152 Sentences With "barrelhouse" | Random Sentence Generator

The Barrelhouse Flat: While many bars these days are stripping their menus down to a few select, take-it-or-leave-it options, The Barrelhouse Flat's cocktail menu is a throwback to the days when bartenders were expected to remember how to make dozens of disparate drinks at the drop of a hat.

On a recent Tuesday night in Williamsburg, the muffled sounds of live honky-tonk rumbled from Skinny Dennis, a pleasantly boisterous barrelhouse.

In California, Mr. Rebennack added barrelhouse piano flavor to pop and rock records, doing sessions with Sonny and Cher, the O'Jays, Frank Zappa and others.

Not that it mattered much: The real star here was Zaytoven, playing barrelhouse blues and cheery soul on the piano, flamboyant while his partner tiptoed.

This performance of "Delta Lady," a carnal strut that Mr. Russell wrote for Mr. Cocker, captures the band's joyous cacophony of horns, belting vocals and barrelhouse piano.

As any moviegoer knows, at the end of the cattle drive, the buckaroos celebrate at the saloons, gambling, drinking and being entertained with barrelhouse piano and dancing girls.

But Keith Jarrett adapts, espousing a personal brand of barrelhouse folk-pop pianism that pulls together the warmth of Appalachian music, the insistence of rock and the stubborn intellectualism of free improvisation.

Two singing pianists who loom large in the contemporary lore of New Orleans music, Mr. Butler and Dr. John both descend from the musical parentage of Professor Longhair, the famous barrelhouse piano innovator.

Along the way, he absorbed a blend of rhythm and blues, cowboy songs, gospel and jazz, as well as New Orleans' Mardi Gras music, boogie, barrelhouse piano and funk — or "fonk," as he pronounced it.

Along the way, he absorbed a blend of rhythm and blues, cowboy songs, gospel and jazz, as well as New Orleans' Mardi Gras music, boogie, barrelhouse piano and funk - or "fonk," as he pronounced it.

But nowadays, this largely forgotten album feels like a link between jazz's old barrelhouse history, the globalist avant-funk of the M-Base collective (to which Allen belonged) and the hip-hop fusions to come.

With his trademark top hat, hair well past his shoulders, a long, lush beard, an Oklahoma drawl and his fingers splashing two-fisted barrelhouse piano chords, Mr. Russell cut a flamboyant figure in the early 1970s.

His other books on the subject included "Songsters and Saints: Vocal Traditions on Race Records" (1984), "Broadcasting the Blues: Black Blues in the Segregation Era" (2006) and "Barrelhouse Blues: Location Recordings and the Early Traditions of the Blues" (2009).

Some highlights: a couple of takes on "Santa Claus Blues," featuring a young and impressive Louis Armstrong; the double entendre-laden "Let Me Hang Your Stockings in Your Christmas Tree," by the barrelhouse blues man Roosevelt Sykes; and a scolding antidote to all that, "The Wrong Way to Celebrate Xmas," by the Rev.

While "Into My Arms" and "Straight To You" are the two go-to first dances, there's a lot to be said for mid-tempo stomps like "There She Goes, My Beautiful World," where gospel singers and barrelhouse piano join forces with references to Karl Marx and Jonny Thunders to woo as unsubtly as possible.

In 2013, the Meyer family opened a new facility in the Northside area of Pittsburgh, the Wigle Whiskey Barrelhouse and Garden. A former produce warehouse, the barrelhouse provided a place for tastings and tours. The family also purchased two vacant lots neighboring the barrelhouse for gardens for botanicals used in the spirits.

As at 2012, Barrelhouse Chuck maintained a full performance schedule in Chicago, around the United States, and occasionally abroad, including a regular solo appearance on Wednesday nights at the Barrelhouse Flat, a bar in Lincoln Park. On February 24, 2012, Barrelhouse Chuck played at the "Howlin' for Hubert" concert at the Apollo Theater. In 2013 and 2014, Barrelhouse Chuck was nominated for a Blues Music Award in the category Pinetop Perkins Piano Player. In 2014 Drifting from Town to Town was nominated for a Blues Music Award in the category Traditional Blues Album of the Year.

On December 12, 2016, Barrelhouse Chuck died after a long battle with prostate cancer, at the age of 58.

Notable "professor" pianists include Buddy Christian, Clarence Williams, Alton Purnell, Spencer Williams, and Jelly Roll Morton. Barrelhouse pianists were often untrained with little to no background in music theory. They were mostly self-taught and played mostly in a blues style. Barrelhouse pianists were considered semi-professional and played for drinks, food, or tips.

Several of his tracks have appeared on various compilation albums, including Boogie Woogie & Barrelhouse Piano Vol. 2 (1928-1930) (Document Records, 1992).

The follow-up was Prescription for the Blues (2002), with Erwin Helfer playing on three tracks. Barrelhouse Chuck released the album Got My Eyes on You in 2006, with Kim Wilson playing the harmonica. In February 2008, Wilson asked Barrelhouse Chuck to assist in recording the soundtrack for the film Cadillac Records. His other credits include numerous appearances at the Chicago Blues Festival.

Lipsitz, George (2010) Midnight at the Barrelhouse: The Johnny Otis Story, pp. 20-23. University of Minnesota Press At Google Books. Retrieved 7 September 2013.

He formed his own bands in his teenage years, including the Red Rooster Band, Red House, and Barrelhouse Chuck & the Blue Lights, and followed Muddy Waters around the South, trying to pick up playing tips from Waters's pianist, Pinetop Perkins. In 1979, he drove from Florida to Chicago to introduce himself to Sunnyland Slim. Barrelhouse Chuck spent the next decade and a half studying his playing, along with that of other Chicago blues musicians, including Blind John Davis, Little Brother Montgomery, and Erwin Helfer. In the company of Montgomery for a long time, Barrelhouse Chuck later remarked, "Little Brother was like a grandfather to me".

"He was one of the few trombonists in the 1940s to develop a style that was not influenced by J. J. Johnson; he played in a modern barrelhouse style".

2; London 1998 p. 1319. . Known as the "King of Barrelhouse Blues", his better-known songs include "I Believe You Need a Shot" and "My Baby Cooks My Breakfast".

Gospel singer, songwriter, and musician Washington Phillips was from Freestone County. Gospel singer and pianist Arizona Dranes, who introduced ragtime and barrelhouse to gospel music, was from Texas as well.

