07/25/2014 Blues Friday

 

Blues Friday Voice of Memphis Music & Cotton Row Music & Records Bringing you Robert Johnson playing “Kind Hearted Woman Blues” This Song contains the only guitar solo Robert Johnson ever recorded. A very good example for his amazing talent. He plays rhythm and lead guitar on one instrument and at the same time. Here we have both takes which remain to that day.

Voice of Memphis Music, Cotton Row Music & Records enjoy Robert’s guitar work..

Rock & Roll hall of Fame, Voice of Memphis Music, Cotton Row Music & Records, Blsfilm LLC, br toad & Barry Shankman

 

 

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COTTON ROW WITH UNDERNEATHLINE

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07/20/2014 Soulful Sunday

 Soulful Sunday Bringing you Sam & Dave Voice of Memphis Music & Cotton Row Music & Records

Sam Moore and Dave Prater , are indeed Soulful Sunday ..So please please please, “Hold On I’m Comin“, Stax had so many great artist here is just a touch of SAM & DAVE.. not only did they help drive the Memphis sound and Stax they brought that Southern Soul all over America till the popularity made them international stars )O( Enjoy this several song upload of STAX sounds and listen understand what was going on in the political arena and how Soul music helped advance the movement.. Voice of Memphis Music…Cotton Row Music & Records.. Skip advertisement in beginning of each cut SORRY )O( both experienced gospel music singers, having performed individually with groups the Sensational Hummingbirds and The Melionaires. They met in The King of Hearts Club in Miami in 1961, where they were discovered by regional producer Henry Stone, who signed them to Roulette Records. After modest success at Roulette,they were signed by Jerry Wexler to Atlantic Records in 1964, then being ‘loaned‘ out to Stax Records to produce, record and release their records.

The duo’s November 1965 single, “You Don’t Know Like I Know,” started a series of ten straight top twenty Billboard R&B hits that included “Hold On! I’m Comin’” (1966), “You Got Me Hummin’“(1966), “When Something Is Wrong with My Baby” (1967), “Soul Man” (1967), and “I Thank You” (1968). Most of their hits were penned by Isaac Hayes and Dave Porter. In most recordings, they were also backed by Hayes on piano with Booker T and the MGs and The Memphis Horns. The ending of their association with the Stax record label and their frequently volatile relationship contributed to their first break-up in 1970.

Sam & Dave performed throughout most of the 1970s through 1981, and enjoyed a brief resurgence in popularity due to The Blues Brothers’s 1979 recording of “Soul Man“. Their last performance together was on December 31, 1981, at the Old Waldorf in San Francisco. On 9 April 1988, Prater died in a car crash in Sycamore, Georgia. 
Researched through Goggle, Wikipedia, Trax, Voice of Memphis Music , Cotton Row Music & Records..*)o(* br toad

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COTTON ROW WITH UNDERNEATHLINE

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07/18/2014 Blues Friday

 

 Bringing you the Real Thing a Southern Chain Gang singing while they slave away on laying

train track Lightning – Long John.. Voice of Memphis Music ,, Cotton Row Music & Records

 

This is a song that you should actually spend a minute listening to the rhythm pattern and the syncopation.. to understand how it helped in re-leaving the day to day grind yet and the same time make the work pass by faster and the gang work in unison.. This is indeed Southern Music at it’s finest
Rock & Roll hall of Fame, Voice of Memphis Music, Cotton Row Music & Records, Blsfilm LLC, br toad & Barry Shankman

CHAIN GANG SHACKELS

CHAIN GANG on hill

COTTON ROW WITH UNDERNEATHLINE

 

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07/13/2014 ​Soulful Sunday



​ Soulful Sunday once again and we are going to a pair of great vocalist and a song that crossed all social racial lines it even ran 4:08.. the boy‘s singing ? The Righteous Brothers.. and the song “You’ve Lost That Lovin’ Feelin‘”… Voice of Memphis Music & Cotton Row Music & Records

 

The Righteous Brothers were the musical duo of Bill Medley and Bobby Hatfield. They recorded from 1963 through 1975 and continued to perform until Hatfield’s death in 2003. Their emotive vocal stylings were sometimes dubbed “blue-eyed soul“.

