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At 90. Chuck Berry Releases First Album in 40 Years

Amazing…

At 90, Chuck Berry to release first new album in four decades

Chuck Berry (Reuters)

Rock ‘n’ roll legend Chuck Berry celebrated his 90th birthday on Tuesday by announcing that his first album of new music in 38 years would be released next year.

Called simply “Chuck,” the album will consist mostly of new, original material recorded and produced by Berry, his record company said.

Berry’s children, Charles Berry Jr. on guitar and Ingrid Berry on harmonica, form part of his backing band on the record. The specific date of the album’s release was not mentioned.

“What an honor to be part of this new music,” Berry Jr. said in a statement. “The St. Louis band, or as dad called us the Blueberry Hill Band, fell right into the groove and followed his lead. These songs cover the spectrum from hard-driving rockers to soulful thought-provoking time capsules of a life’s work.”

Berry said he was dedicating the new album to his wife of 68 years, Themetta. “My darlin’ I’m growing old! I’ve worked on this record for a long time. Now I can hang up my shoes!” the musician said in a statement.

 
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Posted by on October 18, 2016 in Music, From Way Back When to Now

 

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Racism and Rock and Roll

There is no question that Rock and Roll owes it’s roots to black music. And in the 50’s and even early 60’s songs written by black musicians were stolen and made hugely popular with white audiences by segregated radio. It took decades for those black artists to receive compensation for their work. The first Rock Superstar was Elvis Presley, although there were a number of others, including Buddy Holly, Johnny Cash, and Jerry Lee Lewis who aspired to the throne. Several of Elvis’ big hits were covers of black musicians music. Bu he also “borrowed” from white musicians. In particular Blue Suede Shoes was a cover of Carl Perkins.

Elvis learned his chops playing with, and befriending black musicians. Because of his “Rockabilly” style, upbringing, and birthplace, a lot of black folks assumed Elvis was a bigot. There is no evidence to support that, although in a racist South, he, like all of the 50’s rock musicians performed with all white bands. The people who actually performed in the Studio recordings however – were a different story.

The Truth About Elvis and the History of Racism in Rock

Racism In Rock

Elvis has long been vilified as the face of racism and cultural appropriation in rock music—but it’s the legacy of the genre (and the truth about Elvis) that merits closer scrutiny.

Rock music’s legacy is conflicted.

It’s a genre that transformed American culture in a way that re-shaped racial dynamics, but it also came to embody them. Music that at one point in the 1950s seemed to herald the deterioration of racial boundaries, gender norms and cultural segregation had, by the 1970s, become re-defined as a white-dominated, male-dominated multi-million dollarindustry. In the years between, rock ‘n’ roll matured into “rock” and the counterculture embraced anti-establishment ideas like integration and women’s rights—without ever really investing in tearing down white supremacy in any real, measurable way. In that, rock’s history with race is sometimes naïve, sometimes willfully ignorant, and sometimes undeniably hypocritical.

“Elvis was a hero to most but he never meant shit to me. See straight up racist that sucker was, simple and plain…”

It’s one of the most well-known and significant lines in hip-hop history. Public Enemy’s high-profile smackdown of white America’s “King of Rock ‘N’ Roll” resonated and reverberated throughout hip-hop nation in a way that even overshadowed the Flavor Flavlyrical gut-punch of John Wayne that completed the infamous couplet. On a certain level, the line was symbolic of hip-hop’s intentional dismantling of America’s white iconography; this was a new generation that wasn’t going to be beholden to your heroes or your standards. We’ve got our own voice, it announced. You will be forced to reckon with that voice.

That line also hit so hard because Elvis Presley’s racism has long been a part of his image and reputation in the black community. His notorious quote (“The only thing Negroes can do for me is buy my records and shine my shoes”), solidified his villainy amongst black people. His is the legacy of cultural appropriation and white privilege—made doubly offensive by the fact that he was so dismissive and contemptuous of the black people from whom he’d stolen rock ‘n’ roll.

But—what if none of that was actually true?