His overall sound during the 1920s combined elements of the blues, ragtime, barrelhouse boogie, and stride. Also in the 1920s he acquired his nickname, based on a whistle he made while playing the piano.

George Paulus (April 23, 1948 in Chicago, Illinois, United States – November 15, 2014 in Downers Grove, Illinois) was an American record producer, plus the founder and owner of Barrelhouse Records, Negro Rhythm Records, and St. George Records.

Hill recorded two albums under his own name on the Barrelhouse and L+R labels, and was part of the 1985 American Folk Blues Festival touring Europe. He died in Los Angeles, California, and was cremated on November 17, 1998.

He was signed by Bruce Iglauer, the owner of Alligator Records, in 1978 on the recommendation of Dick Shurman, whom Collins had met in Seattle. His first release for the label was Ice Pickin' (1978), which was recorded at Curtom Studios, in Chicago, and produced by Iglauer, Shurman and Richard McLeese. On 2 February 1978 Collins appeared in concert with the Dutch band Barrelhouse, which was his first live appearance outside the United States. The concert was filmed for the Dutch TV show Tros Sesjun and was subsequently released on vinyl in 1979 by Munich Records as Albert Collins with The Barrelhouse Live.

They started playing together as a duo, started the influential London Blues and Barrelhouse Club in 1955 and made their first record together in 1957. Korner made his first official record on Decca Records DFE 6286 in the company of Ken Colyer's Skiffle Group. His talent extended to playing mandolin on one of the tracks of this rare British EP, recorded in London on 28 July 1955. Korner encouraged many American blues artists, previously virtually unknown in Britain, to perform at the London Blues and Barrelhouse Club, which he established with Davies at the Round House pub in Soho.

Barry Callaghan's memoir Barrelhouse Kings (1998), examines his career and that of his father. After outliving most of his contemporaries, Callaghan died after a brief illness in Toronto at the age of 87. He was interred in Mount Hope Catholic Cemetery in Ontario.

Arthur "Montana" Taylor (1903 – c.1958) Stefan Wirz, Montana Taylor Discography, Wirz.de. Retrieved 26 September 2016 was an American boogie- woogie and piano blues pianist, best known for his recordings in the 1940s, and regarded as the leading exponent of the "barrelhouse" style of playing.

The album included a mix of original and cover material. Three of the standout tracks were rearrangements of The Beatles' "Helter Skelter" and Bruce Cockburn's "Mama Just Wants To Barrelhouse All Night Long", plus "Mr. Nice Guy", co-written by Heatherington and members of her band.

Ralph McTell recorded the song for his second LP Spiral Staircase (1969) According to Stephen Calt, the phrase kind-hearted woman was slang for a woman who "catered to a gigolo in return for sexual fidelity".kind-hearted woman, Barrelhouse Words: A Blues Dialect Dictionary, Stephen Calt.

He also wrote Barrelhouse Words: A Blues Dialect Dictionary (2009), co-wrote R. Crumb's Heroes of Blues, Jazz and Country (2006), and wrote many articles and liner notes on pre-war blues music. "Noted Pre-War Blues Scholar Stephen Calt Dead At 62", GuitarInstructor.com, October 19, 2010.

James Crutchfield (May 25, 1912 – December 7, 2001) was a St. Louis barrelhouse blues singer, piano player and songwriter whose career spanned seven decades. His repertoire consisted of original and classic blues and boogie-woogie and Depression-era popular songs.Larkin, Colin, ed. The Encyclopedia of Popular Music Vol.

Lipsitz, George (2010) Midnight at the Barrelhouse: The Johnny Otis Story, p. xxv. University of Minnesota Press At Google Books. Retrieved 7 September 2013. It was named in honour of the Barrel House in Omaha, Nebraska, the first club in that district to welcome black and white customers.

In 1981, Swingmaster, a new Dutch record label, was interested in recording any of the old-time St. Louis barrelhouse piano players that might still be alive. They contacted the same Charlie O'Brien who had been instrumental in locating Crutchfield a quarter-century earlier, and he reported that Crutchfield was still around and in fine form. Swingmaster visited St. Louis that year, but had no luck finding him. They returned in 1983, and this time, with the assistance of bluesman Henry Townsend, they were successful. Crutchfield traveled to Groningen, Netherlands, later that year and recorded the album Original Barrelhouse Blues, which was re-released on CD in 2001 as St. Louis Blues Piano.

However, Pinetop Smith's "Pinetop's Boogie Woogie" was the first to use the phrase in the title of a song. Two of Ezell's more notable solo recordings, "Heifer Dust" and "Barrel House Woman" (both 1929), have been noted for containing "elements of both blues and barrelhouse boogie-woogie in their form".

Ora Alexander (born c. 1896) was an American classic female blues singer. She was a recording artist in the early 1930s, releasing eight sides, including the dirty blues tracks "You've Got to Save That Thing" and "I Crave Your Lovin' Every Day". Her recordings were in a primitive barrelhouse style.

The Barrelhouse Club, at 107th and Wilmington in Watts, Los Angeles, was a rhythm and blues nightclub opened in 1948Otis, Johnny (2009) Listen to the Lambs, pp. 156-7. University of Minnesota Press At Google Books. Retrieved 7 September 2013. and co-owned by Johnny Otis, and Bardu and Tila Ali.

His total recorded output consists of the tracks "Fat Mama Blues", "House Lady Blues", "Jab's Blues", "Kokomo Blues" Parts 1 and 2, "My Woman Blues", "Polock Blues", and "Pratt City Blues". All were included on the compilation album Boogie Woogie & Barrelhouse Piano, Vol. 1 (1928–1932), issued in 1992 by Document Records.

This technique, combined with low tunings and heavy strings, gives many of his recordings a piano-like sound. In fact, scholars have suggested much of his guitar playing was inspired equally by barrelhouse piano and the Mexican Bajo sexto, an instrument he encountered in Texas and Louisiana.Edward M. Komara. Encyclopedia of the Blues.

There were two types of local pianists in New Orleans; "professor" pianists and "barrelhouse" pianists. Professors were often classically trained and understood music theory. They played in a variety of styles in the brothels of Storyville. Because they were more skilled, audiences expected them play any request that was thrown their way.

