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Harry Crafton -> Elder Curry



HARRY CRAFTON Collectables 5318 Harry Crafton 1949-54 ● CD $11.98
CD issue of Krazy Kat 818. A collection of material from Ivin Ballen's Gotham archives this one features jump sides and easy blues tunes in the "Cleanhead" Vinson vein. Singer/ guitarist "Fat Man" Crafton is no slouch on the axe and pitches a fine set of vocal pipes to match. Many of these sides are ably supported by Joe Sewell, tenor sax, and organist Doc Bagby with whom Crafton cut many important early Blues & Rhythm sides. (OLN)
HARRY CRAFTON: Big Fat Hot Dog/ Bring That Cadillac Back/ Get Off, Mama/ Guitar Boogie/ I Don't Want Your Money Honey/ In The Middle Of The Night/ It's Been A Long Time Baby/ It's Been A Long Time Baby/ Let Me Tell You Baby/ Roly-poly Mama/ Rusty Dusty/ Saturday Night Boogie/ She Got A Mule Kick/ So Long Baby

ROBERT CRAY Hightone HCD 8001 Bad Influence ● CD $11.98
Robert's first superb Hightone LP with the addition of I Got Loaded (originally on a Demon 12") and Share What You've Got, Keep What You Need which has never been released before. Great songs, great singing and playing by Robert and his band and beautiful clear CD sound
ROBERT CRAY: Bad Influence/ Don't Touch me/ Got To Make A Comeback/ I Got Loaded/ March On/ No Big Deal/ Phone Booth/ Share What You Got, Keep What You Need/ So Many Women, So Little Time/ The Grinder/ Waiting For The Tide To Turn/ Where Do I Got From Here?

ROBERT CRAY Hightone HCD 8005 False Accusations ● CD $11.98
ROBERT CRAY: Change Of Heart, Change Of Mind (S.O.F.T.)/ False Accusations/ I've Slipped Her Mind/ Payin' For It Now/ Playin' In The Dirt/ Porch Light/ She's Gone/ Sonny/ The Last Time (I Get Burned Like This)

ROBERT CRAY Mercury 512 721-2 I Was Warned ● CD $11.98
ROBERT CRAY: A Picture Of A Broken Heart/ A Whole Lotta Pride/ He Don't Live Here Anymore/ I Was Warned/ I'm A Good Man/ Just A Loser/ On The Road Down/ Our Last Time/ The Price I Pay/ Won The Battle

ROBERT CRAY Mercury 3145 18237-2 Shame & A Sin ● CD $11.98
10 tracks, 48 min., recommended
Cray's own Don't Break This Ring is probably the best new blues song of the last 12 months or so. And while nothing else here comes up to its emotional level, RCB fans are not likely to be disappointed. In time for April is 1040 Blues, in which Robert displays a less than enthusiastic disposition towards the concept of taxation. You're Gonna Need Me features cool string work from the late, great Albert Collins, and everything else (especially Passing By/ Leave Well Enough Alone) is full of Cray's superb guitar and affective vocals. (JC)
ROBERT CRAY: 1040 Blues/ Don't Break This Ring/ I Shiver/ I'm Just Lucky That Way/ Leave Well Enough Alone/ Passing By/ Some Pain, Some Shame/ Stay Go/ Up And Down/ You're Gonna Need Me

ROBERT CRAY Mercury 830 568-2 Strong Persuader ● CD $11.98

ROBERT CRAY Mercury 846 652-2 Midnight Stroll ● CD $11.98
ROBERT CRAY: Bouncin' Back/ Consequences/ Holdin' Court/ Labor Of Love/ Midnight Stroll/ Move A Mountain/ My Problem/ The Forecast (Calls For Pain)/ The Things You Do To Me/ These Things/ Walk Around Time

