Archive

Posts Tagged ‘classic’

Chunk – Mickeys

November 26th, 2011 10 comments

A Classic Song From The “Marked For Death” Album..

Released In 1992
Label: Tandem Records

East Palo Alto , West Bay

California

Duration : 0:3:31

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Chunk – Mickeys

November 26th, 2011 10 comments

A Classic Song From The “Marked For Death” Album..

Released In 1992
Label: Tandem Records

East Palo Alto , West Bay

California

Duration : 0:3:31

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Tha Dogg Pound Ft Jay-Z, Beanie Sigel & Memphis Bleek – Change The Game (Remix)

July 13th, 2011 18 comments

Tha Dogg Pound 2002 ©2001 Death Row Records

Duration : 0:4:55

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Battle Of New Orleans

April 1st, 2010 25 comments

Buck Billo and Maxi have some with the Johnny Horton tune about the final battle of the War of 1812.
Although he had a regular job on the Hayride, Horton’s recording career was going nowhere — none of his Mercury records were selling, and rock & roll was beginning to overtake country’s share of the market place. Horton’s fortunes changed in the latter half of 1955, when he hired Webb Pierce’s manager Tillman Franks as his own manager and quit Mercury Records. Franks had Pierce help him secure a contract for Horton with Columbia Records by the end of 1955. The change in record labels breathed life into Horton’s career. At his first Columbia session, he cut “Honky Tonk Man,” his first single for the label and one that would eventually become a honky tonk classic. By the spring of 1956, the song had reached the country Top Ten and Horton was well on his way to becoming a star.

“Honky Tonk Man” was edgy enough to have Horton grouped in on the more country-oriented side of rockabilly. Wearing a large cowboy hat to hide his receding hairline, he became a popular concert attraction and racked up three more hit singles — “I’m a One-Woman Man” (number seven), “I’m Coming Home” (number 11), “The Woman I Need” (number nine) — in the next year. However, the hits dried up just as quickly as they arrived; for the latter half of 1957 and 1958, he didn’t hit the charts at all. Horton responded by cutting some rockabilly, which was beginning to fall out of favor by the time his singles were released.

In the fall of 1958, he bounced back with the Top Ten “All Grown Up,” but it wasn’t until the ballad “When It’s Springtime in Alaska (It’s Forty Below)” hit the charts in early 1959 that he achieved a comeback. The song fit neatly into the folk-based story songs that were becoming popular in the late ’50s, and it climbed all the way to number one. Its success inspired his next single, “The Battle of New Orleans.” Taken from a 1958 Jimmie Driftwood album, the song was a historical saga song like “When It’s Springtime in Alaska,” but it was far more humorous. It was also far more successful, topping the country charts for ten weeks and crossing over into the pop charts, where it was number one for six weeks. After the back-to-back number one successes of “When It’s Spring Time in Alaska” and “The Battle of New Orleans,” Horton concentrated solely on folky saga songs. “Johnny Reb” became a Top Ten hit in the fall of 1959, and “Sink the Bismarck” was a Top Ten hit in the spring of 1960, followed by the number one hit “North to Alaska” in the fall of 1960.

Around the time of “North to Alaska”‘s November release, Horton claimed that he was getting premonitions of an early death. Sadly, his premonitions came true. On November 4, 1960, he suffered a car crash driving home to Shreveport after a concert in Austin, TX. Horton was still alive after the wreck, but he died on the way to the hospital; the other passengers in his car had severe injuries, but they survived. Although he died early in his career, Horton left behind a recorded legacy that proved to be quite influential. Artists like George Jones and Dwight Yoakam have covered his songs, and echoes of Horton’s music can still be heard in honky tonk and country-rock music well into the ’90s.