"The Barrelhouse Men of Austin" Texas Observer n.d. Durst Family Papers (Lavada Durst) 76. "Postcards: All the Right Notes" "The Texas Musician's Museum Rewards a Hillsboro Visit" by Tim Schuller Texas Highways June 2010 77. Gunsmoke Blues (video) Filmed in October 1971 at the University of Oregon, Eugene Review by Tim Schuller ThatsLiveTV.

In the decades that followed, it spread throughout the American South and was most popular in semi-rural juke joints, where it was danced to the blues. Buster Pickens, who was born in 1916, described people doing the slow drag to "slow low-down dirty blues" in barrelhouse joints.Stearns, Jazz Dance (1994), p. 23.

Visible Ink Press. pp. 300, 445. In 1969 he recorded for Barrelhouse Records, backed by the guitarist Little Buddy Thomas and the drummer Playboy Vinson, who formed his Maxwell Street band at that time. The resulting album, Maxwell Street Alley Blues, was described as "superlative in every regard" by Cub Koda, writing for Allmusic.

The CBKs are also augmented by a rotating cast of honorary Kings including Gerry Hundt (bass, rhythm guitar, vocals), Billy Flynn (guitar, mandolin, vocals, harmonica), Brad Ber (upright bass), Beau Sample (upright bass, vocals), and Mark Haines (drums). Barrelhouse Chuck (piano, vocals) also regularly performed with the group, prior to his death in 2016.

"Willie Mae Thornton, in "Heart Attack Claims 'Big Mama' Thornton, 57", Jet (August 13, 1984):63.George Lipsitz, Midnight at the Barrelhouse: The Johnny Otis Story (University of Minnesota Press, 2010) p. xiv. In 1984, she told Rolling Stone, "Didn't get no money from them at all. Everybody livin' in a house but me.

"Rock + roll." Rolling Stone (812):60 TIME has called "low, gruff, [and] charismatic," and Entertainment Weekly has characterized as a "barrelhouse growl."Browne, David (April 26, 96), "`Fairweather' report". Entertainment Weekly (324):55 Rucker said they "flipped" the formula of the all black band with a white frontman, like Frank Sinatra performing with Count Basie.

The group performed regularly in and around Austin through the 1960s and 1970s. Bowser "incorporated big band, barrelhouse, and Southern boogie-woogie into a very distinctive sound." After a break of a few years, Bowser and Bell resumed playing together, and recorded an album, It's About Time, in 1991. The album was nominated for a W. C. Handy Award.

Soulard also has several historic churches. Many of its bars host live music, especially the blues and jazz bands for which the city is known. The barrelhouse blues piano player James Crutchfield lived in the neighborhood from 1984 until his death in 2001, and performed in many of the nightclubs. The district hosts regular pub crawls.

The same source showed that Ezell's mother had died at some point between 1901 and 1910. Ezell found loose employment as a barrelhouse pianist and, by 1917, had relocated to New Orleans, Louisiana, according to his draft record, and was working as a self-employed musician. There is no evidence that Ezell was conscripted at any time.

In 2003 and 2004, he played with the Barrelhouse Blues Orchestra. More recently, Mars teamed up with the blues guitarist Michael Roach and in 2008, he appeared at the Bath Music Festival in the United Kingdom, The Pocono Blues Festival (United States) and the Kastav Blues Festival (Croatia). In January 2010, the pair toured the Middle East.

Barrelhouse Chuck (born Harvey Charles Goering; July 10, 1958 – December 12, 2016) was an American Chicago blues and electric blues pianist, keyboardist, singer, and songwriter. He claimed to be the only Chicago blues pianist to have studied under Sunnyland Slim, Pinetop Perkins, Blind John Davis, Detroit Junior, and Little Brother Montgomery. His work appeared on sixteen albums.

Goering was born and raised in Columbus, Ohio, and learned to play the drums by the age of six. He later graduated to the piano. He relocated with his family to Gainesville, Florida, before he first heard a Muddy Waters record. It was by listening to blues records that Barrelhouse Chuck learned the techniques of blues piano playing.

Barney Hoskyns describes Garth Hudson's piano playing as being in a similar barrelhouse style as "Rag Mama Rag". George Harrison biographer Simon Leng suggested that Robertson's economical guitar playing on the song was similar to Harrison's style. A section in the middle of the song is described by Aaron as "slipping into a burlesque bump 'n' grind".

Modern jazz clubs included The Dark Side (jazz club). Rosalie Lovett's Left Bank featured barrelhouse bluesman James Crutchfield.Stage, Wm.; James' Leg; "The Riverfront Times" April 3, 2002 By the late 1960s Gaslight Square had lost its luster, falling victim to the rapid growth of suburbs, urban decay,Vanishing STL: Gaslight Square - Part One and "white flight" of that era.

They formed as The Flames in 1949, in the Watts neighborhood of Los Angeles, at a talent show where members of various high school groups got together. The original members were Bobby Byrd (lead), David Ford, Curlee Dinkins and Willie Ray Rockwell. Rockwell was replaced by Clyde Tillis, and Ford sometimes sang lead. Their first paying gig was at Johnny Otis's Barrelhouse Club.

Hammond usually plays acoustically, choosing National Reso-Phonic Guitars, and sings in a barrelhouse style. Since 1962, when he made his debut on Vanguard Records, he has made thirty-four albums. In the 1990s he began recording on the Point Blank Records label. His 1963 debut album, John Hammond, was one of the first blues albums by a white artist.

In 1999, Jones played on Barrelhouse Chuck's debut album, Salute to Sunnyland Slim. He backed Cassandra Wilson on her 2003 album, Glamoured, and her recording of "Vietnam Blues", written by J. B. Lenoir. In later years, Jones lived in Senatobia, Mississippi. He died in Southaven, Mississippi, from complications of lung cancer and a heart attack, in August 2010, aged 84.

Barrelhouse Records was an American blues and rockabilly record label, set up in 1969 by George Paulus. Its roster included musicians as varied as Washboard Willie, Big John Wrencher, Charlie Feathers, Harmonica Frank, Sleepy John Estes, Johnny "Man" Young, Blind Joe Hill, Joe Carter, Robert Richard, Marcus Van Story, Easy Baby and his Houserockers, and the Chicago Slim Blues Band.

Wilhelmina Madison Goodson, known professionally as Billie Pierce (June 8, 1907 - September 29, 1974) was an American jazz pianist and singer, who performed and recorded with her husband De De Pierce. Her style has been described as a "potent mixture of barrelhouse, boogie-woogie, and ragtime".Muir, John. Encyclopedia of the Blues: K-Z, s.v. “Pierce, Billie.” New York: Routledge, 2006.

