| | Smokey Johnson It Ain't My Fault CD Smokey Johnson Discography of CDs
Joseph "Smokey" Johnson was a New Orleans drummer who was long associated with Fats Domino and made many recordings as a sideman for Dave Bartholomew at Imperial Records in the 1960s. Johnson also cut a series of instrumentals for Nola Records in the '60s, using local musicians such as guitarist George Davis and horn player Wardell Quezerque. The swinging material on It Ain't My Fault defines a development from soul-jazz to funk, all of it with a familiar New Orleans flavor. A part of Night Train International's "Bosses of the Big Easy Beat" series, the album bears the subtitle "Legendary 60s Recordings" on its cover, and that's a fair statement. The recordings deserve to be heard as a precursor to the work of the Meters and the Neville Brothers, a solid part of the history of New Orleans music. ~ William Ruhlmann
Liner Note Authors: Josh Jackson; Aaron Fuchs. Smokey Johnson It Ain't My Fault Songs | 1. | It Ain't My Fault, Pts. 1 & 2 |
| 2. | I Can't Help It, Pts. 1 & 2 |
| 3. | Did You Heard What I Saw, Pts. 1 & 2 |
| 4. | Funkie Moon, The |
| 5. | Tippin' Lightly |
| 6. | Whip It, Pts. 1 & 2 |
| 7. | Dirty Red |
| 8. | Smokestack |
| 9. | Bullseye |
| 10. | It Ain't My Fault - (live) |
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It Ain't My Fault Review
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Purchase It Ain't My Fault CD To buy, Click on price to add to cart | James & Bobby Purify Shake A Tail Feather! CD (2002)
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You couldn't ask for a better compilation of James & Bobby Purify than this one, which fits no less than 28 songs onto a single disc, all from their prime 1966-1969 Bell era. In addition to a wealth of singles, B-sides, and LP tracks, there are five previously unissued cuts, the whole deal expertly annotated. The duo was harder to fit into a niche than many soul acts of the era; although there have been some comparisons to Sam & Dave, at times their sides were more pop-oriented than what Sam & Dave cut at Memphis, particularly on songs with sophisticated production touches like vibes. At other times, though, they were indeed in the late-'60s Southern deep soul bag; sometimes some doo wop and older R&B influences surfaced; and there's even a reading of the blues classic "You Don't Love Me." It makes for a varied and nice set, though there really isn't anything as instantly memorable as the song that will be always be their calling card, "I'm Your Puppet." If you do like "I'm Your Puppet" in particular, you'll probably go for the half a dozen or so other tracks in which Dan Penn and Spooner Oldham were also involved in the songwriting, like "So Many Reasons" ...
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Soul belter J.J. Jackson is best known for his 1967 smash, "But It's Alright," but he has some fine singles and a couple of excellent albums as well, and 1967's But It's Alright on the Calla label is one of them. Kicking off with the infectious title track, the record alternates between flat-out rockers like "I Dig Girls," "Come See Me (I'm Your Man)" (which was written by Jackson, covered by the Pretty Things, and then reclaimed powerfully here), and "Boogaloo Baby," midtempo groovers like "You've Got Me Dizzy" and "The Stones That I Throw," and ballads like "Try Me" and a righteous "A Change Is Gonna Come." Jackson's live-wire voice and boundless energy put the songs across and the band kicks up quite a storm as well. The only times Jackson stumbles are when he takes on Lou Rawls' "Love Is a Hurting Thing" and loses the battle and on the Temptations' "Ain't Too Proud to Beg," which is a boring instrumental version. Otherwise, the record is a bit of a lost gem and Collectables deserves praise for digging it up and releasing it in the U.S., as See for Miles had done in the U.K. in 1996. Too bad they didn't put as much care into the sound of ...
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| | Honky Tonk! CD (2000) (Import) United Kingdom
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Honky Tonk! is an excellent Ace compilation containing 24 tracks from the vaults of King and Federal records. These instrumental R&B gems are the cream of the crop, many of them jukebox hits released between 1948 and 1964. Freddie King, Sonny Thompson, Jimmy Nolen, Johnny "Guitar" Watson, Mickey Baker, King Curtis, and Bill Dogget are featured together for the first time in one package. Highly Recommended. ~ Al Campbell
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Twenty of Thor's Hammer's 1965-1967 recordings are on this compilation, which emphasizes their mid-'60s English-sung sessions in London. The other half is filled out by Icelandic songs and their 1967 Columbia single, as well as an outtake from the Columbia sessions, "By the Sea." Thor's Hammer was undoubtedly the best-known 1960s Icelandic band, which is not too useful a guide for curious consumers, as they're likely the only Icelandic '60s band whose product has been reissued for the international market. All joking aside, this would be respectable British Invasion-styled rock no matter where it came from, though it's not great. Certainly the best cuts are the toughest ones from their 1966 London session, where Petur Ostlund pounded the drums with a Who-like fury, and the group wrote engaging, tough mod rockers with "I Don't Care," "My Life," "Better Days," and "The Big Beat Country Dance." "If You Knew," which is like the hardest Merseybeat or early Hollies, is another highlight. The lighter Merseybeat-ish items are less impressive, but still reasonably fetching (though they totally lose the beat during the instrumental break of the ballad "Love Enough"). The Icelandic-sung cuts are of a lower order, because of both their more perfunctory ...
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It's tempting to compare Mr. Airplane Man to the White Stripes because both bands consist of just two people, have toured together, and crank out a brand of trashy blues that owes as much to the Delta as to Detroit (where the White Stripes reside and Mr. Airplane Man recorded their follow-up, Moanin'). The comparison works better in theory than in practice, however, as these women -- Margaret Garrett (guitar) and Tara McManus (drums) -- actually sound more like a female Gories or a grungier Holly Golightly. And Garrett's vocal style owes more to Kim Gordon (who also covered the Stooges' "I Wanna Be Your Dog" with Sonic Youth) or fellow Bostonian Thalia Zedek than the sweeter-sounding Golightly (who can kick up quite the blues ruckus, as well). It's also because Jeffrey Evans' production is pretty murky ...
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Recording information: Phuture Wax Soundlab.
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