ROBERT CRAY Rykodisc 10479 Take Your Shoes Off ● CD $15.98

PEE WEE CRAYTON Ace CDCHD 632 The Modern Legacy ● CD $18.98
23 tracks, 64 min., highly recommended
Sometime blues can sound deceptively simple, especially when they are short & sweet and to the point. Take for example the music of singer/guitarist Connie Curtis (Pee Wee) Crayton (1914-1985). Relocating to California (in 1935), his 1948-1951 Modern Recordings are some of the best instrumental guitar blues recorded - guitar blues played on a Vega guitar, full of simple structures and emotions. His first R&B hit record, Blues After Hours ('48, with pianist David Lee Johnson), charted for over 13 weeks, and was the very first guitar instrumental to reach the #1 R&B position. This wonderful track (a clever variation of pianist Avery Parrish's composition After Hours) is included in this first (of two) volume of his best recordings. Other instrumentals include Bounce Pee Wee ('48), Rock Island Blues ('48), Pee Wee's Wild ('50) and an alternate take of Texas Hop ('48 with Buddy Floyd on tenor sax) - his 2nd Top 5 R&B hit. As a bonus, ACE has included two 1949 tracks he recorded with Jay McShann, Black Gal (unissued) and the rare instrumental Boogie Woogie Upstairs (issued as by Al Cake Wichard, McShann's drummer). Collectors should note that the set has the master take of Central Avenue Blues ('48) and three titles from the 1950 session with the Harry Sweets Edison-Ben Webster group, including Please Come Back (with possibly Marshall Royal on alto sax) and a new alternate take of Louella Brown. (EL)

PEE WEE CRAYTON Ace CDCHD 767 Blues Guitar Magic - The Modern Legacy, Vol. 2 ● CD $18.98
Second collection of Modern recordings featuring this fine West Coast singer/ guitarist. 25 tracks recorded for Modern in the late 40s and early 50s including several previously unissued tracks.
PEE WEE CRAYTON: Answer To Blues After Hours/ Austin Boogie/ Blues For My Baby/ California Woman/ Cool Evening/ Crayton Special/ Crayton's Blues/ Dedicating The Blues/ Good Little Woman/ Have You Lost Your Love For Me/ Huckle Boogie ●brand New Woman/ I Love You So/ I Love You So (false Start & Studio Chat)/ Long After Hours/ Louella Brown/ Miserable Old Feeling (aka Save A Tear For Me)/ My Everything/ Old Fashioned Baby/ Phone Call From My Baby/ Poppa Stoppa/ Texas Hop/ Thinkin' Of You/ Tired Of Travelin'/ When A Man Has The Blues

PEE WEE CRAYTON Blind Pig 5052 Early Hours Blues ● CD $14.98
11 tracks, 45 mins, recommended
Pee Wee was in fine form on these sides drawn from his last recordings made for the Murray Brothers label in 1983 and 1984, shortly before his death. The 1983 sessions feature him with a 9 piece group including Doug MacLeod on rhythm guitar, Claude Williams/ trumpet, Rod Piazza/ harp, Bill Clark/ tenor sax and others and the '84 recordings are with a six piece group. Pee Wee's singing is fine and he plays lots of his distinctive stinging guitar and the instrumental tracks here really give him a chance to stretch out.. The set includes a couple of remakes of his old classics, some new songs and tunes and a few covers (Robert Parker's Barefootin', B.B. King's When I'm Wrong, etc). The only drawback is the less than great recording quality - Pee Wee's vocals particularly suffer in this regard but it's a small price to pay for such excellent music. (FS)

PEE WEE CRAYTON Vanguard VMD 6566 Things I Used To Do ● CD $14.98
11 cuts from somewhere around 1970 - Crayton's glory years were behind him, but his energy remained undiminished. Despite the overdone tunes like Things I Used To Do/ Let The Good Times Roll, and the hokey country swagger of Long Tall Texan, this is a real enjoyable session. Features a smooth version of an old Crayton fave Blues After Hours, the memorable Peace Of Mind, lots of intense wiry guitar, especially on the old Saunders King cut S.K. Blues, plus those unmistakable vocals throughout. Now at an all-time low price. (MB)

PAPA JOHN CREACH Bee Bump 03 Papa Blues ● CD $14.98
13 tracks.

ARTHUR "BIG BOY" CRUDUP Delmark 614 Look On Yonder's Wall ● CD $11.98
1967 recordings with rhythm section including veteran bass player Ransom Knowling, drummer `Judge' Riley and guitarist Edward El - mostly remakes of his earlier sides - Look On Yonder Wall/ That's All Right/ Dust My Broom/ Coal Black Mare, etc. CD features 4 previously unissued cuts.

ARTHUR "BIG BOY" CRUDUP Delmark 621 Meets The Master Blues Bassists ● CD $11.98
This disc features some of the last recordings of this veteran country bluesmen made in 1967 & '69. Pleasant though restrained performed with Crudup accompanied by Willie Dixon or Ransom Knowling/ bass, Edward El/ guitar & others. Includes some remakes of his 30s & 40s recordings plus others Strictly A Woman/ Rambling On My Mind/ Crazy House Blues/ I'm In the Mood For You/ When I Lost My Baby, etc. Cd features several previously unissued tracks including a studio conversation. (FS)

