#Deadric Malone

[odk-2]

Bobby Bland - Turn On Your Love Light (Stereo) (1961) Joe Scott (Joseph Wade Scott) / Deadric Malone (Don Robey) from: "Turn On Your Love Light" / "You're the One (That I Need)"

R&B

JukehostUK (left click = play) (320kbps)

Personnel: Bobby "Blue" Bland: Vocals Wayne Bennett: Guitar Joe Scott: Trumpet Melvin Jackson: Trumpet Pluma Davis: Trombone Johnny Board: Saxophone Jimmy Beck: Saxophone Rayfield Davers: Baritone Saxophone Teddy Reynolds: Piano Hamp Simmons: Bass John "Jabo" Starks: Drums

Recorded: @ The ACA Studios in Houston, Texas USA during 1961

Duke Records

In 1999, "Turn On Your Love Light" received a Grammy Hall of Fame Award and is included in the Rock and Roll Hall of Fame list of the "500 Songs that Shaped Rock and Roll". - Wikipedia

[bowietracks]

Bowie – still Davie Jones, and now lead singer of The Manish Boys – performed the song I Pity the Fool for Gadzookes! It’s All Happening broadcast on 24 May 1965. (According to a digital copy of a listing in the Radio Times I have found, however, the performance was simply by ‘Davy Jones’). This BBC 2 show had recently taken over from The Beat Room (which had run for seven months, and where Bowie had also appeared with his previous band, Davie Jones with the King-Bees). Speaking to Record Mirror in January 1965, the producer, Barry Langford, said the show was for ‘pop entertainers… [to] appear in sketches, comedy routines, and dances. Two-thirds of the programme will be live, and a third mimed to discs’. It is not currently clear to me if The Manish Boys played live, or mimed. Whatever the case, the footage, as with most of Bowie’s pre-1970 TV appearances, is now lost, a victim of early television’s wiping policies. There is, however, footage of Bowie from later that year in November, being interviewed by Cliff Michelmore for BBC’s Tonight. It’s a bit of a wheeze, there are the Manish Boys and Bowie, with the singer claiming he has recently founded the Society for the Prevention of Cruelty to Long-Haired Men. The first of many of Bowie’s provocations.

‘I Pity the Fool’ was written by Deadric Malone. Released 5 March 1965. There is a version with an earlier vocal available on Early On (1964-1966).The single version is available on The Manish Boys / Davy Jones And The Lower Third.

[julio-viernes]

Esta es para Oriol Llopis allá donde esté. Son Foghat producidos por Dave Edmunds en los míticos Rockfield Studios de Monmouth, Gales. Hablaba mucho de ellos en la revista Star. A Oriol le iba el boogie, el rhythm and blues y hasta el jevi metal, esta es más sofisticada pero le va a gustar.  

“Gotta Get To Know You” fue el corte que cerró el disco de presentación de los londinenses en 1972. El LP es un buen trabajo de bugui y rocanrol con buenos originales de Dave Peverett y Rod Price, y buenas versiones de Chuck Berry, Willie Dixon o, la que nos ocupa, de Andre Williams y Deadric Malone (seudónimo de Don Robey, el gángster que manejó la carrera del gran, tempranamente muerto en extrañas circunstancias, Johnny Ace) interpretada originalmente por Bobby “Blue” Bland en 1969, un temazo soul cantado y producido de maravilla.

Lo bueno es que Foghat hacen una versión completamente distinta del original. A lo largo de casi ocho minutos se la apropian y hacen de ella el mejor corte de su debut a base de deceleración, trémolo y un sintetizador que entra in crescendo a mitad de la canción, y que es lo único que queda al final. Sorprendente, fresco e innovador. La gracia final de un LP potente, pero en sí mismo poco original.

[firefield]

The Mannish Boys

Davy Jones & The Lower Third

Four singles recorded in 1965 from two different bands with the same singer, a singer who would later that year officially become David Bowie.  The influences and the imprint of ‘65 are all over these 4 songs, DB (already) trying on a couple different vocal styles, and considering how many he’s got in his tool kit by the end of his career, listening to these tracks now make it pretty clear that a broad palette of voice timbres is just a natural part of his relationship to a microphone and how he hears a song in his head.  

