The summer of 1969 was a momentous one in modern history. It was a season punctuated with change. Apollo 11 landed on the moon, thousands of young fans flocked to rock ´n´ roll festivals like Woodstock and the controversial Altamont Freeway concert, the Manson Family cult were on a high-profile killing spree, and the first uprisings that would become the Stonewall Riots began. It was an electric summer of violent endings, new beginnings, and social unrest. It was also the summer that a myth was born-beginning with the tragic, untimely death of Rolling Stones founder, Brian Jones. The world soon lost two more huge music stars: Janis Joplin and Jimi Hendrix. Not only did losing these three beacons of music culture seem to signal the end of a musical era, it also felt like a foreboding sign; they had all died at exactly the same age. All three had lost their lives at the pinnacle of their creative output, and all three were exactly 27 years old. People have speculated that there could be a dastardly lineage, from the poisoning of blues pioneer Robert Johnson in 1938, through these icons of the 60s, and more recently to rebel chanteuse Amy Winehouse´s death from alcohol poisoning in 2011. Could it be a twisted fate that the world´s very best creative souls come to early, often violent, deaths at just 27 years old? Over time, this idea began to be known as, ´´the 27 club,´´ and it has persisted in the public imagination. In 27: The Legend & Mythology Of The 27 Club, rock ´n´ roll icon Gene Simmons takes a deep dive into the life stories of these legendary figures, without giving credence to the romanticized idea that being in the ´´club´´ is somehow a perverse privilege. Simmons wills us to acknowledge the extraordinary lives, not the sensational deaths, of the musicians and artists who left an indelible mark on the world.
(Hi Records) 12 tracks - Re-issue of the original 1968 ´Hi´ LP album Ace Cannon. one of the great saxophonists in the U. S. today. has put together a stirring album of hit songs that were recorded in Memphis. The total result is a highly pleasing collection of tunes with a special sound unlike any produced by any other artist. It is significant in American music that twenty years and more ago. all new music trends and sounds and songs came from New York´s ´Tin Pan Alley.´ But since the end of World War II, all important innovations and trends in American music have sprung from the ´grass roots´ of our nation. Ace Cannon has been an important part of this musical evolution. By the time he was playing in his high school band at Memphis. Tenn.. he was expert at playing music as it is written-something he doesn´t do now. That is the major difference in the New York recording studio and the Memphis recording studio. New York musicians play music as it is written. Cannon plays it as he feels it without a lead sheet before him. Cannon can play from the music sheet. But he plays best by closing his eyes and playing from his mind and heart and soul. After school. Cannon gained experience playing club dates in Memphis. A few years later Bill Black´s Combo signed him and the combo turned out a long string of hit singles and albums. Cannon´s sterling talent was recognized by Hi Rec-ords, which produced Bill Black´s Combo´s recordings. Hi signed Cannon as a recording artist and his first single, ´Tuff´ shot immediately up the popularity charts and he was a name in the musical firmament. Cannon´s extremely fine style has improved as he has turned out hit after hit. In this album. he turns his alto sax loose with abandon and achieves the ultimate from his instru-ment without a trace of strain. Below is a listing of the Mem-phis hits he plays in this album and the artists who originally recorded them ´Last Night´ by the Markeys: ´Wooly Bully,´ Sam the Sham: ´Haunted House,´ Gene Simmons; ´Raunchy.´ Bill Justis; ´20-75.´ Willie Mitchell; ´Green Onions,´ Booker T. and the MGs: ´Tuff.´ Cannon´s first release: ´Walkin´ the Dog.´ Rufus Thomas: ´In the Midnight Hour.´ Wilson Pickett: ´Baby. Let´s Play House.´ Elvis Presley; ´White Silver Sands.´ Dave Gardner (Bill Black´s Combo´s version of this was a million seller): and ´I Walk the Line.´ Johnny Cash. Cannon comes through with a masterful job on each. His brilliant manipulation of keys on ´Walkin´ the Dog´ is not something just any saxaphone player can do. His delightful 1920s style on ´Baby, Let´s Play House´ is just right. I was impressed by his impeccable style, tonal quality and intensity of delivery on all the songs. Cannon can play any kind of music. His clarity and vi-brancy comes through whether he is on record or before a live audience. If you have seen and heard him live, you know he builds a rapport with his audience by his compelling play. Memphis has been in the music news internationally lately with its soul sound. Actually this is recognition long over-due. Cannon has been playing this type of music for several years. This album comes at an opportune time because Can-non uses his great talent to give recognition to Memphis. beginning with Elvis Presley, who started in 1954. to the present. Cannon´s outstanding attributes as an artist are purity of tone. integrity of rendition and flawless phrasing. Moreover. his feel and style and talent puts him in a place by himself. I think you will agree after hearing this album.
