The second “Bluesin’” volume in the “By The Bayou” series concentrates on musicians from South Louisiana and South East Texas discovered and recorded by J.D. Miller and Eddie Shuler. These two giants of the post-war recording scene were supreme talent-spotters. They knew the sounds that appealed to the local record-buying public, their target audience. What they couldn’t have known, or even guessed at in their wildest fantasies, was that the appeal of their recordings would last so long and encompass the globe.
Letting the good times roll again, with this second visit to the dynamic South Louisiana R&B scene there is no waver in the quality of music. We’ve added the work of another Louisiana record man, Sam Montel from Baton Rouge, to the vast stockpile of material in the vaults of J.D. Miller, Eddie Shuler, Floyd Soileau and Jake Graffagnino. Sam (originally Montalbano) got into the music business when his childhood friend Jimmy Clanton hit the charts. Sam became his road manager and the whole scene got into his blood. He decided to start his own record label when only 18 years old. His first release, Lester Robertson’s ‘My Girl Across Town’, is included here, as is a previously unissued outing from Robertson.
A spicy mix of rarities, alternates and previously unissued R&B goodies from South Louisiana and S.E. Texas, where you are never too far from a bayou and some good rockin’ music. This 15th compilation in the “By The Bayou” series takes us back to the R&B sounds you would have heard belting out of a Louisiana juke joint on a steamy night in the 1950s or early 1960s. All of the tracks included were recorded in that party state, although some of the artists were based in Texas, crossing the state line to make music in studios based in Crowley and Lake Charles.
28 hot rockers, cool boppers and Cajun thumpers from Louisiana and South East Texas. This exciting new addition to our popular “By The Bayou” series features 28 tracks from the vaults of Louisiana and South East Texas record men J.D. Miller, Eddie Shuler, Sam Montel, Pappy Daily, Huey Meaux, George Khoury, Joe Ruffino, Diamond Jim Wheeler and Melvin Dodge, plus tracks by Louisiana artists recorded by Murray Nash and Dee Marais. This might be the 16th in the series but it continues to unearth unknown goodies and dust off long-forgotten gems.
Ten volumes into their seemingly never-ending, always-excellent By the Bayou series, Ace returns to R&B for Mad Dogs, Sweet Daddies & Pretty Babies. Like nearly all of its predecessors, this is primarily archival – i.e., there aren't a lot of familiar names, but there are acts that have popped up on previous Bayou installments because, at this point, it's been proven that the well is deep but not fathomless. Newly discovered cuts by unknowns can hardly be called "recycling," and this, like its cousins, is pretty close to straight-up aural dynamite.
Sweet Dreams: Where Country Meets Soul, Ace's second dip into the country-soul well, is every bit as good as its 2012 predecessor. Basically, it's cut from the same cloth as the first volume, concentrating on recordings from the late '60s but stretching deep into the '70s (Millie Jackson's "Sweet Music Man" dates from 1977), with Ted Taylor's 1962 "I'll Release You" and Orquestra Was' 1996 "Forever's a Long, Long Time Ago" functioning as de facto ringers. "Forever's a Long, Long Time Ago" may fit aesthetically but certainly not sonically, as it's a crisp digital blast on a collection devoted to warm, lush, analog soul.
Ace has long been associated with the Stax catalogue and we are continually looking for new ways to keep the connection going via packages of exciting vault discoveries. Many of our recent Stax compilations have concentrated on the company’s later era – the yellow period, as it’s known in collector circles – but we’re starting our 2016 schedule with a project that draws on releases from their earlier blue period.
Tampa Red's influential later recordings for RCA Victor (1945-53) have never been officially reissued on CD and rarely on LP, yet are a crucial element in the post-war blues canon. Many of his songs were covered by B. B. King, Muddy Waters and other top bluesmen. They feature the majestic piano of latter-day Elmore James sideman, Johnny Jones and include the harmonica of Big Walter 'Shakey' Horton and Sonny Boy Williamson II. There are four previously unissued tracks but none are available on authorised CD, not even on OOC releases.