Duration : 0:3:38

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One Woman Man

March 6th, 2010 25 comments

Buck Norris sings “One Woman Man” by Johnny Horton and later by George Jones.
At the end of 1951, Horton relocated from California to Shreveport, LA, where he became a regular on the Louisiana Hayride. However, Lousiana was filled with pitfalls — his first wife left him shortly after the move, and Robison severed all ties with Horton when he became Reeves’ manager. During 1952, Hank Williams rejoined the cast of the Hayride and became a kind of mentor for Horton. After Williams died on New Year’s Eve of 1952, Horton became close with his widow, Billie Jean; the couple married in September of 1953.

Although he had a regular job on the Hayride, Horton’s recording career was going nowhere — none of his Mercury records were selling, and rock & roll was beginning to overtake country’s share of the market place. Horton’s fortunes changed in the latter half of 1955, when he hired Webb Pierce’s manager Tillman Franks as his own manager and quit Mercury Records. Franks had Pierce help him secure a contract for Horton with Columbia Records by the end of 1955. The change in record labels breathed life into Horton’s career. At his first Columbia session, he cut “Honky Tonk Man,” his first single for the label and one that would eventually become a honky tonk classic. By the spring of 1956, the song had reached the country Top Ten and Horton was well on his way to becoming a star.

“Honky Tonk Man” was edgy enough to have Horton grouped in on the more country-oriented side of rockabilly. Wearing a large cowboy hat to hide his receding hairline, he became a popular concert attraction and racked up three more hit singles — “I’m a One-Woman Man” (number seven), “I’m Coming Home” (number 11), “The Woman I Need” (number nine) — in the next year. However, the hits dried up just as quickly as they arrived; for the latter half of 1957 and 1958, he didn’t hit the charts at all. Horton responded by cutting some rockabilly, which was beginning to fall out of favor by the time his singles were released.

In the fall of 1958, he bounced back with the Top Ten “All Grown Up,” but it wasn’t until the ballad “When It’s Springtime in Alaska (It’s Forty Below)” hit the charts in early 1959 that he achieved a comeback. The song fit neatly into the folk-based story songs that were becoming popular in the late ’50s, and it climbed all the way to number one. Its success inspired his next single, “The Battle of New Orleans.” Taken from a 1958 Jimmie Driftwood album, the song was a historical saga song like “When It’s Springtime in Alaska,” but it was far more humorous. It was also far more successful, topping the country charts for ten weeks and crossing over into the pop charts, where it was number one for six weeks. After the back-to-back number one successes of “When It’s Spring Time in Alaska” and “The Battle of New Orleans,” Horton concentrated solely on folky saga songs. “Johnny Reb” became a Top Ten hit in the fall of 1959, and “Sink the Bismarck” was a Top Ten hit in the spring of 1960, followed by the number one hit “North to Alaska” in the fall of 1960.

Around the time of “North to Alaska”‘s November release, Horton claimed that he was getting premonitions of an early death. Sadly, his premonitions came true. On November 4, 1960, he suffered a car crash driving home to Shreveport after a concert in Austin, TX. Horton was still alive after the wreck, but he died on the way to the hospital; the other passengers in his car had severe injuries, but they survived. Although he died early in his career, Horton left behind a recorded legacy that proved to be quite influential. Artists like George Jones and Dwight Yoakam have covered his songs, and echoes of Horton’s music can still be heard in honky tonk and country-rock music well into the ’90s. From www.Allmusic.com

Duration : 0:2:26

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Battle Of New Orleans

March 3rd, 2010 11 comments

Buck Norris sings “The Battle Of New Orleans” by Johnny Horton.
At the end of 1951, Horton relocated from California to Shreveport, LA, where he became a regular on the Louisiana Hayride. However, Lousiana was filled with pitfalls — his first wife left him shortly after the move, and Robison severed all ties with Horton when he became Reeves’ manager. During 1952, Hank Williams rejoined the cast of the Hayride and became a kind of mentor for Horton. After Williams died on New Year’s Eve of 1952, Horton became close with his widow, Billie Jean; the couple married in September of 1953.