The two Manish Boys singles feature their upfront sax sound, and a relatively unknown Jimmy Page sitting in on both tracks.  I Pity The Fool, written by Deadric Malone was a hit in 1961, but this version flopped.  The B-side, Take My Tip, holds the distinction of being the very first DB composition ever officially released.  David wasn’t thrilled with this band and its dynamic, and within a month he was fronting The Lower Third.

The two Lower Third singles here are clearly influenced by The Who, whom the band supported live and DB recalls a friendship with Pete Townsend at the time - with Pete apparently accusing David of “writing like him.”  Interestingly, both the Lower Third singles here, You’ve Got A Habit Of Leaving, and Baby Loves That Way were reworked and recorded for Toy, as well as performed live, which in retrospect is a pretty cool nod to Bowie’s very early attempts at song writing.  Faith in himself is certainly a foundation Bowie always seemed to find, even at his darkest moments.  

[dustinreidmusic]

Sir Douglas Quintet ‎– 1+1+1=4 

Released in 1970.

Tracklist:

A1 Yesterday Got In The Way

Bass Guitar – Harvey Kagan Drums – J. P. Perez* Guitar, Lead Guitar, Vocals – Doug Sahm Organ, Piano – Augie Meyers *Written-By – D. Sahm*

3:06

A2 In The Dark

Alto Saxophone – Martin Fierro Baritone Saxophone – Mel Martin Bass Guitar – Harvey Kagan Drums – George Rains Guitar, Vocals – Doug Sahm Piano – Wayne Talbert Tenor Saxophone – Frank Morin (2)Trumpet – Bill Atwood Written-By – Deadric Malone, Herman Parker

3:00

Don't Bug Me! (Couldn’t find this song anywhere.)

Bass – Hershey Freeman* Drums – George Rains Guitar, Vocals – Doug Sahm Horns – Bill Atwood, Frank Morin (2), Mel Martin Other [Percussion] – Eddie, Herbie, Lee, Peter Piano, Soloist – Wayne Talbert Tenor Saxophone, Soloist – Martin Fierro

(4:00)

A3a Part 1

Written By – V. Morris

A3b Part 2

Written-By – M. Fierro*, W. Talbert*

A4 Be Real

Bass – Bob Moore Drums – Kenny Buttrey Fiddle – Buddy Spicher, Tommy Jackson (2) Guitar – Chip Young, Ray Edenton Pedal Steel Guitar – Pete Drake Piano – Pig Robbins Vocals – Doug Sahm, Wayne Douglas (3) Written-By – D. Sahm*

2:55

A5 Pretty Flower

Baritone Saxophone – Mel Martin Bass Guitar – Hershey Freeman* Drums – George Rains Guitar, Vocals – Doug Sahm Organ – Wayne Talbert Piano – Dr. John Harris*Tenor Saxophone – Frank Morin (2), Martin Fierro Trombone – Gordon Mussick Trumpet – Bill Atwood Songwriter [Adapted From] – Huddie Leadbetter* Written-By – D. Sahm*

4:12

B1 What About Tomorrow?

Backing Vocals – Frank Morin (2) Bass Guitar – Harvey Kagan Drums – Jim Jenkins (4), J. P. Perez* Organ – Augie Meyers* Rhythm Guitar, Lead Vocals – Doug Sahm Written-By – D. Sahm*

2:28

B2 Catch The Man On The Rise

Bass Guitar – Jance Garfat Drums – Jim Jenkins (4)Guitar – Sonny Farlow*, Hewlett Crist Guitar, Vocals – Doug Sahm Piano – Wayne Talbert Written-By – E. Sheppard*

2:20

B3 Tortilla Flats

Acoustic Bass [Bowed Bass] – Edward Adams* Baritone Saxophone – Mel Martin Bass Guitar – Hershey Freeman* Drums – George Rains Guitar, Vocals – Doug Sahm Harp – Hewlett Crist Piano – Wayne Talbert Written-By – T. Murrey