He was born Edwin Goodwin Pickens in Hempstead, Texas. In the 1930s Pickens, along with Robert Shaw and others, was part of the "Santa Fe Circuit", named after touring musicians utilising the Santa Fe freight trains. From that time, Pickens described people doing the slow drag to "slow low-down dirty blues" in barrelhouse joints.Stearns, Marshall Winslow; Stearns, Jean (1994).

OK 4194. As a male singer, Johnson could plausibly speak of the dangerous hobo practice of "riding the blinds" defined as "To cadge a lift by standing on the platform attached to the blind baggage car…a car that ain't got no door in the end that's next to the engine".Calt, Stephen (2009). Barrelhouse Words, A Blues Dialect Dictionary.

Fauth developed his own style based on pre-war barrelhouse boogie- woogie, tinged with elements of jazz and gospel. He expanded his range playing across the United States, as well as in Russia and Cuba. Fauth also worked with locally based musicians such as David Rotundo, Paul Reddick, and Michael Pickett. Fauth began to write his own songs and to reinterpret more traditional material.

The lyrics are sexual in nature, comparing the movement of an engine to the movements of sexual intercourse with lyrics that include "I got Ford engine movement in my hips, 10,000 miles guaranteed" and "A Ford is a car everybody wants to ride, jump in, you will see."Oliver, Paul (2009). Barrelhouse Blues: Location Recording and the Early Traditions of the Blues. Basic Books. p. 78. .

"Good Day Sunshine" is a song by the English rock band the Beatles from their 1966 album Revolver. It was written mainly by Paul McCartney and credited to the Lennon–McCartney partnership. McCartney intended it as a song in the style of the Lovin' Spoonful's contemporaneous hit single "Daydream". The recording includes multiple pianos played in the barrelhouse style and evokes a vaudevillian mood.

Garnett was born in Indianapolis, United States, to parents Charles and Mattie Garnett (née Georapy), who both hailed from Kentucky. By 1910, all of the family had relocated to Chicago, Illinois, where he remained until at least 1930. In 1918, Garnett was described as a "piano player, not employed", short, stout and "totally blind". His playing style incorporated both boogie-woogie and ragtime, often termed 'barrelhouse'.

Many of the performers at the club would join Otis' Rhythm and Blues Caravan in the early 1950s. Pete "Guitar" Lewis, who played guitar for Johnny Otis between the late 1940s and mid 1950s, also recorded an instrumental, "Midnight in the Barrelhouse," for the Excelsior record label, presumably in honor of the club.Les Fancourt & Bob McGrath, "The Blues Discography," p 425. Eyeball Productions, 2006.

Count Basie and Jimmy Rushing recorded some of Carr's songs, and Basie's band shows the influence of Carr's piano style. Carr's music has been recorded by a long list of artists, including Robert Johnson, Ray Charles, Big Bill Broonzy, Moon Mullican, Champion Jack Dupree, Lonnie Donegan, Long John Baldry, Memphis Slim, Barrelhouse Chuck and Eric Clapton. Carr was an alcoholic. He died of nephritis shortly after his thirtieth birthday.

New Orleans rhythm and blues was pioneered by local barrelhouse pianists Champion Jack Dupree, Archibald, and Professor Longhair. Professor Longhair, otherwise known as "Fess", was considerably influential in the development of the New Orleans R&B; sound. Allen Toussaint, an important figure in New Orleans R&B;, described him as "The Bach of Rock 'n' Roll".John Broven, Rhythm and Blues in New Orleans (Gretna: Pelican, 1974),4.

He was known for using triplet piano figures in many of his songs. The "New Orleans" sound is heard in his cover of Smiley Lewis's "Blue Monday", with his combination of parade rhythms and barrelhouse blues.Rick Coleman, Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll (Boston: Da Capo, 2006), 8. Fats Domino was described by Dave Bartholomew as the "cornerstone" of Rock 'n' Roll.

The club's venue, now the "O Bar", in 2010 The London Blues and Barrelhouse Club ran between 1957 and 1961 at the Round House public house at the junction of Wardour Street and Brewer Street in Soho, London. Established by Cyril Davies and Alexis Korner, it hosted many visiting American blues performers and was an important catalyst in developing British blues music, R&B;, and ultimately British rock music.

West of Evergreen and north of Union Hill and Charleston is Haddon. Haddon's center is Lulu Haddon Park, but Bremerton High School and Olympic College's campus are main focal points as well. Though it is an older, sleepier neighborhood traditionally more connected with the shipyard and local business, the Haddon neighborhood has recently gained notice for quirky local breakfast diner Hi-Lo's and an English style barrelhouse, Hale's Ales.

She is credited for the words and music of the song "Bad Luck Blues", which she recorded in 1933; it is registered in the US Copyright Catalog for January 24, 1935. In his memoir, Henry Townsend recalled that she was at one time the girlfriend of pianist Roosevelt Sykes and that she got to record through Sykes, or possibly through Jesse Johnson, the brother of "Stump" Johnson; he also mentioned that in the early 1930s she was singing in many places around town, and had recorded with St. Louis pianist Pinetop Sparks ("Slavin' Mama Blues"). "Slavin' Mama Blues" is included in an anthology of Barrelhouse blues, Barrelhouse women 1925-1933 (1984). In recent scholarship, the explicit lyrics for "Steady Grinding" (and those for "Steady Grinding Blues", "grind" meaning "to copulate") have drawn attention for the statements they make about female sexuality and empowerment among African American women of the early 20th century; among those early blueswomen scholars find "numerous open declarations of erotic desire".

Featuring the same lineup as the post-2014 Ragged Trousered Philanthropists, Leigh Delamere & the Gordanos have gigged around the UK since 2016 as "an upright-piano mangling barrelhouse banjo homage to the greats of rhythm’n’blues, garage rock, boogie woogie and ragtime in an old-timey skiffle party style". They appeared at the Great Estate, Boardmasters and Masked Ball festivals in Cornwall, and ran a 1930's speakeasy stage "The Blind Pig" at these.

