#Roots Rock and Roll

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John Fogerty - Rock and Roll Girls (1985) J. C. Fogerty from: "Centerfield" (LP) "Rock and Roll Girls" / "Centerfield" (Single)

Roots Rock and Roll

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Personnel: John Fogerty: Lead Vocals John Fogerty: Lead Guitar John Fogerty: Rhythm Guitar John Fogerty: Saxophone John Fogerty: Bass John Fogerty: Drums

John Fogerty: Backing Vocals

Arranged by John Fogerty Produced by John Fogerty

Album Recorded: @ The Plant Studios in Sausalito, California, USA July–September 1984

Album Released: on January 14, 1985

Single Released: March, 1985

Warner Bros. Records

[odk-2]

Robert Gordon w/ Link Wray - Sea Cruise (1978) Huey "Piano" Smith from: "Fresh Fish Special" (LP) "Sea Cruise" / "The Way I Walk" (Single)

Rock and Roll | Rockabilly Revival | Roots Rock and Roll

JukeHostUK (left click = play) (320kbps)

Personnel: Robert Gordon: Vocals Link Wray: Lead Guitar The Wild Cats: Billy Cross: Rhythm Guitar Rob Stoner: Bass Howie Wyeth: Drums

Richard Gottehrer: Piano

Produced by Richard Gottehrer / Robert Gordon

Recorded: @ Plaza Sound Studios in New York City, New York USA December, 1977

Album Released: on June 15, 1978

Single Released: on June 17, 1978

Private Stock Records

+++ Huey "Piano" Smith 1934 - 2023 +++

[kdo-three]

Creedence Clearwater Revival - Down on the Corner (1969) John Fogerty from: "Willy and The Poor Boys" (LP) "Fortunate Son" / "Down on the Corner" (Single)

Roots Rock and Roll

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Personnel: John Fogerty: Vocals / Lead Guitar Tom Fogerty: Rhythm Guitar / Backing Vocals Stu Cook: Bass / Backing Vocals Doug Clifford: Drums

Arranged by John Fogerty Produced by John Fogerty

Recorded: @ The Wally Heider Studios in San Francisco, California USA during 1969

Single Released: on October 29, 1969

Album Released: on November 2, 1969

Fantasy Records (US) Liberty Records (International)

Creedence Clearwater Revival: Down On The Corner

[haveyouheardthisband]

[burnandshiverconsulting]

Tweedy!

[haveyoulistenedtothisalbum-poll]

Tracklist:

Hound Dog • Rebel Rouser • (I Don't Know Why) But I Do • Walk Right In • Land Of 1000 Dances • Blowin' In The Wind • Fortunate Son • I Can't Help Myself (Sugar Pie Honey Bunch) • Respect • Rainy Day Women #12 & 35 • Sloop John B • California Dreamin' • For What It's Worth • What The World Needs Now Is Love • Break On Through (To The Other Side) • Mrs. Robinson • Volunteers • Let's Get Together • San Francisco (Be Sure To Wear Some Flowers In Your Hair) • Turn! Turn! Turn! (To Everything There Is A Season) • Medley: Aquarius / Let The Sunshine In • Everybody's Talkin' • Joy To The World • Stoned Love • Raindrops Keep Falling On My Head • Mr. President (Have Pity On The Working Man) • Sweet Home Alabama • It Keeps You Runnin' • I've Got To Use My Imagination • On The Road Again • Against The Wind • Forrest Gump Suite

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[persephone-nymph]

Richard Manuel <3

[dustedmagazine]

Little Richard: I Am Everything (Magnolia)

How does one tell the story of an artist as influential as Little Richard? The same way you tell the story of the Universe, by keeping it simple: A long time ago there was the Big Bang. 

Little Richard: I Am Everything, a new documentary directed by Lisa Cortes, presents Little Richard’s existence as an analogous cosmic event. Rock ‘n’ roll as we know it exists because on December 5, 1932, Richard Penniman was born in Macon, Georgia.

Cortes isn’t the first to frame Little Richard in terms of cosmic energy. As Nick Tosches once put it, “[v]ia his pure white-energy raunch and total over-simplification, [Little Richard had] the power to make people say 'fuck it' and turn their backs on their own control conditioning and just go out and debauch and catch a glimpse of the violent, drunken, loving, dancing Universe.” I Am Everything is similarly reverential, but the power of the film stems from its focus on Little Richard’s strange, conflicted human experience. 

Growing up, Little Richard, as he would later be nicknamed, was scolded in church for singing too loud — an impressive feat for a Pentecostal. He exuded a preacher’s charisma and even as a young boy parishioners asked him to pray for them. When he started playing piano, he banged on the keys the way that Sister Rosetta Tharpe, an early influence, banged on her guitar. The idea, Little Richard said, was to drum away at your instrument until you reached “the peak.” 

The nature of that “peak,” would remain a lifelong tension. That erratic blurring of sexual and spiritual extasy, one of rock music’s central paradoxes, is what made his music both threatening and irresistible. 

Fans of Little Richard specifically and rock history in general are likely familiar with the raw information that I Am Everything offers. But in addition to the more expected talking heads —  Mick Jagger, John Waters, Billy Porter — some fresher contextualization comes from Black, queer academics and music historians. “The south is the home of all things queer” says writer and sociologist Zandria Robinson, and she means “queer” in every sense of the word. Homosexuality was illegal, as was drag (the maddeningly circular nature of culture emerges as one of I Am Everything’s subtler themes) but the edges of that reality were “soft.” Little Richard performed with minstrel shows and on the vaudeville circuit, sometimes appearing as Princess LaVonne. 