2:43

B4 A Nice Song

Bass Guitar – Harvey Kagan Drums – J. P. Perez* Piano – Augie Meyers Piano, Guitar – Doug Sahm Tenor Saxophone – Frank Morin (2), Martin Fierro Written-By – D. Sahm*

2:55

B5 Monterey Sun

Flute – Frank Morin (2), Martin Fierro Guitar, Vocals – Doug Sahm Piano – Augie Meyers* Written-By – A. Meyers*, D. Sahm*, F. Morin*

1:13

B6 Sixty Minutes Of Your Love

Baritone Saxophone – Mel Martin Bass Guitar – Hershey Freeman*Drums – George Rains Guitar – Doug Sahm Piano – Wayne Talbert Tenor Saxophone – Frank Morin (2), Martin Fierro Trombone – Gordon Mussick Trumpet – Bill Atwood Written-By – I. Hayes-D. Porter*

[crimsonaetherblade]

He needed a distraction…and what better than to take up one of those random files and drown his thoughts in spilling the sacred essence of another and basking in its crimson hue.  Gloved fingers dusted over one of the folders that held the very details necessary for him to act.  Did it matter which one he picked? No. While experienced in years at this sort of task, the names and faces in this pile were unknown to him.   Upon gripping the edge of the file and flipping it open his haunted gaze danced over the information with a curiosity, Deadric Malone, red mage...  Though as he let his naturally inquisitive nature suck him in to the individual’s pertinent details those gem-like slatted orbs of his drifted closed.  Did it really matter what sort of person they were? No, not really.  All he needed to know was the dishonor that hung about their person like a foul perfume. The sun-kissed male made his way to his chambers, opening an ornate box that held the blades he would take for this task…his beloved aetherblades.  Careful steps walked their way to his desk, parchment and quill set out and ink to motion was set.  Isamu had requested their presence…at a place of his choosing, the reason he gave them was one anyone would be foolish not to follow but he couldn’t recall after the letter was gone what it was, only sure of himself the soul would indeed show. Preparation for the task was underway, carefully wrapped and concealing silks adorned the protective leather cloth that lay beneath.  Turban carefully spun and tucked around the top of his head and ears.  A stray strand of what remained pulled up around his mouth and nose so that only the seeker’s ghostly hues could be seen.  Gloves where tightened, familiar silks and jeweled adornments were undone and re-wrapped around his arms securely before the ornate sheaths of the aetherblades were affixed to his sides.  Protected fingers then wrapped themselves around the aethershard hanging from his hip entrapped in decorative gold filigree.  Eyes closed for a moment while the mist around him shifted to spirit him away to the desert.   The warmth welcomed him like a long, lost brother, the dry dusty breeze embracing him the moment he stepped out from the swirl of aether feet never pausing in their determined steps to greet their final-destination.  Each pace forward found the male closer and closer to the ravine and further and further way from prying eyes.  There...he waited, his attention cast toward the sky watching the eternal lovers of folklore tales from his homeland meet for a moment then part as the moon rose and the sun set.   A soft ephemeral hue pulsed to life when the world around him shifted from light to dark.  A deep inhale was given when he heard the foot steps sound finally behind him. They didn’t wait long before arriving to start rattling off useless information, Isamu found them more of an annoyance that worthy of his blade.   Though it also didn’t take them long to dip into story telling of their past employment with The Red Dragon.  That of course forced the seeker’s gaze from the moon he treasured so much…it was as if considering the face of his own true love as…with the type of man he was he would never find such here upon the ground. Haunted orbs soon met their mark, the soft ghostly hue of his eyes shifted to a more crimson color…the ghost showing the demon within while the other rambled about details and people they should have sewn their lips shut about.  How many had they shared this with already? How many knew more than they should?  Turning slowly, they soon found partial silence questioning Isamu’s oddly colored eyes.  Their inquiry unanswered verbally as blades were unsheathed jets of crimson aether sprouting forth and curving like a mystical scimitar at his sides.  They gasped his name… ‘Shadow’ they knew who he was, the blades infamous in certain circles and his reputation just as well. Unforgiving, unrelenting, Unheard and Unspoken.  From the darkness he came and to the darkness he returned. Their own blade bared as they fumbled over words, hissing and growling at the silken shrouded male, like their pointless and un welcomed words would sway his pending actions.  He was the bringer of death and they denied its coming.  Striking first with unsheathing their own blade in panicked slash towards him, he stepped backwards leaning just out of reach of the tip, any closer and it might have slashed through his beloved silks.  Isamu answered their initiation with a rebuttal of his own, blades clashing noisily in the darkness.  There were no words from the seeker, his goal set, mind clear with only one intent in sight, to watch the light fade from their eyes.