He learned a barrelhouse style of playing from musicians in the Fourth Ward, Houston. In the 1920s Shaw was part of the "Santa Fe Circuit", named after touring musicians utilising the Santa Fe freight trains. Although he played in Chicago, Shaw mainly restricted himself to Texas, performing as a soloist in the clubs and roadhouses of Sugarland, Richmond, Kingsville, Houston and Dallas. In 1930, at the height of the Kilgore oil boom, Shaw played there.

Henry Roeland Byrd, Better known as Professor Longhair (or nickname "Fess"), was born in Bogalusa and moved to New Orleans with his family as an infant. He reportedly learned to play his instrument on a piano lacking several keys, which some have credited for his unusual technique. He would keep time by kicking his foot against the piano's base. He developed a unique "rhumba boogie" style that combined elements of blues, barrelhouse, and Caribbean influences.

Bell has continued to perform and record with the Eric Bell Band throughout the 1990s and 2000s, releasing several albums. He has also recorded with the Barrelhouse Brothers. In 2005, he joined Gary Moore onstage to perform "Whiskey in the Jar" at the Phil Lynott tribute concert "The Boy Is Back in Town" in the Point Theatre, Dublin. This was released on a DVD called One Night in Dublin: A Tribute to Phil Lynott.

He went on tour in England with Lew Leslie's Blackbirds revue. Returning to the US, he replaced Webb in 1935 as bandleader after Webb died. In 1940, he moved to California, where he became a business partner of Johnny Otis, performed as a singer in Otis's band, and opened The Barrelhouse club with him in 1947. He played an important role in the early career of Charles Brown and was Redd Foxx's business manager.

Ed Tigner, Jr. was born in Macon, Georgia, United States. In the early 1930s, Tigner heard the barrelhouse blues that his mother played at Atlanta house parties. After his father died from the effects of mustard gas poisoning he suffered in World War I, and when Tigner was six years old, the family relocated to a mining camp in Muhlenberg County, Kentucky. This followed his mother's re-marriage to a coal miner.

The recordings were not issued until 1969 on Barrelhouse Records. However, in 1966, Willie did release a single with the tracks "Natural Born Lover," and "Wee Baby Blues." His band remained in demand playing nightly in both Detroit and Ann Arbor. In 1973, he toured Europe with Lightnin' Slim, Whispering Smith, Snooky Pryor, Homesick James and Boogie Woogie Red; he also played at the Ann Arbor Blues and Jazz Festival that year on the Saturday afternoon "Detroit Blues" show.

In 1963, Shaw recorded an album, Texas Barrelhouse Piano, which was produced by Robert "Mack" McCormick and released by McCormick's Almanac Book and Recording Company. Arhoolie Records later reissued the LP under the title The Ma Grinder. The album contained old favourites such as "The Ma Grinder", "The Cows" and "Whores Is Funky", some of them too risque to have been issued previously. In 1967, seven years before his retirement from the grocery trade, Shaw recommenced concert playing.

There are various sources that concluded Scott must have been born in Alabama, United States, although blues historian, Don Kent, opined that Scott hailed from Mississippi, but operated in Birmingham, Alabama. Otherwise, no reliable sources have details of Scott's life prior to his recordings. In July 1933, Scott traveled to New York City in the company of pianist and guitarist Walter Roland and the barrelhouse blues singer Lucille Bogan. Together they spent a few days recording in differing combinations.

Barrelhouse Chuck has played or recorded with Jimmy Rogers, Eddie Taylor, Hubert Sumlin, Otis Rush, Buddy Guy, and Otis "Big Smokey" Smothers. For a time in the late 1990s he played with Mississippi Heat, and he undertook a tour with Nick Moss and the Flip Tops. His debut album, Salute to Sunnyland Slim, released by Blue Loon Records in 1999, contained supporting work from S.P. Leary, Calvin "Fuzz" Jones and Willie "Big Eyes" Smith. It was reissued in 2005.

Yancey favored keys—such as E-flat and A-flat—that were atypical for barrelhouse blues. Distinctively, he ended many pieces in the key of E-flat, even if he had played in a different key until the ending. Although influential from an early age, Yancey did not record at all in his early career, performing only at house parties and clubs. His first recordings, in 1939, created a considerable stir in blues and jazz circles.

Harry "The Hipster" Gibson (June 27, 1915 – May 3, 1991), born Harry Raab, was a jazz pianist, singer, and songwriter. Gibson played New York style stride piano and boogie woogie while singing in a wild, unrestrained style. His music career began in the late 1920s, when under his real name, he played stride piano in Dixieland jazz bands in Harlem. He continued to perform there throughout the 1930s, adding the barrelhouse boogie of the time to his repertoire.

They performed their first concert together at the Knights of Columbus Hall in Beaumont, Texas, on February 10, 1970. In addition to assuming the role as the band's leader, Gibbons became the main lyricist and musical arranger. With the assistance of Ham and engineer Robin Hood Brians, ZZ Top's First Album (1971) was released and exhibited the band's humor, with "barrelhouse" rhythms, distorted guitars, double entendres, and innuendo. The music and songs reflected ZZ Top's blues influences.

Durst was born in Austin, Texas, and learned to play piano as a child. He grew up playing barrelhouse blues locally, and developing a talent for hip rhythmic jive talk, which won him a position as announcer at Negro League baseball games in Austin. He was heard by radio station KVET manager John Connally, later the Governor of Texas. With the support of station owner Jake Pickle, he hired Durst to be the station's baseball commentator and first black disc jockey, in 1948.

Morton's piano style was formed from early secondary ragtime and "shout", which also evolved separately into the New York school of stride piano. Morton's playing was also close to barrelhouse, which produced boogie-woogie. Morton often played the melody of a tune with his right thumb, while sounding a harmony above these notes with the fingers of the right hand. This could add a rustic or “out-of-tune” sound due to the playing of a diminished 5th above the melody.

Rosemary > Clooney is a barrelhouse dame, a hillbilly at heart.' It was a way of > thinking perfectly suited to the new market in which vocalists were creating > unique identities and hit songs were performed as television skits."How The > Beatles Destroyed Rock 'n' Roll," Elijah Wald, Oxford University Press, > 2009, p162. Whereas Big Band/Swing music placed the primary emphasis on the orchestration, post-war/early 1950s era Pop focused on the song's story and/or the emotion being expressed.

In this post, she choreographed the Chicago production of Run Li'l Chil'lun, performed at the Goodman Theater. She also created several other works of choreography, including The Emperor Jones (a response to the play by Eugene O'Neill) and Barrelhouse. At this time Dunham first became associated with designer John Pratt, whom she later married. Together, they produced the first version of her dance composition L'Ag'Ya, which premiered on January 27, 1938, as a part of the Federal Theater Project in Chicago.

