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"Les plus fous rockin ' enregistrements des années d'or de Amos Milburn ... 1946-1957 ! Plus...plus

Amos Milburn: Amos Milburn - Amos Rocks

"Les plus fous rockin ' enregistrements des années d'or de Amos Milburn ... 1946-1957 ! Plus grand R & B de la frappe livres de piano ! Milburn influencé Fats Domino et La Nouvelle-Orléans R & B ! Liner notes extrêmement détaillées, y compris une nouvelle entrevue avec le guitariste Johnny Texas Brown , l'un des Chickenshackers Amos ! Le dernier mot sur ​​le premier nom dans rockin ' rhythm & blues ! - Un des plus grands Légendes de l'après-guerre de R & B , Amos Milburn a écrit et enregistré odes frénétiques de sexe, l'alcool et toute la nuit, faire la fête . Il était le rock ' n' roll dans tout sauf le nom . Amos a secoué la maison pour le label Aladdin basé à Los Angeles dès le début . À ses débuts session en 1946, il ciré un sonnettes ' Down The Road Apiece ' , et il a gardé la fin des années 40 R & B hit parade saut avec "" Chicken Shack Boogie », « roomin ' Maison Boogie » et « Sax Shack Boogie ». Ils sont tous ici sur les « Roches Amos , ' ainsi que ses odes à la bouteille , comme "" Bad , Bad Whiskey »,« Let Me Go Accueil Whiskey », et« un écossais, une Bourbon , une bière "" . De plus, il ya de torride '56 remake de "" Chicken Shack Boogie Amos « couper à la Nouvelle Orléans avec Lee Allen au sax et Earl Palmer conduire le roulement de tambour . Bien avant Fats Domino ou l'un de ses camarades révolutionnaires sont venus à proximité d'un studio, Amos Milburn GENIAL!"

Propriétés de l'article: Amos Milburn: Amos Milburn - Amos Rocks

  • Interpret: Amos Milburn

  • Titre de l'album: Amos Milburn - Amos Rocks

  • Genre Rock'n'Roll

  • Label Bear Family Records

  • Code prix AR
  • Edition 2 Deluxe Edition
  • Artikelart CD

  • EAN: 4000127169266

  • Poids en kg: 0.2
Milburn, Amos - Amos Milburn - Amos Rocks CD 1
01 Chicken Shack Boogie Amos Milburn
02 House Party (Tonight) Amos Milburn
03 Rock Rock Rock Amos Milburn
04 Soft Pillow Amos Milburn
05 My Baby's Boogying Amos Milburn
06 I'm Gonna Tell My Mama Amos Milburn
07 Rooming House Boogie Amos Milburn
08 Bad, Bad Whiskey Amos Milburn
09 We Teenagers Know What We Want Amos Milburn
10 Down The Road Apiece Amos Milburn
11 Roll Mr. Jelly Amos Milburn
12 Johnson Rag Amos Milburn
13 Greyhound Amos Milburn
14 Let Me Go Home, Whiskey Amos Milburn
15 Chicken Shack Boogie Amos Milburn
16 Let's Have A Party Amos Milburn
17 Square Dance Boogie Amos Milburn
18 One Scotch, One Bourbon, One Beer Amos Milburn
19 One, Two, Three, Everybody Amos Milburn
20 Amos' Boogie Amos Milburn
21 Boogie Woogie Amos Milburn
22 Sax Shack Boogie Amos Milburn
23 Good, Good Whiskey Amos Milburn
24 Every Day Of The Week Amos Milburn
25 Juice Juice Juice Amos Milburn
26 Amos' Blues Amos Milburn
27 Vicious, Vicious Vodka Amos Milburn
28 Let's Rock A While Amos Milburn
29 Three Times A Fool Amos Milburn
30 Girl Of My Dreams Amos Milburn
31 Birmingham Bounce Amos Milburn
Amos Milburn Asked to pinpoint his principal influences, New Orleans rock and roll pioneer... plus
"Amos Milburn"

Amos Milburn

Asked to pinpoint his principal influences, New Orleans rock and roll pioneer Fats Domino readily volunteered the name of one fondly remembered individual above all others.

"His name was Amos Milburn," said the Fat Man. "I really liked his piano style."

As one of the premier R&B hitmakers of the postwar jump blues era, Milburn's romping boogie piano and uproarious odes to sex, booze and all-night partying anticipated the ascension of rock and roll. Amos was rocking the house for the Mesner brothers' Los Angeles-based Aladdin label long before Fats or any of his fellow revolutionaries came remotely near a recording facility.

That Milburn was left by the wayside when rock and roll exploded into the mainstream remains one of the great injustices of the period, since he was still turning out great platters (of his peers, only Big Joe Turner successfully crossed over to entice the new teen demographic). Some of Amos' last Aladdin records were cut at the Crescent City studio where Fats made his million-sellers, utilizing many of the same musicians.

Born April 1, 1927 in Houston, Texas, Milburn seems to have been born to pound the 88s. Legend has it that by the age of five, he'd figured out how to play Jingle Bells with one of his tiny fingers. But Yuletide chestnuts didn't hold young Amos' interest for long. His brother got him interested in pop material, and as time went on he was more into grooving on the jumping jive of alto sax ace Louis Jordan & His Tympany Five and the big band sound of Erskine Hawkins, as well as the holy boogie piano triumvirate of Pete Johnson, Albert Ammons, and Meade Lux Lewis. There was a strange stylistic dalliance when Amos billed himself as 'The He-Man Martha Raye' at local amateur contests, performing material by the zany musical comedienne (no word as to whether he won anything with that dubious act).