Steel upon steel clanged and crashed in a symphony of sound.  The melodic chorus joined and rang through with forceful grunts and gasps echoed by the pair as they stood upon the precipice with but one way to survive. He who had nothing to live for against they who deserted for a life they foolishly thought would be possible upon their un welcomed departure.   In the end it was he that held no fear of death that prevailed, the other blanketed within the moment they recognized their opponent and set the stage for their failure even before their blade was drawn.  The clash was not easy, they were overly skilled and well worth the match, Isamu had chosen well and enjoyed the challenge no matter the outcome.  Yet as the blades thick with crimson aether raised above the felled mage, Isamu didn’t hesitate to drive them into their chest watching as they dropped to their knees staring up at him.   The red in his gaze gradually melted away to reveal his typical ghastly glowing orbs watching as the light…the spark…the flame within slowly faded into nothingness within their eyes.  Pulling free the blades, he made sure to see that they were indeed freed from their earthly shackle and now roamed the life stream in peace.   In the file...it said they carried with them a rapier crafted by their own hand, the necklace of their dead beloved wrapped around its hilt, one that never left their side.  Isamu took their blade to examine it, content to find it just as the file described…his proof of a done deed.  Tying it to his side, he sheathed his own blades then knelt at their side placing his hand over their eyes to close them, “Your fight is over.”

[60s70salbumreviews-blog]

The Beau Brummels - Introducing The Beau Brummels (1965) USA 

(Garage/Folk Rock/Sunshine Pop)

While they only had two big hits, the Beau Brummels were one of the most important and underrated American groups of the 1960s. They were the first U.S. unit of any sort to successfully respond to the British Invasion. 

They were arguably the first folk-rock group, even predating the Byrds, and also anticipated some key elements of the San Francisco psychedelic sound with their soaring harmonies and exuberant melodies. Before they finally reached the end of the string, they were also among the first bands to record country-rock in the late '60s. 

The key axis of the band was formed by guitarist/songwriter Ron Elliott, who penned most of the Brummels' moody and melodious material, and singer Sal Valentino, owner of one of the finest voices in mid-'60s rock. 

Spotted by local DJ Tom Donahue in a club in San Mateo (just south of San Francisco), the group was signed to Donahue's small San Francisco-based label, Autumn Records, in 1964. With Sly Stewart (later Sly Stone) in the producer's chair, they made the Top 20 right off the bat with Laugh, Laugh. The melancholy, minor-key original sounded so much like the British bands inundating the airwaves that many listeners initially mistook the Brummels for an English act. The follow-up single, Just a Little, was another excellent, melancholy number that became their biggest hit, making the Top Ten.

The Beau Brummels made a couple of fine albums in 1965, dominated by strong original material and featuring the band's ringing guitars and multi-part, mournful harmonies. The best of their early work is nearly as fine as the Byrds' first recordings, yet the band was losing ground commercially, partially because Autumn, being such a small label, lacked promotional muscle. 

You Tell Me Why was their only other Top 40 hit, though Sad Little Girl and the Byrds knock-off Don't Talk to Strangers were excellent singles. The band also shuffled personnel a few times, and Ron Elliott was unable to stay on the road because of diabetes. Autumn was sold in 1966 to Warners, who made the lunkheaded move of forcing the band to record an entire album of Top 40 covers -- ignoring the fact that original material was one of the Brummels' primary fortes.