Medley and Hatfield both possessed exceptional vocal talent, with range, control and tone that helped them create a strong and distinctive duet sound and also to perform as soloists. Medley sang the low parts with his deep, soulful baritone, with Hatfield taking the higher register vocals with his soaring tenor.

They adopted their name in 1962 while performing together in the Los Angeles area as part of a five-member group calledThe Paramours, which featured John Wimber (a founder of the Vineyard Movement) on keyboards. At the end of one particular performance, a U.S. Marine in the audience shouted, “That was righteous, brothers!“, prompting the pair to adopt the name when they embarked on a career as a duo.

Their first major hit single was “You’ve Lost That Lovin’ Feelin’“, their first release on the Philles label in 1965.Produced by Phil Spector, the record is often cited as one of the peak expressions of Spector’s Wall of Sound productiontechniques. It was one of the most successful pop singles of its time, despite exceeding the then standard length for radio play. Indeed, according to BMI, “You’ve Lost That Lovin’ Feelin’” remains the most played song in radio history, estimated to have been broadcast more than eight million times. Spector used Cher (of Sonny & Cher fame) as a backing singer on this recordings

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Music & Records, br toad, blsfilm LLC, )O( Barry Shankman

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Phil the master of control at a beautiful Western Electric Tube Console as always “IN CHARGE”

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07/11/2014 Blues Friday

 Sonny Boy Williamson “Bring it on Home

Voice of Memphis Music & Cotton Row Music & Records.

 

Williamson was born near JacksonTennessee in 1914. His original recordings were considered to be in the country blues style, but he soon demonstrated skill at making harmonica a lead instrument for the blues, and popularized it for the first time in a more urban blues setting. He has been called “The father of modern blues harp”. While in his teens he joined Yank Rachell and Sleepy John Estes playing with them in Tennessee and Arkansas, and in 1934 settled in Chicago.

 

Sonny first recorded for Bluebird Records in 1937 and his first recording, “Good Morning, School Girl“, became a standard. He was hugely popular among black audiences throughout the southern United States as well as in the midwestern industrial cities such as Detroit and his home base in Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include “Sugar Mama Blues“, “Shake the Boogie“, “You Better Cut That Out“, “Sloppy Drunk“, “Early in the Morning” and “Stop Breaking Down” and “Hoodoo Hoodoo” aka “Hoodoo Man Blues“. In 1947 “Shake the Boogie” made #4 on BillboardRace Records chart. Williamson’s style influenced a large number of blues harmonica performers, including Billy Boy ArnoldJunior WellsSonny TerryLittle Walter, and Snooky Pryor among many others. He was the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica playing contemporaries and successors, including Muddy Waters (who had played guitar with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson’s style); Rogers later recorded Williamson’s songs “My Little Machine” and “Sloppy Drunk” on Chess Records, and Waters recorded “Good Morning Little Schoolgirl” in September 1963 for his Chess Folk Singer LP and again in the 1970s when he moved to Johnny Winter‘s Blue Sky label on CBS.

He was popular enough that by the 1940s, another blues harp player, Aleck/Alex “Rice” Miller, from Mississippi, began also using the name Sonny Boy Williamson. John Lee is said to have objected to this, though no legal action took place, possibly due to the fact that Miller did not release any records during Williamson’s lifetime, and that Williamson played mainly around theChicago area, while Miller seldom ventured beyond the Mississippi Delta region until after Williamson’s death. In 1942, John Lee allegedly confronted Miller, but according to Miller’s friend and guitarist Robert Lockwood, “Big Sonny Boy [Miller] chased Little Sonny Boy [Williamson] away from there. He couldn’t play with Rice. Rice Miller could play Sonny Boy’s stuff better than he could play it!

