| | Scrapper Blackwell Mr. Scrapper's Blues CD Scrapper Blackwell Discography of CDs
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Our Price: $7.95  CDFor Sale Usually ships in 1-2 days
Our Price: $9.90
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Recorded in 1960.
Personnel includes: Scrapper Blackwell (vocals, guitar, piano).
Mr. Scrapper's Blues Music Scrapper Blackwell Mr. Scrapper's Blues Songs Mr. Scrapper's Blues Review
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Aron Burton has been hard at work for the past fifty years, securing his place in musical history as a master of the blues, and becoming one of the most sought-after bass players in the business. Born in Senatobia, Mississippi on June 15th 1938, Aron took interest in music at a very young age, where his gospel voice was sought after by many local churches. Among his early accomplishments was the formation of the Victory Travelers with his cousin Ruben Burton, a group that still tours today. Upon moving north to Chicago in the mid-1950s, Aron quickly gained a reputation as one of the most solid and “in the pocket” bass players in town. Aron was exposed to a variety of different styles of music, including R&B, Soul, Jazz, and Rock, in addition to his Blues and Gospel foundation. It was only a short time before Aron began to be called upon by the masters of the industry, starting in 1956 with Freddie King. Eventually Aron was hired to support such legends as Jimmy Witherspoon, Junior Wells, Big Jack Johnson, Eddy Clearwater, and Billy Boy Arnold. Perhaps Aron Burton’s biggest claim to fame is that he was a founding member of Albert Collin’s “Ice Breakers,” along with his brother Larry Burton and keyboardist Allen Batts. Aron shared ...
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Mr. Scrapper's Blues
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by Nick ToschesYou're lucky you're not from where Frank Floyd was from. I'm not talking about Toccopola in Lafayette County, Mississippi, where he was born, in the fall of 1908. I'm not talking about the backwoods of Arkansas, where he grew up before heading out on his own as a sapling boy, in 1922, to make his nightly homes in roadside ditches throughout the South. I'm talking about somewhere beyond place and time. I'm talking about nowhere. I'm talking about where the shades of the dead do their danse macabre and pass their jars of jake and meths to the living who have been drawn into the realm of those shades. You're lucky you're not from there. You're lucky that Harmonica Frank Floyd-current age: deceased-can take you there, can let you come and leave there at will. But you're lucky you're not from there. About forty-five years before Floyd was born, Charles Dickens wrote a novel called Our Mutual Friend, in which one of its characters, the poor old widow Betty Higden, comments of the foundling, Sloppy, whom she has adopted: "You mightn't think it, but Sloppy is a beautiful reader of a newspaper. He do the Police in different voices." By 1922, the year that young Floyd set out from Arkansas, T.S. Eliot had finished his draft of The Waste Land. Above the first lines of this poem, he set the words: HE DO THE POLICE IN DIFFERENT VOICES. After Ezra Pound edited, rewrote, and made greatness of Eliot's poem, these words would not appear. Yet how evocative they remain of the interweaving of elusive and obscure voices that is the realm of shades of The Waste Land. And how these words evoke the realm of shades that is where Frank Floyd and other music-makers of his day were from: that lost and occult realm of influences from the mysterious dark age that preceded the phonograph. The 1920's, when Frank Floyd, hobo and wanderer, became an entertainer in the world of tent-shows and carnivals, were the years when the unknown voices of the past flourished anew through the phonograph. There was no knowing the sources of this flourishing. In "Blue Yodel No. 9," recorded in 1930, Jimmie Rodgers sang: "You'll find my name on the tail of my shirt / I'm a Tennessee hustler, I don't have to work." It was a couplet that Rodgers had doubtless gleaned during his own medicine-show days. This boastful allusion to the flaunted sartorial mark of the Chinese-laundered streetcorner sheik had appeared, in variations, in Furry Lewis's 1928 "Kassie Jones," in Julius Daniels's 1927 "Richmond Blues," and was to be found in the 1925 book The Negro and His Songs, by Howard W. Odum and Guy B. Johnson. Attempting to trace the lines further back, though they suggest an origin in minstrelsy, we become lost in the realm of the shades. The couplet would be heard in Harmonica Frank Floyd's "Rockin' Chair Daddy," released by Sun Records in the summer of 1954. After the few records that Harmonica Frank released, he himself became something of a lost legend, and it was not for some years that he was rediscovered. David Less, one of the eminent figures involved in the rich musical heritage of Memphis, brought new light and new life to Harmonica Frank's ...
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