Triangle Regrouping as a trio, the group recorded a critically acclaimed, more experimental album in 1967, Triangle. Their last Warners LP, Bradley's Barn, found the group branching into country-rock, a year or so before it became trendy. The Beau Brummels did re-form for an unimpressive reunion album in 1975, and although Ron Elliott and Sal Valentino continued to make music and work on various low-profile projects of their own, they've never made records on par with the Brummels' vintage work.

Starting the album is their hit Laugh, Laugh that I’m sure many of you have heard somewhere. A catchy pop tune. Still In Love With You Baby is very 60s sunshine pop! With the pretty vocal harmonies, a memorable beat and a chorus that makes you wanna sing along. “...Still in love with you baby. You’re driving me crazy. Still in love with you baby. Baby don’t you know my heart is breaking up inside of me...” The next tune Just A Little reminded me of the Beatles. The backing “aaaaa”s make the song seem haunting which later, with the help of the drums, gets more upbeat. Just Wait And See is an okay tune. Not my favourite. Cover of Don Gibson’s Oh Lonesome Me makes you wanna clap your hands and groove. It’s an enjoyable folk tune. Next is a cover of the song written by Deadric Malone, Ain’t That Loving You. You may have heard it as Jimmy Reed and The Youngbloods covered it. This is the pop version of it basically. Still groovin’. Stick Like Glue is a nice tune too with some surf rock vibes. They’ll Make You Cry’s guitar and vocals are just beautiful. It’s more mellow and laid back than the other stuff we heard so far. Pop song That’s If You Want Me Too has a nice guitar solo but that’s about it. I Want More Lovin’ is the ultimate sunshine pop tune. The vocals, the upbeat guitar and drums makes you want to get up and start groovin’ along. I Would Be Happy is a cute love tune. If you’re looking for a tune to serenade your loved one, this is the one. Ending this wonderful album is Not Too Long Ago. This sounds like something to be released in the 50s. It’s a great listen and I love that they picked this one to end the album. 

I recommend this album to lovers of sunshine pop, folk and Brit-pop. You can tell they were trying to incorporate the sound of the Brit invasion, and honestly when I first heard these guys, I thought they were British. So if you haven’t heard of these dudes, check out this album. 

*Bolded are my favourites off the album* 

1. Laugh Laugh  2. Still In Love With You Baby 3. Just A Little 4. Just Wait & See  5. Oh Lonesome Me  6. Ain't That Loving You 7. Stick Like Glue  8. They'll Make You Cry  9. That's If You Want Me Too  10. I Want More Lovin’  11. I Would Be Happy 12. Not Too Long Ago

Sal Valentino (second left) - Vocals Ron Elliott (left) - Lead Guitar Ron Meagher (guy jumping) - Guitar Declan Mulligan (guy with the ‘oh shit’ face) - Bass John Petersen (guy way back) - Drums

[nyntpartyplatter]

Getting ready for Saturday's Fistful of Soul presents Soul Clap and Dance-Off in Houston, I put up everybody's favorite 60s Duke single, Buddy Ace's "Screaming Please" (https://www.youtube.com/watch?v=1oxP0iIWMi8) and this side, the swingin' flip that rotates in its shadow, "What Can I Do."

Born in Jasper, TX in 1936, Jimmie Lee Land was raised in a musical family in Baytown, a booming refinery town outside of Houston. He was in a gospel quartet in high school with the one and only Joe Tex. Tex won a number of Houston talent shows, including one that included the trip to New York where The Rapper won Amateur Night at The Apollo four times and was signed to King Records by legendary producer Henry Glover. Similarly Jimmie Lee Land was discovered at a Houston talent show by Duke/Peacock big bossman Don Robey. After the tragic oft-disputed suicide of Duke's biggest hitmaker Johnny Ace backstage at Houston’s City Auditorium Christmas Day 1954, Robey christened his top star’s brother, St. Clair Alexander, “Buddy Ace” to cash in on his famous sibling’s popularity. When the move didn’t pan out, Jimmie Lee Land became Duke Records’ new “Buddy Ace”. While never striking gold, he recorded a few minor hits and a number of standout sides during his Duke Records tenure that spanned a number of distinct musical eras, 1956 to 1969, from early rock’n’roll to funkier times. Buddy Ace, who went grey in the 1970s and became known as “The Silver Fox of the Blues,” continued to record and slay audiences on the road all the way up to his fatal heart attack onstage in Waco, TX December 26, 1994 - 40th years and a day after Johnny Ace’s death.

