A. area in 1963 , but their best moment was probably "Goofy Foot," whose staccato gunfire of riffs deservedly propelled the track onto several modern best-of-surf anthologies. By the way, the Lively Ones' obligatory run through of "Misirlou," while not as manic as Dick Dale's version (how could it be?), still sounds mighty fine. The Lively Ones - Goofy Foot (Surf Battle) The Lively Ones - Misirlou The Lively Ones - The Caterpillar Crawl FRIDAY BONUS ! Bernard Herrmann - Prelude Outerspace Ouch! - "Meme"s back in town, send my way by the very fine One Man Safari Frank. Total

Marty Robbins has more greatest-hits compilations than most artists have hits! Robbins landed a recording contract with Columbia in 1951 with the assistance of Little Jimmy Dickens, who had been a fan ever since appearing on Western Caravan. « El Paso » (his 1959 chart-topper and biggest crossover success) began a very successful decade for Robbins. "Big Iron," another western song, followed its predecessor to the Top Ten of the country charts in 1960. C’mon everybody, all together :Yeeha. Marty Robbins - Big Iron Marty Robbins - El Paso Marty Robbins - Five Brothers

Manhattan-based band fronted by Milan Radenkovich, who also cut 45s on Brunswick in 1966 under the name The World Of Milan and for Phillips under the name The Unclaimed. Insanity really was alive and well in the New York City area in 1967 ! Leather Boy - On The Go Leather Boy - Soulin'

Practically uncontested as the original German electro-lounge pioneer, Peter Thomas (born in 1925) fused the spy-string paranoia of John Barry with Carnaby Street go-go music and lounge on his recordings for several German sci-fi series of the 1960s. Thomas, though trained as a classical musician, fell into composing for TV dramas in the '50s. He created the sound for seven episodes of Germany's version of Star Trek, Raumpatrouille (Space Patrol), in which the offending aliens were iridescent frogs. Ach. Peter Thomas Sound Orchestra - Space Patrol Peter Thomas Sound Orchestra - Der Gorilla Von Soho

Bonjour les amis, Born in Cumuto, Trinidad, to well-to-do Anglophile parents, Lancelot Victor Pinard , was educated in the West Indies of course. Accompanying himself on guitar and singing old-time calypso tunes like "Rum and Coca-Cola," "Mary Ann" and "Take Me, Take Me," Pinard offered lively performances to packed houses at venues around Southern California in the 1940s and '50s. He died March 12, 2001 in Anaheim. He was 98. Dance now. (this one goes to Juliette Calypso Lubrano of course) Sir Lancelot - Run Joe Sir Lancelot - Jump In The Line

It’s a soulful Friday ! The unrivaled Soul Queen of New Orleans--a title officially bestowed by local officials , no less--Irma Thomas ranks among Crescent City R&B's greatest and most enduring musical ambassadors, never enjoying the coast-to-coast commercial success of contemporaries like Aretha Franklin and Etta James but nevertheless breathing the same rarified air in the minds of many soul music aficionados. Read more here and here . Irma Thomas - Time Is On My Side Irma Thomas - Break-A-Way FRIDAY BONUS ! Akemi Misawa - Furure Jyozu Ni Hore Jyozu Yao Lee - Rose,Rose,I Love You HAVE A GOOOOOOOOOOOOOOOOOOOOD WEEKEND!!!

Ask any human being who digs SUN Records who his favorite Sun artists are, and they'll come up with Elvis Presley, Carl Perkins, Jerry Lewis, Charlie Rich, and a whole lot more, but they will almost always have Jack Earls on their favorite list too. That's a little strange to say the least, because the afore mentioned originators all released numerous records on the Sun label, Jack Earls only released one single orginally; "Slow Down" b/w "A Fool For Lovin' You" (SUN 240). Of course Earls recorded a lot more at Sun in the fifties, and we have Martin Hawkins and Colin Escott to thank for their in depth research and the many fabulous books and liner notes they wrote, and record companies like Charly and Bear Family for the many better-late-than-never issues of all those magnificent sounds from the past. (Many thanx to the blackcat) Jack Earls - Let's Bop Jack Earls - Slow Down

Formed in 1964 in San Jose, California, USA, Count Five were a classic one-hit wonder whose Yardbirds-inspired psychedelic-punk hit Psychotic Reaction, reached the US Top 5 in 1966. They first drew attention by wearing Dracula-style capes to their gigs. After recording one album, also titled PSYCHOTIC REACTION, they continued to release singles before disbanding in 1969. Count Five - Psychotic Reaction Count Five - Double Decker Bus