Although he was under-age, Amos joined the Navy in November of 1942, seeing plenty of Pacific action during his three years of World War II service. Whenever he came across a piano overseas in officer's clubs, he made the most of the opportunity. Returning to Houston after the war ended, Milburn got back into the swing of the local scene, forming his own combo.

"Houston was really loaded down with good clubs, good music with different bands," said Milburn's longtime guitarist, Texas Johnny Brown, listing Shady's, the Club Ebony, the Club Matinee, and the Eldorado Ballroom as a few of the local hotspots. Guitar wizard Clarence 'Gatemouth' Brown got his start at Don Robey's classy Bronze Peacock in Houston's Fifth Ward.

Through the sibling dance duo Mack & Ace, Milburn landed a gig in San Antonio at the Keyhole Club. Owner Don Albert kept Amos around for awhile. One evening he was handed a note on the bandstand from talent agent Lola Anne Cullum, the wife of a Houston physician. When Milburn got back home, the two joined forces to work up original material in hopes of landing him a recording contract.

Armed with a couple of demos that Amos had made at a local radio station, the young piano man and his new manager got aboard a train and headed west to Los Angeles, where freshly minted independent R&B labels were just beginning to proliferate. Houston spawned its own group of indie imprints over the years led by Robey's Peacock Records (and eventually its Duke sister label), but when it came to immediate recording opportunities, the West Coast was really where it was at. By the end of the '40s, L.A. labels such as Imperial, Specialty, Swing Time, and Modern would be churning out national R&B hits on a weekly basis.

Modern boss Jules Bihari dug what Amos had to offer on the 88s (after all, boogie specialist Hadda Brooks was the company's flagship artist), but he couldn't come to financial terms with Cullum. So she brought her protege to Aladdin Records. The seemingly simple process of auditioning was complicated by label co-owner Eddie Mesner being laid up in the hospital when they arrived in town. Lola Anne wouldn't be discouraged, buying a record player and bringing it up to Eddie's hospital room to spin Amos' demos for his perusal. The end result was an Aladdin contract for Milburn at three times the bread that the Biharis offered.

The ambitious Cullum wasn't through steering promising Houston talent in the Mesners' direction. Next time she came out West, she brought guitarist Lightnin' Hopkins, who she'd met through Amos, and pianist Thunder Smith with her. They made their Aladdin debut date in November of '46, and while Thunder petered out fast, it was the start of an astonishingly prolific career for Lightnin'.

"She was a damn good manager. She was just like a mom," said Johnny Brown. "If you didn't have the right sort of clothing and everything, well, she'd see that you got it. She was that kind of person."  Cullum's savvy managerial efforts steered Milburn onto a lucrative career path, but she would eventually be aced out of her gig by Aladdin's braintrust.

Eddie and his brother, Leo Mesner, had launched their label in 1945 as Philo Records. They got hot right off the bat with Helen Humes' romping Be Baba Leba and the mellow Drifting Blues by guitarist Johnny Moore's Three Blazers, featuring the velvety vocals and sophisticated piano of Charles Brown (one of Amos' major early influences and later one of his very best friends). Electronics company Philco gave the Mesners a rumble about copyright infringement, so they renamed their label Aladdin. After one more session, the Three Blazers exited the label, leaving plenty of room on the roster for Amos to hop aboard.

"They went talent-scouting, looking for somebody else to replace me," said the late Charles. "So they found Amos Milburn, who was close to being me, like I was singing."  Charles would come back to Aladdin in late 1948 and proceed to cut a slew of solo hits, but by then Milburn was experiencing R&B stardom as well.

 Amos Milburn Amos Milburn - Amos Rocks
Read more at: https://www.bear-family.com/milburn-amos-amos-milburn-amos-rocks.html
Copyright © Bear Family Records

 

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4 janv. 2018

Amos rockt !!

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Tracklist
Milburn, Amos - Amos Milburn - Amos Rocks CD 1
01 Chicken Shack Boogie
02 House Party (Tonight)
03 Rock Rock Rock
04 Soft Pillow
05 My Baby's Boogying
06 I'm Gonna Tell My Mama
07 Rooming House Boogie
08 Bad, Bad Whiskey
09 We Teenagers Know What We Want
10 Down The Road Apiece
11 Roll Mr. Jelly
12 Johnson Rag
13 Greyhound
14 Let Me Go Home, Whiskey
15 Chicken Shack Boogie
16 Let's Have A Party
17 Square Dance Boogie
18 One Scotch, One Bourbon, One Beer
19 One, Two, Three, Everybody
20 Amos' Boogie
21 Boogie Woogie
22 Sax Shack Boogie
23 Good, Good Whiskey
24 Every Day Of The Week
25 Juice Juice Juice
26 Amos' Blues
27 Vicious, Vicious Vodka
28 Let's Rock A While
29 Three Times A Fool
30 Girl Of My Dreams
31 Birmingham Bounce