Williamson recorded prolifically both as a bandleader and a sideman over the entire course of his career, mainly for the Bluebird record label. Before Bluebird moved to Chicago, where it eventually became part of RCA Records, many early sessions took place at the Leland Tower, a hotel in Aurora, Illinois. The top-floor nightclub at the Leland, known as “The Sky Club“, was used for live big band broadcasts on a local radio station, was utilized during off-hours as a recording studio for Williamson’s early sessions, as well as those of other Bluebird artists.

Williamson’s final recording session took place in Chicago in December 1947, backing Big Joe Williams. On June 1, 1948, John Lee Williamson was killed in a robbery on Chicago’s South Side, as he walked home from a performance at The Plantation Club at 31st St. and Giles Ave., a tavern just a block and a half away from his home at 3226 S. Giles. Williamson’s final words are reported to have been “Lord have mercy“.

His legacy has been somewhat overshadowed in the post-war blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson’s death went on to record many popular blues songs for Chicago’s Checker Records label and others, and toured Europe several times during the ‘blues revival’ in the early 1960s.

Williamson is buried at the former site of The Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on TN Highway 18, at the corner of Caldwell Road.
Rock & Roll hall of Fame, Voice of Memphis Music, Cotton Row Music & Records, Blsfilm LLC, br toad & Barry Shankman

 

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07/06/2014 Soulful Sunday

Soulful Sunday another chance to hear the origins of sound and music that came before many of you..

Otis took us to new heights and made our music just touch our soul… What a thrill “ Otis Redding – “Sitting on the Dock of the Bay“ it was to hear him see him and work with OTIS..Otis Ray Redding, Jr. (September 9, 1941 – December 10, 1967) was an American singer-songwriterrecord producer, arranger and talent scout. He is considered one of the greatest singers in popular music and a major artist in soul and rhythm and blues. His singing style was powerfully influential among soul artists of 1960s and helped exemplify the Stax sound.

Born and raised in Georgia, United States, Redding left school at 15 to support his family, working with Little Richard‘s backing band, the Upsetters, and performing at talent shows for prize money. In 1958, he joined Johnny Jenkins‘ band, the Pinetoppers, and toured the Southern United States as driver and musician. An unscheduled appearance on a Stax recording session led to a contract and his first single, “These Arms of Mine“, in 1962. Stax released Redding’s debut album, Pain in My Heart, two years later.

Initially popular mainly with African Americans, Redding later reached the broader American popular music audience. He and his group first played small gigs in the South, then debuted in the western United States at LA’s popular Whisky a Go Go. They later performed in Paris, London and other European cities.

After appearing at the 1967 Monterey Pop Festival Redding wrote and recorded the iconic “(Sittin’ On) The Dock of the Bay” with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts after his death in a plane crash. The Dock of the Bay became the first posthumous album to reach number one on the UK Albums Chart.

Redding’s premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that Atlantic Records owned the rights to his entire catalogue.

Redding received many posthumous accolades, including the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. He received the honorific nickname King of Soul. In addition to “(Sittin’ On) The Dock of the Bay,” “Respect” and “Try a Little Tenderness” are among his best-known songs.
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06/29/2014 Soulful Sunday

This Soulful Sunday has been a day of reflection on all those great artist and friends we have lost. I dedicate this Soulful Sunday to one of the best Guitarist and songwriters I have ever produced and worked with MR Maboon Teenie Hodges. Voice of Memphis Music,, Cotton Row Music & Records

One tune that Will constantly live on is one Teenie co wrote with Al Green Love and Happiness