The "Screaming Please" writing credit Brown/Malone means that Texas Johnny Brown, the legendary Texas guitarist and author of Bobby Blue Bland's iconic "Two Steps From The Blues," was probably the writer. Deadric Malone is the pseudonym Don Robey to get writing credits on a number of Duke sides he wasn’t involved in composing. As this reveals so many of the dynamic brassy hallmarks of the stellar Bobby "Blue" Bland material of the era, until someone shows me different, I will conclude for now that 1) Duke's house arranger/trumpeter Joe Scott is threading the elaborate tapestry and 2) the band is the same killer all-star ensemble from "Two Steps From The Blues" driven by the dynamic beat of earth-shattering future James Brown drummer John "Jabo" Starks.

https://www.tshaonline.org/handbook/online/articles/fla95 http://www.houstonpress.com/music/buddy-ace-moves-on-6572428 http://www.soulfulkindamusic.net/bace.htm

graphics by AVI SPIVAK (http://www.avispivak.com)!

You're listening to the daily addition to the New York Night Train Party Platter playlist. Each track here is recorded directly from my original 45s (no bootlegs, reproductions, etc) to give you an idea of what the real deal authentic vinyl I turn at my parties sounds like. COME BACK EVERY DAY FOR A NEW FIX! Because the records pass so quickly on the dance floor, this channel is an attempt to stop and focus on one record at a time in hopes to personally learn more about each one and at the same time turn you on to the artists, tracks, labels, etc. I'm just hipping myself to a lot of these records for the first time as well - so you can view this as our journey into learning more about cool old records together!  But above all else I hope this music moves you as much as it moves me.

https://www.youtube.com/JonathanToubin https://www.facebook.com/newyorknight... https://twitter.com/jonathantoubin https://instagram.com/jonathantoubin/

Get your enjoys, Jonathan Toubin Soul Proprietor, New York Night Train

[scorpionchris-musique-blog]

