I wish I knew more about this Canadian group. I speculate that this is the only release? I hope I am wrong. Hopefully someone can guide these ears to some more material by this group, guided by the fab touch of Canadian Musical underappreciated genius, Cliff Edwards. He was in the first Incarnation of the Five Bells, who became the Bells. I tended to be pulling out the first Five Bells LP from 1968, and it is still my favorite. Possibly the Heavy Cliff involvement in that LP. Well, 45 is about 4 years after his first minor success with the Bells, and we have a heavier approach, with an eclectic sound. Too boot, we have some Rod Argent (from the Zombies) material on the flip side.
Speaking of the B Side, check the 2nd vocalist, after the female. Sounds UNCANNILY like Axl Rose from late 80's rockers, Guns n' roses. There seems to be 3 vocalists given turns in this group.
I have not found one iota of info this band. Is this an elusive rarity? Regardless.. I dig this wax baby.
Tuesday, April 14, 2009
author : freQ a Zoid iac at Tuesday, April 14, 2009
Fantastic release by Eugene who played in the Majestics (here comes the judge-Canada funk band) for a brief time, and has been involved in his own thang since the 60's. Doing a unique blend of Funky Folk Blues.
This is produced by Terry Jacks and released on Terry's short lived label Goldfish.
Looks like there was a USA release on Big Tree records, but in Mono, not Stereo like this Canadian release.
Loving this timeless little bit of Canadiana. I gather, these guys were a tight unit.
Found this at the end of the summer in some throw-away records at the side of a book shop
around these parts.
Sometimes pays to park the bicycle to have a closer look at those boxes on the side of the road ;)
author : freQ a Zoid iac at Tuesday, April 14, 2009
Monday, April 13, 2009
The video clip, is direct from the time Record, "riot in blues" a fabulous collection, with 2 tracks featured here, by Smokey Hogg. You may notice no mention of him recording for Bob Shad in the bio, either it is a scarce recording, or possibly a different Smokey Hogg from texas? Anyone have a definitive?
this comment arrived, from Chuck Nevitt ~ Dallas Blues Society Records
, to confirm which Smokey this is...
This is indeed the Smokey Hogg from Texas. He and "Black Ace" used to tour the east Texas lumber towns/camps--where, of course, it was the African Americans doing most of the hard work. Many of his sides were recorded by Herb Ritter, who owned the Dallas based label, Bluebonnet Records. Mr Ritter would often lease his material to other labels. Btw, Frankie Lee Sims is reported to be on some of the Hogg recordedings, which makes sense because he too recorded on the Bluebonnet label.
Chuck Nevitt ~ Dallas Blues Society Records
the scarce info i could cull together :
Biography by Bill Dahl source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:knfyxqy5ldje~T1
Smokey Hogg was a rural bluesman navigating a postwar era infatuated by R&B, but he got along quite nicely nonetheless, scoring a pair of major R&B hits in 1948 and 1950 and cutting a thick catalog for a slew of labels (including Exclusive, Modern, Bullet, Macy's, Sittin' in With, Imperial, Mercury, Recorded in Hollywood, Specialty, Fidelity, Combo, Federal, and Showtime).
During the early '30s, Hogg, who was influenced by Big Bill Broonzy and Peetie Wheatstraw, worked with slide guitarist Black Ace at dances around Greenville, TX. Hogg first recorded for Decca in 1937, but it was an isolated occurrence -- he didn't make it back into a studio for a decade. Once he hit his stride, though, Hogg didn't look back. Both his chart hits -- 1948's "Long Tall Mama" and 1950's "Little School Girl" -- were issued on Modern, but his rough-hewn sound seldom changed a whole lot no matter what L.A. logo he was appearing on. Hogg's last few sides were cut in 1958 for Lee Rupe's Ebb label.
Smokey's cousin John Hogg also played the blues, recording for Mercury in 1951.
eer's the wiki version :
Life and career
He grew up on the farm and was taught to play guitar by his father Frank Hogg. While still in his teens he teamed up with a the slide guitarist and vocalist, B.K. Turner aka Black Ace and the pair travelled together playing the turpentine and logging camp circuit of country dance halls and juke joints that surrounded Kilgore, Tyler, Greenville and Palestine in East Texas.
In 1937 Smokey and Black Ace were brought to Chicago, Illinois by Decca Records to record, and Smokey had his first gramophone record ("Family Trouble Blues"/"Kind Hearted Blues") released, as by Andrew Hogg. It was an isolated occurrence - he did not make it back into a recording studio for over a decade.. By the early 1940s Hogg was married and making a good living busking around the Deep Ellum area of Dallas, Texas.
Hogg was drafted in the mid 1940s and after a brief spell with the U.S. military, he continued working in the Dallas area where he was becoming well known. In 1947 he came to the attention of Herb Ritter, boss of the Dallas based record label, Bluebonnet Records, who recorded several sides with him and leased the masters to Modern Records.
The first release on Modern was the Big Bill Broonzy song "Too Many Drivers", and this racked up sufficient sales to encourage Modern Records to bring Hogg out to Los Angeles, California to cut more sides with their team of studio musicians. These songs included his two biggest hits, "Long Tall Mama" in 1949 and another Broonzy tune "Little School Girl" (#9 U.S. R&B chart) in 1950.
Blues enthusiasts have reserved most of their approval for his two-part "Penitentiary Blues" (1952), a powerful retelling of the old Texas prison song, "Ain't No More Cane on the Brazos".
Hogg's country blues style, influenced by Broonzy, Peetie Wheatstraw and Black Ace was popular with record buyers in the South during the late 1940s and early 1950s. He continued to work and record until the end of the 1950s, but died of cancer, or possibly a ruptured ulcer, in 1960.
 Relations and confusion
Smokey's cousin, John Hogg, also played the blues, recording for Mercury in 1951.
Smokey was reputed to be a cousin of Lightnin' Hopkins, and distantly related to Texas Alexander, although both claims are ambiguous.
He is not to be confused with Willie "Smokey" Hogg, an imposter who was based in New York and recorded mostly after 1960, taking the name of "Smokey" after Andrew had died. He recorded mostly for Spivey Records, and his work is primarily a poor imitation of Lowell Fulson. Although Andrew was the younger man, his sound represented an older style in Texas Blues.
author : freQ a Zoid iac at Monday, April 13, 2009
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