ARTHUR "BIG BOY" CRUDUP Document DOCD 5202 Complete Recorded Works, 1941-54, Vol 2 ● CD $15.98
22 tracks, 65 min., recommended
The second installment kicks off with the tail end of Crudup's 1946 recording session, featuring the truly hot jazz beat of I Want My Lovin', and the famed That's All Right. The singer's accompanists, bassist Ransom Knowling and drummer Judge Riley, remained loyal through 1951, and deserve their share of credit for the muscular drive that made this music so popular in the post-war period. Gonna Be Some Changes Made/ Hey Mama/ That's Why I'm Lonesome/ Tired Of Worry/ Shout Sister Shout jump right along on chunky guitar riffing and chattering hi-hat. Meanwhile Crudup's Vicksburg Blues/ Hoodoo Lady Blues and an interesting variant on Dust My Broom retain a more somber, narrative beauty and nostalgic southern themes. Much of the material here falls into one of these two camps, but Big Boy's energy and penetrating vocals keep most of it from sounding too formulaic. (MB)

ARTHUR "BIG BOY" CRUDUP Document DOCD 5203 Complete Recorded Works, 1941-54, Vol 3 ● CD $15.98
22 tracks, 63 min., recommended
With a regular recording schedule up through 1951 and the same band (usually in the same key) as on vol. 2, expect a consistent sound and style from this disc. Uptempo jumpers include Mean Old Santa Fe/ Star Bootlegger/ I'm Gonna Dig Myself A Hole interspersed with fingersnappin' slow blues like Behind Closed Doors/ Oo-Wee Darling/ Too Much Competition. The slapped bass and pounding backbeat of My Baby Left Me/ Where Did You Stay Last Night make a strong case for Crudup as the originator of rockabilly, and even on the less thrilling numbers his lyrical insight is marvelous. The new rhythm section of the final four cuts (1952) lacks the snap of Knowling and Riley, and is not recorded as well either, signalling the end of Big Boy's golden years. (MB)

ARTHUR "BIG BOY" CRUDUP Relic 7036 That's All Right (Mama) ● CD $14.98
During this historic session on Sept. 8, 1961, the 55-year old "father of rock and roll" set down 18 excellent versions of his own classics like That's All Right (Mama)/ So Glad You're Mine/ Dig Myself A Hole/ Ethel Mae/ If I Get Lucky/ My Mama Don't Allow Me/ Rock Me Mama/ Look On Yonder Wall/ Coal Black Mare. Backed simply by bass and drums, Crudup's influential guitar style and vocals take center stage, right where they belong. And, unlike the Collectables reissue of the Mean Old Frisco Fire LP, the sound on the Relic CD (taken from original master tapes) is wonderful and in "early sixties stereo" for the first time. Great blues from a great bluesman. [JC]
ARTHUR "BIG BOY" CRUDUP: Angel Child/ Coal Black Mare/ Death Valley Blues/ Dig Myself A Hole/ Ethel Mae/ Greyhound Bus/ I'm In The Mood/ If I Get Lucky/ Katie Mae/ Look On Younder Wall/ Mean Ole Frisco/ My Mama Don't Allow Me/ Rock Me Mama/ So Glad You're Mine/ Standing At My Window/ That's All Right (mama)/ The Moon Is Rising/ Too Much Competition

JAMES CRUTCHFIELD Swingmaster 2205 St. Louis Blues Piano ● CD $18.98
10 tracks, 41 mins, recommended
Delightful album of old style blues singing and piano playing by 73 year old performer from St. Louis. Crutchfield is a powerful and expressive singer and a fine piano player with a loose flowing style. The material is, for the most part, based on traditional themes but Crutchfield makes them his own and also includes one topical item U.S. - Russian Blues. (FS)

ELDER CURRY & ELDER BECK Blues Documents BDCD 6035 Complete Recordings In Chronological Order, 1930-39 ● CD $15.98
25 tracks, 76 min., recommended
The 8 Curry cuts were recorded by an Okeh field unit in the King Edward Hotel in Jackson, MS, during 4 Dec. days in 1930, and most of them feature Elder Charles Beck on piano. The selections are usually part song, part sermon, with notable exceptions including Beck's piano solo in When The World's On Fire and the incredibly intense Memphis Flu, a congregational masterpiece. The rest of the tracks were cut in 1937 & '39 in NYC for Decca and Bluebird, and feature Beck, "The Singing Evangelist," in various musical settings-- some with female backup singers and a trumpet, some with piano and kazoo. Beck was among those who, on songs such as Love, Oh Love Divine/ I'm A Stranger/ If I Have To Run, popularized the idea of using melodies from the secular world for religious song. Fascinating. (JC)

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