Robert Calvin Bland dit Bobby « Blue » Bland, est un chanteur de blues américain, né à Rosemark dans le Tennessee le 27 janvier 1930 et mort à Memphis le 23 juin 2013. Il est un des pionniers du soul blues. Robert Calvin Brooks grandit à Rosemark près de Memphis, sans fréquenter les bancs de l'école. Il passe son enfance à chanter dans des groupes de Gospel à Memphis, puis arpente Beale Street où il côtoie de futures vedettes du Blues, comme BB King ou Johnny Ace. En 1952, à l'âge de 22 ans, il enregistre ses premiers 45 tours chez Sun Records, puis signe un contrat avec Duke Records. Il part ensuite effectuer son service militaire et à son retour, en 1954, il travaille comme machiniste itinérant au sein des tournées de BB KIng et Junior Parker. Il signe un nouveau contrat avec Duke Records et en 1957, sa chanson Farther Up The Road lui ouvre la voie du succès que consacre l'album Two Steps For The Blues sorti en 1961. Après une période faste marquée par la sortie de nombreux albums, Bobby Bland connait une période difficile à la fin des années 1960. Il relance sa carrière en enregistrant ses nouvelles compositions en Californie ("His California Album", 1973) et en accompagnant BB King sur ses nombreuses tournées. Au milieu des années 1980, il signe un contrat avec le label Malaco et continue à tourner sur scène jusqu'à sa mort. Titres connus ◾Further Up The Road : single sorti en 1957. Est probablement avec Turn On Your Love Light, le titre le plus connu de Bobby « Blue » Bland. Il a été repris par quelques-uns des plus grands bluesmen blancs : Roy Buchanan sur Live Stock (1975), Mike Bloomfield sur Live at the Old Waldorf (enregistré en 1977), Eric Clapton sur Just One Night en 1980 ou encore Gary Moore sur Blues Alive en 1993. ◾Little Boy Blue : single sorti en 1958. ◾Cry, Cry, Cry : single sorti en 1960. ◾Lead Me On : single sorti en 1960. ◾I Pity The Fool : single sorti en 1961. Repris en 1967 par le Paul Butterfield Blues Band sur l'album The Resurrection of Pigboy Crabshaw. ◾Two Steps From The Blues : tiré de l'album du même nom sorti en 1961, est un titre composé par John Riley Brown et Deadric Malone. Une reprise de ce morceau se trouve sur l'album Johnny Winter de Johnny Winter dans sa réédition de 2004. ◾Turn On Your Love Light : composé en 1961 par Dreadric Malone et Joseph Scott. Repris par Them sur l'album Them Again (1966), par le Grateful Dead sur Live/Dead (1969), par Tom Jones sur Live in Las Vegas (1969) ou encore par Jerry Lee Lewis en single en 1967. ◾Your Friends : single de 1962. Une version se trouve sur l'album Live at the Old Waldorf de Mike Bloomfield (enregistré en 1977). ◾Ain't No Love In the Heart of the City : de l'album Dreamer en 1974 et composé par Michael Price et Dan Walsh. Repris en 1980 par Whitesnake, en 2001 par Jay-Z, en 2004 par Vaya Con Dios.

[odk-2]

Grateful Dead - Turn on Your Love Light (1969) Joe Scott (Joseph Wade Scott) / Deadric Malone (Don Robey) from: "Live/Dead" LP

15min:08sec

Jam Rock Bobby "Blue" Bland Cover

JukehostUK (left click = play) (320kbps)

Album Personnel: Bob Weir: Guitar / Vocals Jerry Garcia: Guitar / Vocals Ron "Pigpen" McKernan: Vocals / Congas Tom Constanten: Organ Phil Lesh: Bass / Vocals Mickey Hart: Drums / Percussion Bill Kreutzmann: Drums / Percussion

Produced by Grateful Dead / Bob Matthews / Betty Cantor

Recorded: @ The Avalon Ballroom in San Francisco, California USA on January 26, 1969

Warner Bros.-Seven Arts Records Rhino Records

Album Released on November 10, 1969 Rhino Records CD Reissue Released on February 25, 2003

[odk-2]

The Young Rascals - Mickey's Monkey/Love Lights (1966)                                   "Mickey's Monkey":                                    Brian Holland / Lamont Dozier / Eddie Holland                                   "Turn On Your Love Light":                                    Deadric Malone (Don Robey) / Joseph Scott from: "Collections" LP

Personnel: Eddie Brigati: Co-Lead Vocals / Percussion Felix Cavaliere: Co-Lead Vocals / Keyboards Gene Cornish: Guitar / Bass Dino Danelli: Drums

Produced by The Young Rascals

*** ***

The Miracles - Mickey’s Monkey (1963): https://tmblr.co/ZoHQpk21LowYE

Bobby Bland - Turn On Your Love Light (1961): https://tmblr.co/ZoHQpk2C5tx9j

[odk-2]

Pacific Gas & Electric - Cry, Cry, Cry (1969) Deadric Malone from: “Get It On”

Personnel: Charlie Allen: Vocals Glenn Schwartz: Lead Guitar Tom Marshall: Rhythm Guitar Brent Block: Bass Frank Cook: Drums

Pacific Gas & Electric

[bowietracks]

The A side to Bowie’s second single, released with his new band, The Manish Boys - David still going by the name Davie Jones. This is a Bobby ‘Blue’ Bland R&B soul tune from the US, five years old at the time. The version by The Manish Boys lacks Bland’s authenticity, but it still packs a punch, what with an early Jimmy Page ripping it up on guitar and some nice horn stabs swinging the second and fourth verses. Bowie is enjoying himself. However, this was to be the only single from The Manish Boys. Bowie was not feeling it, the band didn’t like his own compositions, and he didn’t like not being billed in the name of the group. Finally, the track failed to be a hit.