Like many raised in the church, Little Richard always suspected that rock ‘n’ roll was the Devil’s music. That persistent belief, Jagger notes, “can’t be much fun for those involved,” an observation that further emphasizes how heavy Little Richard’s baggage was in comparison to some of his imitators. 

In 1957, the story goes, Little Richard saw Sputnik in the night sky and interpreted it as a sign from God to repent. He enrolled in Bible school, hosted a buy-back/burning of his records, started making Gospel music, and married a woman. Over the course of his life, he would waffle between publicly denouncing homosexuality and embracing it. As one commentator puts it, “He was good at liberating other people by example, he was not good at liberating himself.” 

Little Richard didn’t come from nowhere: Artists like Billy Wright and Esquerita heavily informed his flamboyance. But it seems most everyone else came from him. Jimi Hendrix, of course, got his start in Little Richard’s band. The Beatles opened shows for him when, as he said, “only their mothers knew their names.” Paul McCartney developed his wild yelp by imitating Little Richard, and Jagger copped his stage moves. 

When Little Richard is given his due, he’s credited with inventing not only rock ‘n’ roll but helping to invent the teenager. Greil Marcus called it “Little Richard’s First Law of Youth Culture:  attracting kids by driving their parents up a wall.” As Waters puts it, “the first songs that you love that your parents hate are the beginning of the soundtrack to your life.” In a recent New Yorker profile Paul Schrader, another artist pulled between the spiritual and carnal, recalls his mother smashing the radio after catching him listening to rip-off artist Pat Boone. One imagines that if it had been Little Richard, she might have burned the house down. 

Eternally offered a kind of ambient credit by musicians and critics, the lion’s share of the specific attention (and money) is paid to the (often white) artists Little Richard inspired, or who arguable just straight up stole his shit. (In terms of respectful homage, there’s a chasm between McCartney’s “Long Tall Sally” and Boone’s “Tutti Frutti.”) It’s as if the man is at once too bright to look at directly, and too Black and queer and alien to fully acknowledge. 

He often made his rightful frustration known. In one clip, Little Richard and David Johansen, fully in his Buster Poindexter era, present the 1988 Grammy for Best New Artist. Little Richard, usually unpredictable on live TV, says of Johansen’s pompadour, “I used to wear my hair like that. They take everything I get. They take it from me.” He opens the envelope and declares himself the winner. It’s a joke but it isn’t. “I have never received nothing,” he continues. “Y’all ain’t never gave me no Grammy and I been singing for years. I am the architect of rock ‘n’ roll and they never gave me nothing. And I am the originator!” He gets a standing ovation, which is something, but it isn’t enough. 

Almost every review of the film mentions this moving, uncomfortable scene, because it teases out one of Little Richard’s most powerful realities. He didn’t always seem to know what he was supposed to be doing, or even who he should be, but he always knew what he was worth. 

Margaret Welsh

[rainingmusic]

Little Feat - Day Or Night 

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Chris Isaak - Wicked Game (1989) Chris Isaak from: "Heart Shaped World" (LP) “Wicked Game“ / "Wicked Game" (Instrumental) (US Single) “Wicked Game“ / "Don't Make Me Dream About You" (EU Single)

Ballad | Roots Rock and Roll

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Personnel: Chris Isaak: Vocals / Acoustic Guitar James Calvin Wilsey: Guitar Rowland Salley: Bass / Backing Vocals Kenney Dale Johnson: Drums

Backing Vocals: Christine Wall Cynthia Lloyd

Produced by Erik Jacobsen

Album Recorded: @ The Fantasy Studios in Berkeley, California USA and @ The Dave Wellhausen Recording Studios in San Francisco, California USA 1988

Album Released: on June 13, 1989

Single Released: on July 14, 1989

Reprise Records

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Chris Isaak - Dancin' (1985) Chris Isaak from: "Silvertone" (LP|CD) "Dancin' (LP Version)"  / "Gone Ridin' (LP Version)" (12" Promo Single) "Best of Chris Isaak" (Compilation CD)

Roots Rock and Roll | Neo-Rockabilly | Ballad

WordPress (left click = play) (VBR)

Album Personnel: Chris Isaak: Vocals / Guitar James Calvin Wilsey: Guitar / Lap Steel Guitar Pat Craig: Keyboards Pee Wee Ellis: Saxophone Chris Solberg: Bass Prairie Prince: Drums

Produced by Erik Jacobsen

Recorded: @ Coast Recorders Studio (?) in San Francisco, California USA 1984

Album Released: on January 10, 1985 Warner Bros. Records

12" Promo Single Released: 1985 Warner Bros. Records

Compilation CD Released: on May 9, 2006 Reprise Records

[jeffcbliss]

Chris Robinson (left) and Rich Robinson of The Black Crowes - BeachLife Festival; Redondo Beach, CA (5-7-23). @theblackcrowes @BeachLifeFest Photo: Jeff Bliss - for Cali Mag

[haveyouheardthisband]

[dankalbumart]

High on the Hog by The Band Rhino 1996 Country-Rock / Rock & Roll / Roots Rock / Rhythm & Blues / Folk-Rock / Blues-Rock

[haveyoulistenedtothisalbum-poll]

Tracklist:

Refugee • Here Comes My Girl • Even The Losers • Shadow Of A Doubt (A Complex Kid) • Century City • Don’t Do Me Like That • You Tell Me • What Are You Doin' In My Life? • Louisiana Rain

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[persephone-nymph]

The Band at Richard Manuel & Garth Hudson’s house above the Ashokan resevoir in Woodstock, NY, 1969, by Elliot Landy