The “shine my shoes” quote came from a 1957 article called “How Negroes Feel About Elvis,” published in a periodical called Sepia. The Ft. Worth-based magazine had been founded by Horace Blackwell, a clothing merchant; but by the mid-’50s had been bought by Jewish-American merchant George Levitan. It was by now white-owned but had a black staff and was still marketed to black readers, a publication superficially in the vein of EBONY but often with a more sensationalist slant.

“Some Negroes are unable to forget that Elvis was born in Tupelo, Mississippi, hometown of the foremost Dixie race baiter, former Congressman Jon Rankin,” read the article. “Others believe a rumored crack by Elvis during a Boston appearance in which he is alleged to have said: ‘The only thing Negroes can do for me is shine my shoes and buy my records.’”

At the time of the article’s publication, Elvis Presley had never been to Boston. It was also alleged that he’d said it on Edward R. Murrow‘s Person to Person TV show—but he hadn’t appeared there either. Louie Robinson, Jet magazine’s associate editor, tried tracing the actual origins of the quote and came up empty. So he tracked down Elvis himself, interviewing the singer in his Jailhouse Rock dressing room in the summer of 1967.

“I never said anything like that,” Elvis said at the time. “And people who know me know I wouldn’t have said it.”

“A lot of people seem to think I started this business,” Elvis continued, regarding his “King of Rock ‘N’ Roll” status and reputation. “But rock ‘n’ roll was here a long time before I came along. Nobody can sing that kind of music like colored people. Let’s face it; I can’t sing it like Fats Domino can. I know that. But I always liked that kind of music.”

“I always wanted to sing like Billy Kenny of the Ink Spots,” Elvis was further quoted as saying in the Jet interview. “I like that high, smooth style.” But Presley acknowledged that his own voice was more in line with the originator of the song that he would cover for his first single. “I never sang like this in my life until I made that first record—‘That’s Alright, Mama.’ I remembered that song because I heard Arthur (Big Boy) Crudup sing it and I thought I would like to try it.”

Presley had grown up on the “black side” of Tupelo, he’d run with the likes of Ike Turner in his early days as a musician and became close friends with B.B. King and eventually James Brown, Cissy Houston and Muhammad Ali. The racism that he’s been branded with because of a phantom quote seems to be a fabrication. But rock’s legacy as a genre pioneered by black people before white artists discovered it, white media re-branded it and white audiences embraced it means that despite Elvis not spouting racist ideas, his legacy is still rooted in racism—even if that racism isn’t directly born of the man himself. He attained his stature because he was not black and in doing so, he opened the doors for a generation of his disciples to reap those same benefits. And when examining the histories of so many of those notables, there is a legacy that is as conflicted as it is confounding.

Not unlike the history of rock itself.

To a generation of long-haired hippies, Elvis came to symbolize the antiquated era of malt shops and sock hops or a rock ‘n’ roller who’d grown up to be a stale old fart, churning out shlock. He may have aided in the white embrace of black music, but he hadn’t sang at the March on Washington like Bob Dylan, nor had he championed Bobby Seale like John Lennon. In the era of pop stars as quasi-revolutionaries, Elvis had become the establishment. The ’60s generation was about change. …Read the Rest Here

https://www.youtube.com/watch?v=uke1B0FpIZ8

 

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Rediscovering Sister Rosetta Tharpe

Perusing my parents record collection back in the day, I remember albums by the Platters, Dinah Washington, Marion Anderson, Brooke Benton, Ray Charles…

And Sister Rosetta Tharpe.

Listening to those on the old mono Console Stereo probably formed my appreciation for, and developed my tastes in music.

The First Badass Female Guitarist: Meet Sister Rosetta Tharpe, the Godmother of Rock ‘n’ Roll

She influenced Chuck Berry, Elvis Presley, Jerry Lee Lewis, and countless others, but Sister Rosetta Tharpe was a legend in her own right.

The woman featured is none other than Sister Rosetta Tharpe, the “Godmother of Rock ‘n’ Roll,” who has one of the more enviable legacies in music. Her musical disciples and descendants reads like a who’s-who of legendary ‘50s and ‘60s figures, her personal history bears the earmarks of a classic outlaw, and her music is richly powerful and evocative—soul-stirring in the truest sense of the term. What a legacy that is—but that legacy has long been obscured.

