A weird release, recorded gawd knows when, where or by whom

 

pdfs of issues 1-3, with thanks to the original sharer

"What about my pay?" asked the young singer on being fired after a month with the band. "You owe me for room rent and food; what pay?" retorted the bandleader. The young singer was Ruth Weston, later to become one of the Atlantic label's biggest stars as Ruth Brown, despite the bandleader's judgement that, "She couldn't sing anyway!" The bandleader was Lucky Millinder, who through stories such as the one described above, earned a reputation second only to Jimmie Lunceford for being one of the strictest and tightfisted of the black big band leaders.

This side has a flute solo but don't let that put you off!

pdf, with thanks to the original sharer

The late Chuck Willis, another favourite, was responsible for inspiring Jay to wear a turban on stage and Jay was present at the drinking session the night Willis died. He is of the opinion, that five whiskies was instrumental in causing Chuck's death rather than a totally accidental car crash … When Jay was on Apollo, label-mate Solomon Burke used to be billed as "The fourteen year old Wonder Boy" … Jay once gave the Drifters (his pall-bearers) explicit instructions on how his coffin lid was to be fastened so that he could leap out with his spell routine but the Drifters locked him in on purpose..... A similar tale of a more unfortunate nature occurred when Larry Williams was responsible for interring Jay in his coffin together with a monkey. Excited monkeys are prone to bowel-failure; enough said!

a reaction against such lewd lyrics and a radio ban was imposed

pdfs of issues 65-72, with thanks to the original sharer

The second session was purely to record the song 'Shame, Shame, Shame' which had been selected for the forthcoming film 'Baby Doll', based on a screenplay by Tennesee Williams, starring Carroll Baker, Karl Malden and Eli Wallach. An exhilarating performance, probably the most rocking of all Smiley's records. The original studio version was exciting enough but Elia Kazan, the film's director, wasn't convinced that the first version was suitable for the scene in the film and it was re-cut in October. This longer, riotous version was used in the film but only appeared on the Columbia soundtrack album where the accompaniment was mis-credited to Ray Heindorf and the Warner Brothers Orchestra but, actually, the accompaniment was by Dave Bartholomew's band, as usual. Imperial expected 'Shame' to be a hit and it certainly should have been. I can only assume that the controversy over the film made deejays reluctant to play a record from it. The film was attacked by religious leaders as immoral, and failed to get a showing in parts of the Deep South, where there were threats to burn down any cinema that dared to show it. In Britain It was X -rated.

“I caint do nothing but sing gospel songs and lay your women”

epub or mobi, with thanks to the original sharer

The Gospel Singer and Didymus stepped out of the funeral parlor and the swirling crowd stopped and turned to face them. Many of them waved and a knot of teenaged girls suddenly chanted his name and squealed. There was music everywhere. All kinds of music. Car radios had been left on up and down the street. Many of the children held cotton candy pressed to their mouths and transistor radios pressed to their ears. The oiled, metallic voice of disk jockeys shouted through the streets of Enigma: YOU CRAZY MAD TEEN-ADULTS OUT THERE IN TRANSISTOR LAND GET READY FOR THE SWINGINGEST FLINGINGEST STOMPINGEST ORGY OF SOUND EVER WHEN THE COLOSSEUM IN ATLANTA HAS THE SHOW OF THE YEAR! LISTEN TO THIS ALL-STAR CAST: MONSTER MAN AND THE BLOOD SUCKERS, ISAIAH MESSIAH AND THE MESSAGES, THE VIRTUE TRIO: HOPE, FAITH AND LOVE! AND MANY MANY MORE OF YOUR FAVORITES!

"I used to be a glaring homosexual until god changed me"

pdf scan

Domino worked closely with trumpeter Dave Bartholomew on writing and arranging, although the partnership was not without friction. Bartholomew regarded Fats as 'a pain in the ass to record' because 'right in the middle of a take he'd say, "How do I sound?"' Furthermore Fats could not, or would not keep time and they had to run to many takes. Nonetheless, the hits came and his records were inventive. On 'Little Bee', for example, a sharp little guitar figure from Ernest McLean conspires with solid piano and arresting lyrics to grab the listener's attention: 'She's 42 in the hip, 31 in the bust, She's got big fine legs, and she knows how to strut her stuff!'

"Gimme some of that hard stuff! I want gutbucket, man."

pdf (385 pages/3MB) [new link 5/10/14] with  thanks to the original sharer

Whirling Willie’s band started to play. What a band! First I wanted his trumpet player to join my band; then I wanted to just hire ’em all. They got to swinging, started feeling the Holy Spirit, and man, did they hit a groove. Of course, they wouldn’t go out with me. They just wanted to play the Lord’s music. After they got really going, a door opened in the back, and Whirlin’ Willie came in whirling, just whirling around and around, and he didn’t stop once! The band started groovin’ even harder, and the people just started rising up. . . . When I couldn’t hire any of his musicians, well, I started working on my musicians, getting them to play with that kind of inspiration. And I think I was the first to bring all that music from the Holiness church—the beat, the hand clapping, the shouting—out into the band business.-Lionel Hampton

Test Post

test post not my pdf here