THE ROUNDHOUSE mentioned here was a pub on the corner of Wardour Street and Brewer Street, W1, which was London's "Skiffle Centre" until 1956 when Cyril Davies and Alexis Korner started the London Blues And Barrelhouse Club. The Thursday night sessions often took the form of impromptu jams amongst the blues enthusiasts present and were visited by touring American bluesmen like Muddy Waters, Otis Spann, and Big Bill Broonzy. The Stones played here in the early days. The Roundhouse was recently open as The O Bar.

He was backed by Johnny Rapp and Frank Krakowski on guitar, Pinetop Perkins on piano, and guest shots by James Cotton and others. Smith's 2008 album Born in Arkansas utilized bassman Bob Stroger, pianist Barrelhouse Chuck, guitarist Billy Flynn, guitarist Little Frank Krakowski (who has worked with Smith for years) and his son and drummer, Kenny "Beedy Eyes" Smith. In June 2010, Smith released Joined at the Hip with Pinetop Perkins. Joining these two in the studio were Stroger, and Kenny Smith on drums.

Portland even has a hotel specially designed for beer vacationers called the Kennedy School Hotel which is built inside an old brewery. Portland's inner-southeast district has emerged as a popular stop for beer drinkers. The neighborhood was once the industrial center of the city, but the industry has given way to a growing art scene, and abandoned factories and warehouses are being converted into restaurants and brewing operations. Frequented stops on a Portland, Oregon "beercation" are Cascade Barrelhouse, Level Brewing, and Ecliptic Brewery.

Dranes introduced piano accompaniment to Holiness music, which had previously been largely a cappella, and accompanied herself in the barrelhouse and ragtime styles popular at the time. She began recording in 1926 with Okeh Records, first as a solo artist and later with choirs and various other artists and groups. She was one of the first professional women gospel singers and sang at COGIC meetings in the Bible Belt, touring Texas, Tennessee, and Oklahoma. Although she last recorded in 1928, she continued touring through the 1940s.

She was born Esther Mae Jones in Galveston, Texas. Her parents divorced when she was an adolescent, and she divided her time between her father, in Houston, and her mother, in the Watts section of Los Angeles. She was brought up singing in church and was reluctant to enter a talent contest at a local blues club, but her sister insisted. A mature singer at the age of 14, she won the amateur talent contest in 1949 at the Barrelhouse Club, owned by Johnny Otis.

In Chicago, Blount quickly found work, notably with blues singer Wynonie Harris, with whom he made his recording debut on two 1946 singles, Dig This Boogie/Lightning Struck the Poorhouse, and My Baby's Barrelhouse/Drinking By Myself. Dig This Boogie was also Blount's first recorded piano solo. He performed with the locally successful Lil Green band and played bump-and-grind music for months in Calumet City strip clubs. In August 1946, Blount earned a lengthy engagement at the Club DeLisa under bandleader and composer Fletcher Henderson.

Devil at the Confluence: The Pre-War Blues Music of St. Louis, Missouri; Virginia Publishing 2009 p. 180. . He was found there by Bob Koester, on a tip from police detective Charlie O'Brien, and recorded a few days later, along with Speckled Red, by Ralph and Ethel Hiett. Several of the songs were eventually released in the Barrelhouse Blues and Stomps anthology series on the Euphonic label. Six selections are included on the compilation album Biddle Street Barrelhousin', released in 2000 by Delmark Records.

In the 1940s, Gibson was known for writing unusual songs, which are considered ahead of their time. He was also known for his unique, wild singing style, his energetic and unorthodox piano styles, and his intricate mixture of hardcore, gutbucket boogie rhythms with ragtime, stride and jazz piano styles. Gibson took the boogie woogie beat of his predecessors, but he made it frantic, similar to the rock and roll music of the 1950s. Examples of his wild style are found in "Riot in Boogie" and "Barrelhouse Boogie".

In 1957 Davies and Korner decided that their central interest was the blues and closed the skiffle club, reopening a month later as the London Blues and Barrelhouse Club.L. Portis, Soul Trains (Virtualbookworm Publishing, 2002), p. 213. To this point British blues was acoustically played emulating Delta blues and Country blues styles and often part of the emerging second British folk revival. Critical in changing this was the visit of Muddy Waters in 1958, who initially shocked British audiences by playing amplified electric blues, but who was soon playing to ecstatic crowds and rave reviews.

Sykes was born in Elmar, Arkansas, and grew up near Helena. At age 15, he went on the road playing piano in a barrelhouse style of blues. Like many bluesmen of his time, he travelled around playing to all-male audiences in sawmill, turpentine and levee camps along the Mississippi River, sometimes in a duo with Big Joe Williams, gathering a repertoire of raw, sexually explicit material. His wanderings eventually brought him to St. Louis, Missouri, where he met St. Louis Jimmy Oden, the writer of the blues standard "Goin' Down Slow".

His songs included "Dog House Blues" and "Back Home Blues", which were in a barrelhouse format, and the majority of his repertoire dealt lyrically with the realities of life for his predominately black audience. "Hobo Blues" and "Ice Pick and Pistol Woman Blues", depicted the more lurid and potentially violent lives of that time. In the mid 1930s, Black Boy Shine frequently met up with another pianist, Moon Mullican, when performing around Houston. Combining nicknames, for a short time in the 1930s, they performed as a duo called "Moonshine".

Little Feat's version, with piano and harmonica, was closer to Howlin' Wolf's, but it also featured the addition of slide guitar by Ry Cooder. American blues musician James Crutchfield recorded the song for his 1985 album Original Barrelhouse Blues half a century after Montgomery taught it to him in Louisiana. In 1994, The Residents performed their own rendition of the song in act II of their Cube E production, tracing the history of blues music and ultimately that of rock 'n roll. A studio version was released in 1992 on their album Our Finest Flowers.

"White Light/White Heat" was recorded in the course of the recording sessions for White Light/White Heat in September 1967 at Scepter Studios in Manhattan. The song's vocals are performed primarily by Lou Reed, with John Cale and Sterling Morrison performing backing vocals. The song, much like "I'm Waiting for the Man", features a pounding rock-and-roll Barrelhouse-style piano vamp. The song is about the sensations produced by intravenous injection of methamphetamine and features a heavily distorted electric bass outro played by John Cale over a single chord.