Teenie Hodges RIP 06/22/2014
My friend and great guitarist Mr. “Teenie Hodges
Mabon Lewis “Teenie” Hodges (June 3, 1946 – June 22, 2014) was a Memphis, Tennessee musician, best known for his work as rhythm and lead guitarist and songwriter on many of Al Green’s popular soul hits, and those of other artists such as Ann Peebles and Syl Johnson, on Hi Records in the 1970s. Born in Germantown, Tennessee, Hodges began playing guitar at age 12 in his father’s band, the Germantown Blue Dots, before joining his brothers Leroy and Charles in their group, the Impalas. He was encouraged by local band leader and record producer Willie Mitchell. Mitchell used Hodges as a central component of the Hi Rhythm Section, which also included Leroy, Charles, drummer Al Jackson, and pianist Archie Turner, Mitchell’s stepson.When Jackson left in 1966, Hodges recruited Howard Grimes to replace him.Two of his compositions “Take Me to the River” and “Love and Happiness,” both co-written with Green, have been covered by numerous other international artists, including Al Jarreau, Amazing Rhythm Aces, Talking Heads, O.V. Wright, David Sanborn, Toots & the Maytals, Canned Heat, Foghat, Levon Helm, Syl Johnson, Annie Lennox, Delbert McClinton, Mitch Ryder, Tom Jones, Graham Central Station, Living Colour, blues artist Willie Cobbs, Denise LaSalle, and others. He also co-wrote several other popular hits with songwriters like Isaac Hayes, Willie Mitchell, and Al Green, including “I Take What I Want,” “Oh Me, Oh My,” “Here I Am (Come and Take Me)” and “Full of Fire“.

Hodges continued to record and tour as guitarist in the Hi Rhythm Section, often with major soul acts like Syl Johnson and O.V. Wright. The Hodges brothers, with Grimes, recorded the 1976 LP On the Loose, as Hi Rhythm, and in 1994 issued Perfect Gentlemen. They also recorded comeback albums with both Syl Johnson and Al Green. In 2005 Teenie Hodges recorded with Cat Power on her successful album The Greatest.[3] He has also recorded with Alvin “Youngblood” Hart.He had eight children: Valencia Hodges, Reginald Hodges, Shonte Stokes, Sheila Hodges, Cherie Hodges, Tabitha Gary, Inga Black, and Mabon L. Hodges II. His nephew is rapper/actor Aubrey “Drake” Graham. Teenie was the uncle of jazz musician Anthony Lofton.In March 2014, Hodges was taken to a Dallas hospital for pneumonia, following an appearance at Austin’s South by Southwest music festival. He died there on June 22, 2014, from complications of emphysema. He was 68

A dear dear Friend and great Guitarist.. whom I spent many a day in the studio just he and I recording laughing talking and enjoying MEMPHIS.. “RIP Mabon Teenie Hodges” Mabon “Teenie” Hodges: A Portrait of a Memphis Soul Original. Below is just one of the many singles I produced on Teenie and played with him.  In Later life he spent more time enjoying his fame but his life caught up to him in TEXAS recently an d he made it Back to MEMPHIS and friends & Family but has now gone on to play other venues.. I am crying while I type this I think for myself more than those who I have lost over these last few years.. Life was so great starving in LA and living at the TROP.. Having the privilege and honor to work with greats like Teenie and other just fine fine tasteful players.. Teenie, you definitely were one of a kind and I will miss you and continue to love you.. every time I hear your intro on “Love and Happiness” or “Take me to the river” I will remember you and how lucky I was to be able to call you a friend and to have had that opportunity to work with you.. TRAVEL WELL>> feel no pain and Play so when it is late and quiet on the mountain the guitar that I am hearing is yours- with grace and style you gave us a signature sound that no one but you had.*)O(* I WILL MISS YOU and promise never to forget you or the great times and memories I had being with you and working together.. LOVE & HAPPINESS.. MY friend and brother in arms.

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Music & Records, br toad, blsfilm LLC, )O( Barry Shankman

 

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06/27/2014 Blues Friday

 Bring once again some eclectic Blues by Blind Willie Johnson “ Dark was the Night Cold was the Ground” Voice of Memphis Music,, Cotton Row Music & Records.
Dark Was the Night, Cold Was the Ground” is a gospel-blues song written and performed by American musician Blind Willie Johnson and recorded in 1927. The song is primarily an instrumental featuring Johnson’s self-taughtbottleneck slide guitar and picking style accompanied by his vocalizations of humming and moaning. It has the distinction of being one of 27 samples of music included on the Voyager Golden Record, launched into space in 1977 to represent the diversity of life on Earth. “Dark Was the Night, Cold Was the Ground” was chosen as the human expression of loneliness. The song has been highly praised and covered by numerous musicians and is featured on the soundtracks of several films.