For decades, fans and critics tended to gloss over pre-1955 music as compared to the music of the late 20th century, and the fact that she was a gospel star likely places her in a certain niche in the minds of the general public. While names like Chuck Berry, Muddy Waters, Elvis Presley, Little Richard, and Jerry Lee Lewis became etched into the culture’s collective consciousness, Sister Rosetta Tharpe was rarely mentioned in the same breath—or even as an obvious forbear—to her rock ‘n’ roll offspring who would carry the genre into the mainstream.

Born Rosetta Nubin in Cotton Plant, Arkansas, her mother, Katie Bell Nubin, was a singer, preacher, and mandolin player for the Church of God In Christ (COGIC) who encouraged little Rosetta to play and sing for services. A clear prodigy, it was through her association with COGIC that Rosetta would evolve into one of the most amazing gospel performers of her time. It was a church that believed in musical expression and was progressive in its view of gender roles within the church, encouraging women ministers and musicians. After moving to Chicago, little Rosetta and her mother became fixtures within the city’s gospel music scene.

At 19 years old, she would marry a minister named Thomas A. Thorpe in 1934, but the union would be short-lived. Though they divorced, Rosetta would keep his last name as her stage name—slightly altering “Thorpe” to “Tharpe.”

Upon signing with Decca Records, Tharpe issued singles that are instant smashes. Her versions of Thomas Dorsey tunes like “This Train” made her a household name—in particular, her reworked version of “Hide Me In Thy Bosom” (retitled “This Train”) was a breakthrough for her as a recording artist. Backed by Lucky Millinder’s jazz orchestra, the song raised her visibility with secular and white audiences and set the stage for a remarkable run that saw her perform at Carnegie Hall (as part of John Hammond’s “Spirituals to Swing” showcase) and record music with Cab Calloway and the Jordanaires. She also made recordings for U.S. troops stationed overseas; Tharpe was one of only two black gospel artists included on these “V Discs”—along with the Dixie Hummingbirds. But it was her song “Strange Things Happening Every Day” that proved a major leap forward for both her career and gospel music; it was the first gospel hit on the Billboard R&B charts, peaking at #2.

She would team up with gospel singer Marie Knight, whom she’d seen perform in Harlem with Mahalia Jackson, and the two would tour together throughout the 1940s as “The Saint (Knight) and the Sinner (Tharpe).” By 1951, she’d become so popular that 25,000 people paid to watch her wedding to her third husband, Russell Morrison, in Griffith Stadium in Washington, D.C. That same year, Tharpe and Knight would make an ill-fated attempt to forge a career in straight-ahead blues.  …Read the Rest Here...

 

 
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Posted by on May 30, 2016 in Music, From Way Back When to Now

 

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RIP Etta James

Etta James Dead at 73

 Etta James has died at age 73, with her husband and sons by her bedside at a California hospital, her manager says. The legendary R&B chanteuse was reported to be “in pretty bad shape”in recent months; she was diagnosed with leukemia in 2010, andcourt documents revealed she was also suffering from dementia. The six-time Grammy winner will forever be best remembered for “At Last,” writes the AP, which reflects on the magnetic and saucy singer—whom it dubs “one of music’s original bad girls.”

“The bad girls … had the look that I liked,” James wrote in her 1995 autobiography. “I wanted to be rare, I wanted to be noticed, I wanted to be exotic as a Cotton Club chorus girl, and I wanted to be obvious as the most flamboyant hooker on the street. I just wanted to be.” And so a 15-year-old James forged her mother’s signature on a note claiming to be 18 and traveled from San Francisco to LA where she recorded “Roll With Me, Henry.” She spent the late ’50s and ’60s touring with big names like Little Richard and Fats Domino, before falling into a heroin addiction that took her two decades to kick. She eventually returned to the stage, but later struggled with her weight and a painkiller addiction. “At Last” was famously played at Barack Obama’s January 2009 inauguration—though James wasn’t altogether pleased.

 
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Posted by on January 20, 2012 in Music, From Way Back When to Now

 

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