They finished recording the album in 19 days. Rodgers described the track as "an old barrelhouse rocker with a real pounding Little Richard-type piano, while on top it has a very sophisticated jazz horn sound"; he would later call the track one of his favourites. Bowie later revealed that Little Richard, his "earliest rock hero", was an inspiration for songs like "Modern Love", specifically the call-and-response sections. Like the rest of Let's Dance, the song features guitar by then-rising blues guitarist Stevie Ray Vaughan.

Bluiett was born just north of East St. Louis in Brooklyn, Illinois (also known as Lovejoy), a predominantly African-American village that had been founded as a free black refuge community in the 1830s, and which later became America's first majority-black town. As a child, he studied piano, trumpet, and clarinet, but was attracted most strongly to the baritone saxophone from the age of ten. He began his musical career by playing the clarinet for barrelhouse dances in Brooklyn, Illinois, before joining the Navy band in 1961. He attended Southern Illinois University Carbondale.

When they near the end of the voyage, he awkwardly proposes to her. He wants to give up being a cop and live on a chicken ranch he owns. (Earlier in the film, Betty told Skippy that she dreamed of giving it all up and buying herself a chicken ranch.) She starts to tell him her true identity, but her confession is interrupted when a steward delivers a telegram to Steve. It is from his boss, telling him to find notorious con-woman Barrelhouse Betty and bring her in.

" He was a popular session guitar player for many other artists as well.La Chapelle, Proud to Be an Okie, p. 95: "Porky Freeman and Red Murrell, the session musicians on Jack Guthrie's 'Oakie Boogie,' even recorded a guitar instrumental, 'Porky's Boogie Woogie on Strings' which many enthusiast argued invoked Memphis barrelhouse music and anticipated rock and roll. Cut during the war, the independent release proved so popular that Freeman and Murrell released it, putting it on both side of the disc to keep jukebox listeners from wearing out the groove.

Benny Kay is an American recording artist and award-winning producer who has been creating music for over thirty years. Kay began his career in music by playing blues and barrelhouse piano at coffeehouses in the Boston, Massachusetts area. He became known for recording a risque version of Louis Armstrong's "Cheesecake", and appeared several times on the Joel "Fats" Rogers Show on WBCN in Boston. Kay recorded his first album for the Aladdin Records label, at the age of eighteen, serving as piano player for the seven-piece rhythm and blues band, Powerhouse.

Retrieved 30 August 2019 Regular performers alongside Korner and Davies included guitarist Geoff Bradford, and visitors included Long John Baldry, Davy Graham and Ralph McTell. Jazz band leader Chris Barber had established connections with American blues musicians and organised tours for them in Britain, with performances at the Blues and Barrelhouse Club. In 1957 and 1958, visiting performers included Big Bill Broonzy, Brother John Sellers, Sister Rosetta Tharpe, and Sonny Terry & Brownie McGhee. Other guest performers included Memphis Slim, Little Brother Montgomery, Champion Jack Dupree, Speckled Red, Otis Spann, and Ramblin' Jack Elliott.

Certainly "Louisiana Glide" was described as a "good example of the barrelhouse style wherein melodic treble work is combined with a thunderous, driving boogie-type bass". He recorded a total of eight tracks for Paramount Records in 1929 and 1930. These included two piano solos; "Louisiana Glide" and "Chain 'Em Down", and on the rest he provided piano backing to James "Boodle It" Wiggins (four) and Marie Griffin (two tracks). It is known that two of his Paramount Records sides were recorded with Wiggins in Richmond, Virginia, in October 1929.

These included Best Recording of the year, Song Writer Of The Year, Electric Act Of The Year, Bass Player Of The Year and Harmonica Player Of The Year. "The Twisters - Come Out Swingin’". Illinois Blues, James Walker Come Out Swingin, which was composed mainly of original tunes, was praised by the Barrelhouse Blues enews in Boston for its arrangements, vocal harmonies and instrumental performances.Barrelhouse Blues e-news, Boston (more detail needed here) and included as special guest former band member and Juno Award winner Kenny "Blues Boss" Wayne on piano.

Born in Warsaw, Poland, band leader and front man Lech Wierzynski started playing blues and jazz as a teenager at after-hours jam sessions in Washington D.C. After studying trumpet with Marcus Belgrave, Wierzynski launched his own career in Oakland. Having accompanied artists such as Maria Muldaur, Dan Hicks, and Jackie Payne, Wierzynski has grown equally adept as a trumpeter, singer, and guitarist. The rhythm section of The California Honeydrops comprises the barrelhouse style of Oakland piano veteran Chris Burns. Rotating between tub bass, jug, washboard and drums are Nansamba Ssensalo and Ben Malament.

In the 1950s he performed frequently at the 708 Club, one of the premier blues clubs on Chicago's south side, often billed as Joe "Elmore James, Jr." Carter because he played slide guitar in a style similar to Elmore James. Carter worked at the Hormel Meat Packing plant for many years when he was inactive as a musician. Carter did not begin recording until 1976, when his debut album was issued on Barrelhouse Records. In the late 1980s he performed occasionally at the Lilly's nightclub on Chicago's north side, backed by the band The Ice Cream Men.

During the same session, Ringo Starr supplemented his drum part with additional contributions on snare, bass drum and crash cymbals, the latter at the end of the intro and over the choruses, and McCartney played a second piano part. George Martin contributed the piano solo, played in the barrelhouse style and recorded with the tape speed reduced. Music critic Richie Unterberger writes that Martin's contribution heightens the "old-timey vaudevillian feel" of the song. Mono and stereo mixes were created, with the only significant difference being the presence of Starr's bass drum during the coda, heard only in the mono version.

Joel Williamsen, a local author, happened upon the story of the crash while researching for his historical fiction novel Barrelhouse Boys. Williamsen was inspired by the actions of Harry Foote, and wanted to commemorate his bravery. Williamsen donated $1,200 and worked with the Nebraska State Historical Society and Lincoln Parks and Recreation to cast and install a historical marker at the site of the wreck in 2010, on the 116th anniversary of the event. The marker includes an 800-word summary of the crash and is found along the Jamaica North trail in Wilderness Park, at the site of the crash.

