[78-L] Rock & Roll rising (was: Escott, was Arnold Covey)
eugene hayhoe
jazzme48912 at yahoo.com
Tue Mar 18 10:49:49 PDT 2014
Re: violin & r&b:
ABCD2-019/20 BLOWS ’N’ RHYTHM
THE HOTTEST BOWS
http://abar.net/cdreviews.htm
--------------------------------------------
On Tue, 3/18/14, Joe Scott <joenscott at mail.com> wrote:
Subject: Re: [78-L] Rock & Roll rising (was: Escott, was Arnold Covey)
To: "78-L Mail List" <78-l at klickitat.78online.com>
Date: Tuesday, March 18, 2014, 12:06 PM
----- Original Message -----
From: eugene hayhoe
Sent: 03/17/14 05:53 PM
To: 78-L Mail List
Subject: Re: [78-L] Rock & Roll rising (was: Escott, was
Arnold Covey)
Country's here, so is Wynonie - http://www.youtube.com/watch?v=xR_A4Su-TrI Hank Penny's
Bloodshot EyesFrom a few years after their formation on,
King assigned songs they controlled to artists without
worrying about the origins of the songs (for financial
reasons), which is something Louis Jordan had not been
worrying about for years too. But there was rarely much
"hillbilly" about the performances by the black artists in
those situations during that period (as an aside, imo even
Otis Blackwell's conscious attempts to sound somewhat
hillbilly about '52 didn't sound all that
hillbilly).Paralleling Cary's point that if a hillbilly band
added a saxophonist, that's a clue they were interested in
R&B, when a black band added hillbilly-associated
instrumentation that was a clue they were interested in
hillbilly music, e.g. steel guitar on Buddy Lucas's
"Undecided" in about '51 -- but that approach was very rare
in black music during '45-'49. E.g. there were tons of
blacks who rememb
ered how to play the fiddle as of the late '40s and the
opportunity to do so on R&B records was almost zero, in
contrast to greater use of fiddle back when Big Joe Williams
began recording and earlier. Roy Milton recorded a nice
"Along The Navajo Trail" in actual hillbillyish style
(unlike e.g. Wynonie imo) in about '47, Specialty didn't
bother to put it out at the time.Joseph Scott
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