Written by Don Robey as Deadric Malone (credited); Joe Medwick (actual). Released 5 March 1965. There is a version with an earlier vocal available on Early On (1964-1966). This version is available on The Manish Boys / Davy Jones And The Lower Third.

[nyntpartyplatter]

Getting ready for Saturday's Fistful of Soul presents Soul Clap and Dance-Off in Houston, I tried to find some more information about my favorite 60s Duke single and all I could find were sellers explaining that Buddy Ace's soul masterpiece is currently experiencing great English appreciation. Hence, I noticed this one is ubiquitous on YouTube. But no side could be more deserving!

Born in Jasper, TX in 1936, Jimmie Lee Land was raised in a musical family in Baytown, a booming refinery town outside of Houston. He was in a gospel quartet in high school with the one and only Joe Tex. Tex won a number of Houston talent shows, including one that included the trip to New York where The Rapper won Amateur Night at The Apollo four times and was signed to King Records by legendary producer Henry Glover. Similarly Jimmie Lee Land was discovered at a Houston talent show by Duke/Peacock big bossman Don Robey. After the tragic oft-disputed suicide of Duke's biggest hitmaker Johnny Ace backstage at Houston’s City Auditorium Christmas Day 1954, Robey christened his top star’s brother, St. Clair Alexander, “Buddy Ace” to cash in on his famous sibling’s popularity. When the move didn’t pan out, Jimmie Lee Land became Duke Records’ new “Buddy Ace”. While never striking gold, he recorded a few minor hits and a number of standout sides during his Duke Records tenure that spanned a number of distinct musical eras, 1956 to 1969, from early rock’n’roll to funkier times. Buddy Ace, who went grey in the 1970s and became known as “The Silver Fox of the Blues,” continued to record and slay audiences on the road all the way up to his fatal heart attack onstage in Waco, TX December 26, 1994 - 40th years and a day after Johnny Ace’s death.

The "Screaming Please" writing credit Brown/Malone means that Texas Johnny Brown, the legendary Texas guitarist and author of Bobby Blue Bland's iconic "Two Steps From The Blues," was probably the writer. Deadric Malone is the pseudonym Don Robey to get writing credits on a number of Duke sides he wasn’t involved in composing. While Buddy Ace's performance is so sublime and beyond words here, and the entire performance is at once fluid, dynamic, and passionate, the incredible arrangement propels “Screaming Please,” beyond the stratosphere and justifies its place at the summit of soul music’s mighty canon. It’s flip, “What Can I Do" (https://youtu.be/cUsjLYiRX10), is another groovy imaginatively-arranged stunner. As this reveals so many of the brassy hallmarks of the stellar Bobby "Blue" Bland material of the era, until someone shows me different, I will conclude for now that 1) Duke's house arranger/trumpeter Joe Scott is threading the elaborate tapestry and 2) the band is the same killer all-star ensemble from "Two Steps From The Blues" driven by the dynamic beat of earth-shattering future James Brown drummer John "Jabo" Starks.

An uncommon instance when a rare in-demand collector record deserves its acclaim. This simply as good as it gets!

graphics by AVI SPIVAK (http://www.avispivak.com)!

You're listening to the daily addition to the New York Night Train Party Platter playlist. Each track here is recorded directly from my original 45s (no bootlegs, reproductions, etc) to give you an idea of what the real deal authentic vinyl I turn at my parties sounds like. COME BACK EVERY DAY FOR A NEW FIX! Because the records pass so quickly on the dance floor, this channel is an attempt to stop and focus on one record at a time in hopes to personally learn more about each one and at the same time turn you on to the artists, tracks, labels, etc. I'm just hipping myself to a lot of these records for the first time as well - so you can view this as our journey into learning more about cool old records together!  But above all else I hope this music moves you as much as it moves me.

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