Although he had a regular job on the Hayride, Horton’s recording career was going nowhere — none of his Mercury records were selling, and rock & roll was beginning to overtake country’s share of the market place. Horton’s fortunes changed in the latter half of 1955, when he hired Webb Pierce’s manager Tillman Franks as his own manager and quit Mercury Records. Franks had Pierce help him secure a contract for Horton with Columbia Records by the end of 1955. The change in record labels breathed life into Horton’s career. At his first Columbia session, he cut “Honky Tonk Man,” his first single for the label and one that would eventually become a honky tonk classic. By the spring of 1956, the song had reached the country Top Ten and Horton was well on his way to becoming a star.

“Honky Tonk Man” was edgy enough to have Horton grouped in on the more country-oriented side of rockabilly. Wearing a large cowboy hat to hide his receding hairline, he became a popular concert attraction and racked up three more hit singles — “I’m a One-Woman Man” (number seven), “I’m Coming Home” (number 11), “The Woman I Need” (number nine) — in the next year. However, the hits dried up just as quickly as they arrived; for the latter half of 1957 and 1958, he didn’t hit the charts at all. Horton responded by cutting some rockabilly, which was beginning to fall out of favor by the time his singles were released.

In the fall of 1958, he bounced back with the Top Ten “All Grown Up,” but it wasn’t until the ballad “When It’s Springtime in Alaska (It’s Forty Below)” hit the charts in early 1959 that he achieved a comeback. The song fit neatly into the folk-based story songs that were becoming popular in the late ’50s, and it climbed all the way to number one. Its success inspired his next single, “The Battle of New Orleans.” Taken from a 1958 Jimmie Driftwood album, the song was a historical saga song like “When It’s Springtime in Alaska,” but it was far more humorous. It was also far more successful, topping the country charts for ten weeks and crossing over into the pop charts, where it was number one for six weeks. After the back-to-back number one successes of “When It’s Spring Time in Alaska” and “The Battle of New Orleans,” Horton concentrated solely on folky saga songs. “Johnny Reb” became a Top Ten hit in the fall of 1959, and “Sink the Bismarck” was a Top Ten hit in the spring of 1960, followed by the number one hit “North to Alaska” in the fall of 1960.

Around the time of “North to Alaska”‘s November release, Horton claimed that he was getting premonitions of an early death. Sadly, his premonitions came true. On November 4, 1960, he suffered a car crash driving home to Shreveport after a concert in Austin, TX. Horton was still alive after the wreck, but he died on the way to the hospital; the other passengers in his car had severe injuries, but they survived. Although he died early in his career, Horton left behind a recorded legacy that proved to be quite influential. Artists like George Jones and Dwight Yoakam have covered his songs, and echoes of Horton’s music can still be heard in honky tonk and country-rock music well into the ’90s.

Duration : 0:2:51

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North To Alaska

February 28th, 2010 25 comments

Buck Billo and Maxi sing “North To Alaska” by Johnny Horton.
The following year, Horton moved back to east Texas, where he entered a talent contest hosted by Jim Reeves, who was then an unknown vocalist. He won the contest, which encouraged him to pursue a career as a performer. Horton started out by playing talent contests throughout Texas, which is where he gained the attention of Fabor Robison, a music manager that was notorious for his incompetence and his scams. In early 1951, Robison became Horton’s manager and managed to secure him a recording contract with Corman Records. However, shortly after his signing, the label folded. Robison then founded his own label, Abbott Records, with the specific intent of recording Horton. None of these records had any chart success. During 1951, Horton began performing on various Los Angeles TV shows and hosted a radio show in Pasadena, where he performed under the name “the Singing Fisherman.” By early 1952, Robison had moved Horton to Mercury Records.

At the end of 1951, Horton relocated from California to Shreveport, LA, where he became a regular on the Louisiana Hayride. However, Lousiana was filled with pitfalls — his first wife left him shortly after the move, and Robison severed all ties with Horton when he became Reeves’ manager. During 1952, Hank Williams rejoined the cast of the Hayride and became a kind of mentor for Horton. After Williams died on New Year’s Eve of 1952, Horton became close with his widow, Billie Jean; the couple married in September of 1953.