The great bluesmen Willie Dixon (bass) and Peter Chapman, a.k.a. Memphis Slim (piano), were both born in Mississippi in 1915 and both moved their music to the more hospitable climate of Chicago. Since the early Fifties, Willie Dixon has been the studio kingpin of Chicago blues, having written, produced, and played bass on countless classics by Muddy Waters, Howlin¹ Wolf, Otis Rush, Koko Taylor and many others. He was working the coffeehouse circuit with pianist Memphis Slim when he cut this, his first album as a leader, in 1959. Besides his unique interpretations of « Good Understanding » and « Sittin’ & Cryin ‘ The Blues », it includes eight lesser-known compositions from Dixon¹s prolific pen. It is unlike all other albums by Dixon, as he and Slim are accompanied not by the usual crew of Chicago blues players, but by a group of New York mainstream jazzmen, including tenor saxophonist Hal Ashby and guitarist Wally Richardson. Fantastic. Willie Dixon & Memphis Slim - Good Unders

Who says that the Japanese can't surf? One listen to Del-Fi recording artists the El Caminos will change their minds. Their impressive guitar heroics and dramatic reverb cracks are a real treat -- a true throwback to the early 1960s Surf sound. Straight outta Kobe, Japan, Eddie Ugata and crew use only pre-CBS vintage Fender amps, Jazzmasters and Jags on this album to create a splashy surf sound so authentic you'd swear they were recording back in '62. The El Caminos - Exotic The El Caminos - Shock Wave '95

Jimmy Reed was born September 26, 1925 in Dunleith, Mississippi. His songs have become such an integral part of the standard blues repertoire, it's almost as if they have existed forever. Because his style was simple and easily imitated, his songs were accessible to just about everyone from high school garage bands having a go at it to Elvis Presley, Charlie Rich, Lou Rawls, Hank Williams, Jr., and the Rolling Stones, making him -- in the long run -- perhaps the most influential bluesman of all. Jimmy Reed - Big Boss Man Jimmy Reed - I Ain't Got You Jimmy Reed - Shame, Shame, Shame Friday bonus !!! The Peanuts - Come On-A My House (for your listening pleasure, get ‘em while they’re hot) Thanx again for your emails, love letters, chocolate boxes, guns & support. Back on monday.

Known as a scorching soloist and powerful vocalist, Oran “Hot Lips” Page was one of the Midwest's top trumpet players. Originally from Dallas, Page traveled the Southwest with Ma Rainey, Bessie Smith, Ida Cox and other touring acts. From 1928 to 1931 Page was a member of the Blue Devils; in 1932 he joined Bennie Moten’s orchestra. Page was also a member of Count Basie’s original Reno Club band, but in 1936 - on the eve of Basie’s national success - he decided to forge a solo career. He never realized the success as a leader that he had enjoyed as a sideman. He remains one of the most versatile talents ever spawned by the jazz genre, his mastery on trumpet and vocals emcompassing the blues, bebop, swing, and beyond. Hot Lips Page & His orchestra - Jungle King Hot Lips Page & His orchestra - Sunset Blues

In 1955 Mack Self was playing a radio show on KXJK in Forrest City, Arkansas when Hal Webber, who was working at the station at the time, convinced him to record a song, "Easy To Love," that had been getting a load of listener response. Mack recorded the song with his band at the KXJK studios and the tape found its way to Sun Studios and Sam Phillips. Mack made it back into the studio after about a year and in one marathon session cut the bulk of his Sun cannon with the legendary Jack Clement handling the A&R chores. With Jimmy Evans on bass and Therlow Brown on "hot git-tar," as Mack says, they tapped a vein of true hillbilly music that was, even then, becoming increasingly rare. Read more here Mack Self - Vibrate Mack Self - Goin' Crazy

Billy Love was a session musician at Sam Phillips' recording studio in Memphis for a few years in the early 1950's, before Phillips started Sun Records. Jackie Brenston (see Brenston's page), had already made a name for himself with "Rocket 88," in March of 1951, a track which had been recorded in Phillips' studio and sold to the Chess label, and since this was the first big hit recorded in his studio, Phillips decided Brenston needed another recording to sell to Chess. That record was to be "Juiced," which Phillips then sent to Chess as being by Jackie Brenston, and that is how the record was released. But the song was written and the recording was sung by Billy Love, and it is a fact that Brenston does not even play on this track at all! This fact is clearly demonstrated by the fact that Love screams "Blow Walker, blow" before the sax break. Brenston's sax was not in the room. "Juiced" was enough of a success, though, that P

The Standells were formed in 1962 by guitarist Tony Valentino and organist Larry Tamblyn. The early line-up included Gary Lane on bass and drummer Gary Leeds, who would later find more success with the Walker Brothers. Leeds was eventually replaced by former Mousketeer Dick Dodd. As for the name the band chose, they would later tell Dick Clark on American Bandstand, they were just "standing around" one day, trying to think up a name for the band. The quartet became a leading attraction in Los Angeles night-spots and recorded some weak selling albums and singles for Liberty, MGM, and Vee Jay. The Standells - Dirty Water The Standells - Sometimes Good Guys Don't Wear White