(1950s ´Atomic H´) (62:18/23) Eddy Clearwaters Onkel, Pfarrer H.H. Harrington, betrieb in den 50ern in seiner Kirche ein Aufnahmestudio und Label. Spannendes Album mit teils wildem Zeug, vieles davon unveröffentlicht With Eddy Clearwater, Sunnyland Slim, Morris Pejoe, Henry Gray, Jo Jo Williams, Little Mack Simmons and others. An explosion of nuclear-powered Chicago blues from 1958-´60 Atomic-H masters including many previously unissued recordings! A full hour containing 23 songs, most of which are not on the LP version. Atomic-H Records was a tiny label that recorded blues and gospel but only issued a few 45s. It was owned and operated by Rev. Houston H. Harrington who was also Eddy Clearwater´s uncle and was responsible for Eddy making his way to Chicago from Alabama. The CD of Chicago Ain´t Nothin´ But A Blues Band features new descriptive notes containing additional information about Atomic-H and personnels. ATOMIC-H RECORDS Let´s Us Do The Recording So stated the sign adorning the window of Rev. Houston H. Harrington´s church at 4314 W. 16th St on Chicago´s West Side. The reverend issued his share of gospel material during his long tenure as owner of Atomic-H. but the label´s fame resides in its blues activ-ities of the late 1950s. Rev. Harrington. you see. was a gentleman of wide-ranging musical interests. Born in Macon, Mississippi on March 3. 1924. Harrington dabbled in home recording down south but never issued anything on wax until well after he arrived in Chicago during the mid-1940s. The first Atomic sin-gle (the H came later), cut in late 1953 in Harrington´s basement studio at 1651 S. Trumbull and likely issued sometime in ´55. was credited to *lick & His Trio´´ (act-ually Homesick James). Harrington made countless demos for aspiring artists during the ´50s: legend has it that Chuck Berry, Magic Sam (it´s been suggested that the previously unissued and unidentified ´´Why Did We Have To Part?´´ on this album just may be Magic Sam), and the Staple Singers all utilized his facilities. Around 1958. Harrington grew more serious about his enterprise, releasing singles over the next few years by Jo Jo Williams, Eddy Clearwater. Morris Pejoe, Mighty Joe Young. Johnny Rogers. Tall Paul Hankins, and other Windy City blues artists on Atomic-H. He also issued a few of his own sermons, sometimes billing himself as ´´Rev. H.H. Harrington, God´s Star:´ The versatile preach-er also played violin and dreamed up unusual inven-tions—he drew up blueprints for a ´´Vertical Rising Jet Air Craft´´ and held a patent on ´´The World´s First Flying Submarine.´´ Delmark compiled an anthology of Atomic-H materi-al in 1972, but even if you own Chicago Ain´t Nothin´ But a Blues Band in its vinyl incarnation, this digital ver sion boasts more than its share of revelations—its pro-gramming has been changed and expanded. Many tracks are previously unissued: others haven´t seen light of day since Harrington pressed up his standard run of 500 copies on each single (ensuring instant collector´s item status for all). Rev. Harrington was a musical inspiration to his nephew Eddy even before the lean and lanky teen moved to Chicago in 1950. He bought Eddy an acoustic guitar when the youth was still living in Birmingham, Alabama. Billed initially on the West Side as Guitar Eddy, the southpaw adopted a new handle in 1957 when drummer Jump Jackson officially dubbed him Clear Waters as a takeoff on Muddy´s distinctive moniker. ´´My uncle was a big encouragement,´´ says Clear-water, long a Windy City blues mainstay. ´´He was the cause of me coming to Chicago, as a matter of fact. He was here already, and he had met people like Howlin´ Wolf. Elmore James. Little Walter. Little Mack Simmons. Muddy Waters. So he wrote me a letter saying, ´If you come to Chicago. you´ll get a chance to meet these peo-ple, and you could possibly broaden your horizons: I said. ´Send me a ticket!´ So he did. Sent me a ticket on a Greyhound bus, and I was on my way.´´ Eddy´s first two Atomic-H singles were credited to Clear Waters. In ´58 he entered Balkan Studios in suburban Berwyn to cut the jumping ´´Boogie Woogie Baby´´ (Lazy Bill Lucas pounds out some storming piano) and the rollicking Chuck Berry-tinged rocker ´´Hillbilly Blues.´´ His 1959 encore coupled the slashing West Side minor-key instrumental -A-Minor Cha-Cha´´ with a bouncy ´´I Don´t Know Why:´ They´re joined by two unissued Clearwater outings: ´´Neck-bones Everyday´´ salutes a downhome culinary delight,
Tracing the careers of hip-hop´s three most dynamic stars, this deeply reported history brilliantly examines the entrepreneurial genius of the first musician tycoons: Diddy, Dr. Dre, and Jay-Z Being successful musicians was simply never enough for the three kings of hip-hop. Diddy, Dr. Dre, and Jay-Z lifted themselves from childhood adversity into tycoon territory, amassing levels of fame and wealth that not only outshone all other contemporary hip-hop artists, but with a combined net worth of well over two billion dollars made them the three richest American musicians, period. Yet their fortunes have little to do with selling their own albums: between Diddy´s Ciroc vodka, Dre´s three billion dollar sale of his Beats headphones to Apple, and Jay-Z´s Tidal streaming service and other assets, these artists have transcended pop music fame to become lifestyle icons and moguls. Hip-hop is no longer just a musical genre; it´s become a way of life that encompasses fashion, film, food, drink, sports, electronics, and more - one that has opened new paths to profit and to critical and commercial acclaim. Thanks in large part to the Three Kings - who all started their own record labels and released classic albums before moving on to become multifaceted businessmen - hip-hop has been transformed from a genre spawned in poverty into a truly global multibillion-dollar industry. These men are the modern embodiment of the American Dream, but their stories as great thinkers and entrepreneurs have yet to be told in full. Based on a decade of reporting, and interviews with more than 100 sources including hip-hop pioneers Russell Simmons and Fab 5 Freddy; new-breed executives like former Def Jam chief Kevin Liles and venture capitalist Troy Carter; and stars from Swizz Beatz to Shaquille O´Neal, 3 Kings tells the fascinating story of the rise and rise of the three most influential musicians in America. 1. Language: English. Narrator: Matt Amendt. Audio sample: http://samples.audible.de/bk/hach/004254/bk_hach_004254_sample.mp3. Digital audiobook in aax.