Although he had a regular job on the Hayride, Horton’s recording career was going nowhere — none of his Mercury records were selling, and rock & roll was beginning to overtake country’s share of the market place. Horton’s fortunes changed in the latter half of 1955, when he hired Webb Pierce’s manager Tillman Franks as his own manager and quit Mercury Records. Franks had Pierce help him secure a contract for Horton with Columbia Records by the end of 1955. The change in record labels breathed life into Horton’s career. At his first Columbia session, he cut “Honky Tonk Man,” his first single for the label and one that would eventually become a honky tonk classic. By the spring of 1956, the song had reached the country Top Ten and Horton was well on his way to becoming a star.

“Honky Tonk Man” was edgy enough to have Horton grouped in on the more country-oriented side of rockabilly. Wearing a large cowboy hat to hide his receding hairline, he became a popular concert attraction and racked up three more hit singles — “I’m a One-Woman Man” (number seven), “I’m Coming Home” (number 11), “The Woman I Need” (number nine) — in the next year. However, the hits dried up just as quickly as they arrived; for the latter half of 1957 and 1958, he didn’t hit the charts at all. Horton responded by cutting some rockabilly, which was beginning to fall out of favor by the time his singles were released.

In the fall of 1958, he bounced back with the Top Ten “All Grown Up,” but it wasn’t until the ballad “When It’s Springtime in Alaska (It’s Forty Below)” hit the charts in early 1959 that he achieved a comeback. The song fit neatly into the folk-based story songs that were becoming popular in the late ’50s, and it climbed all the way to number one. Its success inspired his next single, “The Battle of New Orleans.” Taken from a 1958 Jimmie Driftwood album, the song was a historical saga song like “When It’s Springtime in Alaska,” but it was far more humorous. It was also far more successful, topping the country charts for ten weeks and crossing over into the pop charts, where it was number one for six weeks. After the back-to-back number one successes of “When It’s Spring Time in Alaska” and “The Battle of New Orleans,” Horton concentrated solely on folky saga songs. “Johnny Reb” became a Top Ten hit in the fall of 1959, and “Sink the Bismarck” was a Top Ten hit in the spring of 1960, followed by the number one hit “North to Alaska” in the fall of 1960.

Around the time of “North to Alaska”‘s November release, Horton claimed that he was getting premonitions of an early death. Sadly, his premonitions came true. On November 4, 1960, he suffered a car crash driving home to Shreveport after a concert in Austin, TX. Horton was still alive after the wreck, but he died on the way to the hospital; the other passengers in his car had severe injuries, but they survived. Although he died early in his career, Horton left behind a recorded legacy that proved to be quite influential. Artists like George Jones and Dwight Yoakam have covered his songs, and echoes of Horton’s music can still be heard in honky tonk and country-rock music well into the ’90s.

Duration : 0:3:55

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North To Alaska

January 3rd, 2010 18 comments

Buck sings “North To Alaska” by Johnny Horton.
Although he had a regular job on the Hayride, Horton’s recording career was going nowhere — none of his Mercury records were selling, and rock & roll was beginning to overtake country’s share of the market place. Horton’s fortunes changed in the latter half of 1955, when he hired Webb Pierce’s manager Tillman Franks as his own manager and quit Mercury Records. Franks had Pierce help him secure a contract for Horton with Columbia Records by the end of 1955. The change in record labels breathed life into Horton’s career. At his first Columbia session, he cut “Honky Tonk Man,” his first single for the label and one that would eventually become a honky tonk classic. By the spring of 1956, the song had reached the country Top Ten and Horton was well on his way to becoming a star.

