frantically screaming, hips and hair swinging, pure emotional raving

pdfs of 100+ issues,

(!TIScWJpTdBxX7RO7fY7HhFy9kPece3pJu_KGyPLwBRA)

with many thanks to the original sharer

This record came out in '51, called K. C. Loving, and it was dirty, and it was banned from the air, so then, after things got going pretty good, I picked up on the song and I just happened to sing it to the audience one night, and they dug it, you know?; well it's just about like it is today, all these dirty records that's out now, but at that time they wouldn't let you play that kind of thing. So after I left Florida and came to New York City, and did this thing, I cleaned it up and I named it Kansas City, & then I changed some of the words round and put my beat to it. I don't know if you ever heard it by Little Willie Littlefield, but it was nothing like the one that I did, and if I had been with the right people at the time I could have got part credit for writing it. Leiber & Stoller bought it from a wino - even Little Willie didn't write it. This guy wanted to get to some wine, and he sold it for $50.00

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.

We always called him Bad Boy. He used to drive a milk truck.

pdfs of issues 31-40, with thanks to the original sharer

I'll tell you who really started out with me: Tina Turner. She was waiting tables, wore on her little short dress; she wanted to sing. I say, 'You can sing if you want'. She would jump up there and she'd sing and she'd always throw her leg over. Well, see that run a lot of customers away - if a man got a wife and Tina comes by and you watching her, and your wife say, 'I see you watching that woman with that short dress on', she's looking so hard and, if the woman don't say nothing, she watch her and then she watch her man and a man can't be still when she starts wiggling. His wife might say something, like, 'Get me another beer' and he don't hear, he's so busy watching. 'You can't hear me for watching that woman', you know, ‘I won't come here again.' I said, 'Tina, you drive my customers away.'

'How can anyone live happily in Enfield?' I demanded.

epub or azw3

'They want to be reassured that their culture is the best that has ever existed in the entire history of the world. And what that means is coming up with one-hundred and one reasons as to why Coldplay are musically superior to James Brown. It doesn't matter what I do or don't like, it's a matter of telling the kids what they want to hear and thereby ensuring that they come back for more. The opinions we profess are market led, but these might not in fact be our real opinions …' 
'What else are you proposing to teach?'
'The usual, European modernist film, the novels of Colin Macinnes, folk rock from Bert Jansch to the present, the life and times of Benny Hill, the work ...'

If the Stones based their early sound on Chuck Berry, then the Pretty Things copped their musical style from Bo Diddley, while simultaneously succeeding in making the man who inspired them sound unbelievably sophisticated.

'Well, what did you think of it?'

'It sounds like a weak version of a lot of the music I like. It was okay, but it didn't rock like Nirvana.'

'Without the Pretty Things there wouldn't have been a Nirvana or Oasis.'

'What about Coldplay?'

'I don't think you can blame that particular aberration on Dick Taylor and Phil May.'

the dirtiest sound you could ever imagine

epub or mobi, with thanks to the original sharer

“Sputnik” Rock Monroe was a professional wrestler of considerable renown who had gone through a number of names (“Pretty Boy Rock” “Elvis ‘Rock’ Monroe”) and territories before finally arriving in Memphis as “Sputnik.” He was prone to describing himself in a voice several decibels above the normal range as “220 pounds of twisted steel and sex appeal with the body that women love and men fear.” In looking for a way to distinguish himself that was consonant with both character and commerciality, Sputnik hit upon race. He was a hero to the black man, a villain to the white—he liked to boast that he practically desegregated Memphis’ Ellis Auditorium single-handed, calling up to his colored fans in the “crow’s nest,” with a seating capacity of less than one hundred, “Let my people go.” Every time he threw an opponent down, he would raise up his hands to his fans, and they would just call back, “Sweet man!” When the promoters objected, he said, “Hey, if their money’s no good, just give it to me, and I’ll give it back to them,” and gradually “colored” seating capacity was expanded until the auditorium was de facto integrated. He and Dewey walked a goose down Beale Street on a leash—“Dewey came up with the goose, I came up with the Chihuahua collar and the leash. The people would holler and hug me and jump up and down. I knocked a white guy out on the corner of Third and Beale one time for calling me a nigger-lover, and a little black guy says, ‘Sputnik Monroe, you a mean motherfucker when you drinking, and I believe you drinking a little bit all the damn time.’”

Stuff like Bo Diddley. That’s it. That’s all he did.

pdf, with thanks to the original sharer

You had a tune called “Double Faced Deacon.” Would you explain what that was about and the complications that went with it?
Well, back then you couldn’t talk about preachers and deacons and tell what they did. But I had seen something happen in the church that I was going to. My father at one time was assistant pastor. It was the biggest church in the area, in the Methodist Church, called Big Bethel. And I’d seen people in there arguing and fighting and stuff, going with this sister and that sister, and the pastor accused of going with this woman and that woman. And I just wrote the song, “Double Faced.” “Let me tell you about a deacon. Top hat and long-tailed coat. . . . Preach his best while winking at womenfolk. And he preached against gambling, said it was a sin and a shame. . . . Then met me in the alley, shot seven for my watch and chain.” And it just come to me like that when I’d sit down and decided to write something. They banned it. It started to hit and they banned it. They wouldn’t let them play it. They’ll play it now, but it’s old-time stuff now. That’s vintage stuff now.