Born in 1897, Johnson taught himself how to play guitar and dedicated his life to blues and gospel music, playing for people on street corners. Columbia Records had a field unit that traveled to smaller towns to record local talent. Johnson recorded about 30 songs in five sessions between 1927 and 1930.

Rock & Roll hall of Fame, Voice of Memphis Music, Cotton Row Music & Records, Blsfilm LLC, br toad & Barry Shankman

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Blind-Willie-Johnsons-grave

BLIND WILLIE DEVIL GOT MY WOMAN

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6/22/2014 Soulful Sunday

 Another chance to hear the origins of sound and music that came before many of you..
The Year 1964 The Four Tops and the Tune “Baby I Need Your Loving“ Voice of Memphis Music..
Cotton Row Music & Records..”Baby I Need Your Loving” is a 1964 hit single recorded by the Four Tops for the Motown label. Written and produced by Motown’s main production team Holland–Dozier–Holland, the song was the group’s first Motown single and their first pop Top 20 hit, making it to number eleven on theBillboard Hot 100 in the fall of 1964. It was also their first million-selling hit single.
The Four Tops were one of soul music’s most popular and long-lived vocal groups. This quartet from Detroit endured for more than 40 years without a single change in personnel. Moreover, they charted hits at every stage in their lengthy career. Although they’re best remembered for the records they made at Motown in the Sixties, the Four Tops also had substantial success at such labels as ABC, Casablanca and Arista in subsequent decades. They even returned twice to Motown later in their career. All the while they remained a solid draw on the touring circuit, performing 100 shows per year.

The Four Tops consisted of lead singer Levi Stubbs, first tenor Abdul “Duke” Fakir, second tenor Lawrence Payton, and baritone Renaldo “Obie” Benson. Working closely with the in-house songwriting and production team of Brian Holland, Lamont Dozier and Eddie Holland, the Four Tops cut some of Motown’s most memorable singles during the label’s mid-Sixties zenith. The list of classics recorded by the Four Tops during this fruitful period includes “Baby I Need Your Loving,” “I Can’t Help Myself,” “It’s the Same Old Song,” “Reach Out I’ll Be There,” “Standing in the Shadows of Love” and “Bernadette.” Between 1964 and 1988, the Four Tops made Billboard’s Hot 100 chart 45 times and its R&B chart 52 times. Twenty-four of their singles made the Top 40, and seven of those entered the Top 10.

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Music & Records, br toad, blsfilm LLC, )O( Barry Shankman

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06/20/2014 Blues Friday

 Once again it’s time to shine )O( Ry Cooder Get Rhythm” Voice of Memphis Music..
Cotton Row Music & Records.. one of the best new generation of Slide Guitarist and American Music historians..

Ryland Peter “Ry” Cooder (born March 15, 1947)is an American musician. He is known for his slide guitar work, his interest in roots music from the United States, and, more recently, his collaborations with traditional musicians from many countries.

His solo work has been eclectic, encompassing folkbluesTex-Mexsoulgospel, rock, and much else. He has collaborated with many musicians, notably including Ali Farka TouréEric ClaptonThe Rolling StonesVan MorrisonNeil YoungRandy NewmanDavid LindleyThe Chieftains, and The Doobie Brothers. He briefly formed a band named Little Village.

Ry Cooder produced the Buena Vista Social Club album (1997), which became a worldwide hit. Wim Wenders directed the documentary film of the same name (1999), which was nominated for an Academy Award in 2000.

He was ranked eighth on Rolling Stone magazine’s 2003 list of “The 100 Greatest Guitarists of All Time“.A 2010 ranking by Gibson placed him at number 32.

 

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