“Honky Tonk Man” was edgy enough to have Horton grouped in on the more country-oriented side of rockabilly. Wearing a large cowboy hat to hide his receding hairline, he became a popular concert attraction and racked up three more hit singles — “I’m a One-Woman Man” (number seven), “I’m Coming Home” (number 11), “The Woman I Need” (number nine) — in the next year. However, the hits dried up just as quickly as they arrived; for the latter half of 1957 and 1958, he didn’t hit the charts at all. Horton responded by cutting some rockabilly, which was beginning to fall out of favor by the time his singles were released.

In the fall of 1958, he bounced back with the Top Ten “All Grown Up,” but it wasn’t until the ballad “When It’s Springtime in Alaska (It’s Forty Below)” hit the charts in early 1959 that he achieved a comeback. The song fit neatly into the folk-based story songs that were becoming popular in the late ’50s, and it climbed all the way to number one. Its success inspired his next single, “The Battle of New Orleans.” Taken from a 1958 Jimmie Driftwood album, the song was a historical saga song like “When It’s Springtime in Alaska,” but it was far more humorous. It was also far more successful, topping the country charts for ten weeks and crossing over into the pop charts, where it was number one for six weeks. After the back-to-back number one successes of “When It’s Spring Time in Alaska” and “The Battle of New Orleans,” Horton concentrated solely on folky saga songs. “Johnny Reb” became a Top Ten hit in the fall of 1959, and “Sink the Bismarck” was a Top Ten hit in the spring of 1960, followed by the number one hit “North to Alaska” in the fall of 1960.

Around the time of “North to Alaska”‘s November release, Horton claimed that he was getting premonitions of an early death. Sadly, his premonitions came true. On November 4, 1960, he suffered a car crash driving home to Shreveport after a concert in Austin, TX. Horton was still alive after the wreck, but he died on the way to the hospital; the other passengers in his car had severe injuries, but they survived. Although he died early in his career, Horton left behind a recorded legacy that proved to be quite influential. Artists like George Jones and Dwight Yoakam have covered his songs, and echoes of Horton’s music can still be heard in honky tonk and country-rock music well into the ’90s.

Duration : 0:3:23

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Doctor Ross : “Thirty Two Twenty” – (Fortune Records) Flint, MI blues!

December 17th, 2009 5 comments

http://www.myspace.com/fortunerecordsdetroit
Doctor Ross was a one man band and blues master!

Doctor Ross : “Thirty Two Twenty”
1958 Blues straight outta Flint, MI

BIO:
Doctor Ross
October 21, 1925 May 28, 1993 “Doctor Ross the harmonica boss”,

Biography by Jason Ankeny
Isaiah “Doc” Ross was a throwback to a bygone era; a true one-man band, he played harmonica, acoustic guitar, bass drum and high-hat simultaneously, creating a mighty racket harking back to the itinerant country-blues players wandering the Delta region during the earlier years of the 20th century. Born Charles Isaiah Ross on October 21, 1925 in Tunica, Mississippi, he took early inspiration from the music of Robert Johnson, Blind Boy Fuller and Sonny Boy Williamson I; primarily a harpist — hence his nickname “The Harmonica Boss” — he only added the other instruments in his arsenal in order to play a USO show while a member of the army during World War II. (The “Doc” moniker was acquired because he carried his harmonicas in a doctor’s bag.) Upon his release from the military, Ross settled in Memphis, where he became a popular club fixture as well as the host of his own radio show on station WDIA; during his club residency he was witness to a number of brutal murders, however, and swore off appearances in such venues during the later years of his life. During the early 1950s, Ross recorded his first sides — among them “Chicago Breakdown” — for labels including Sun and Chess; in 1954 he settled in Flint, Michigan, where he went to work as a janitor for General Motors, a position he held until retiring. In 1965 he cut his first full-length LP, Call the Doctor, and that same year mounted his first European tour; as the years passed Ross performed live with decreasing frequency, however, and was infamous for backing out of shows to catch his beloved Detroit Tigers on television. Upon winning a Grammy for his 1981 album Rare Blues, he experienced a career resurgence, and played festival dates to great acclaim prior to his death on May 28, 1993.

Duration : 0:2:49

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