Max Tundra's vocals have been described as "high, mellifluous" and that they resemble Scritti Politti's Green Gartside and Prince. The album's music style has been described by AllMusic as a "jumpy collision of found sounds, Squarepusher-type beat thrashes, and jaunty wrestling with "real" instrumentation." In a review from the BBC noted of "songs which shift gears regularly, ending up in places their openings barely hint at". The BBC pointed out "Cabasa" which "starts life as lopsided techno and ends up as a slice of piano driven barrelhouse boogie" and "Hilted" which "mutates from Commodore 64 game soundtrack to sunkissed acoustic guitar pop".

He met the American folk musician Derroll Adams who found him a regular engagement, playing in a café, but Campbell also continued busking the streets. He made regular return trips to Britain in the 1950s, appearing at Alexis Korner's Blues and Barrelhouse Club and other skiffle and folk music venues that were opening around the country. Back in Paris, a new generation of folk musicians, such as Davey Graham and Wizz Jones followed in his footsteps. Campbell became involved in the folk music revival taking place in London and met Ewan MacColl, who was an influential figure in the folk movement.

A row of tenements on the Lower East Side The song is about waiting on a streetcorner in Harlem, near the intersection of Lexington Avenue and 125th Street, in New York City and purchasing $26 worth of heroin (), sung from the point of view of the purchaser, who has presumably traveled to Harlem from another part of the city; the "man" in the title is a drug dealer. Along with traditional guitars, bass, and drums, the song also features pounding, percussive rock-and-roll barrelhouse-style piano. It is one of the band's more popular songs, and one of their many compositions featuring drugs as subject matter.

The year is 1923, the Age of Vaudeville. It is a magical, musical time when birds and monsters can put on a show that will fill a theatre. Outside of house, plesiosaur impresario Armitage Shanks (aka the “Loch Ness Monster”) hawks his all-avian revue “Love Birds” to passersby on the street. (Fanfare / Barrelhouse Barker). Inside the theatre, famed Italian crooning parrot, Baalthazar Macaw (aka “The Feathered Caruso”) sings his World War I era hit (Glorious Gull Of The Glen). But just as he trills the final electrifying notes of his song, a mysterious person in the audience audibly bites into a “Crunchy Cracker”.

Worrall had left for Ssarb and in 1972 was a founding member of Fatty Lumpkin. Bakery's debut album, Rock Mass for Love, was issued in August 1971 on Astor Records which, according to Australian rock music historian Ian McFarlane, had been recorded live at a Mass "held at St George's Cathedral on 21 March 1971" and was "not indicative of the band's style of progressive hard rock". The group released two singles, "Bloodsucker" (February 1971) and "No Dying in the Dark" (July), before Mark Verschuer (Barrelhouse) replaced Davidson on vocals. "No Dying in the Dark" was a top ten hit on the Perth singles chart.

Exterior of a juke joint in Belle Glade, Florida, photographed by Marion Post Wolcott in 1944 Juke joint (also jukejoint, jook joint, or juke) is the vernacular term for an informal establishment featuring music, dancing, gambling, and drinking, primarily operated by African Americans in the southeastern United States. A juke joint may also be called a "barrelhouse". Classic juke joints found, for example, at rural crossroads, catered to the rural work force that began to emerge after the emancipation. Plantation workers and sharecroppers needed a place to relax and socialize following a hard week, particularly since they were barred from most white establishments by Jim Crow laws.

Alexis Korner in Hamburg in 1972 Blues harpist Cyril Davies ran the London Skiffle Club at the Roundhouse public house in London’s Soho, which served as a focal point for British skiffle acts. Like guitarist Alexis Korner, he had worked for Chris Barber, playing in the R&B; segment Barber introduced to his show and as part of the supporting band for visiting US artists. They began to play together as a duo and in 1957, deciding their central interest was blues, they closed the skiffle club and reopened a month later as the London Blues and Barrelhouse Club. It acted as a venue for visiting artists and their own performances.

Strongly influenced by the music of Big Joe Turner, Copley's solo style spans several genres and defies categorisation, including (but certainly not limited to) swing, boogie-woogie and barrelhouse. Live performances are characterised by their energy and Copley's acrobatic approach to piano performance, in the style of Jerry Lee Lewis. Copley has performed and recorded with Lou Rawls, The Fabulous Thunderbirds, Stevie Ray Vaughan, Ruth Brown, Jimmy Witherspoon, Snooks Eaglin, John Hammond Jr., Big Mama Thornton, George "Harmonica" Smith, Otis Rush, Big Walter Horton, Helen Humes, Benny Waters, Hal Singer, Arnett Cobb, Scott Hamilton, Big Jay McNeely, Roy "Good Rockin" Brown and a host of others.

The boogie was originally played on the piano in boogie-woogie music and adapted to guitar. Boogie-woogie is a style of blues piano playing characterized by an up-tempo rhythm, a repeated melodic pattern in the bass, and a series of improvised variations in the treble.The American Heritage Dictionary of the English Language, Fourth Edition copyright 2000 by Houghton Mifflin Company, Updated in 2009, and Collins English Dictionary – Complete and Unabridged HarperCollins Publishers 1991, 1994, 1998, 2000, 2003 CITED IN "Boogie-Woogie", FreeDictionary.com. Boogie woogie developed from a piano style that developed in the rough barrelhouse bars in the Southern states, where a piano player performed for the hard-drinking patrons.

Located on Riverfront Parkway, this location has become the headquarters and main production facility for the company. The distillery was opened to the public in December, 2017, for an open house event, but is currently only available for private events in the adjacent event hall. The system – made by Vendome – consists of four 2,700-gallon fermenters, a 2,700-gallon cooker, a beer well, a 12-inch, 30-foot continuous column still, and a custom 100-gallon doubler that can produce up to 14 barrels a day when running on a 24-hour shift. The barrelhouse has space for 4,500 53-gallon barrels and houses a large 4,000-gallon, charred white oak Solera tank for finishing.

Korner (1928–1984) was a member of Chris Barber's Jazz Band in the 1950s, and met up with Cyril Davies (1932–1964) who shared his passion for American blues. In 1954 they teamed up as a duo, began playing blues in London jazz clubs, and opened their own club, the London Blues and Barrelhouse Club, where they featured visiting bluesmen from America. The club embraced aspiring young musicians, including in its early days Charlie Watts, Long John Baldry, and Jack Bruce. In 1961 Korner and Davies formed Blues Incorporated, the first amplified R&B; band in Britain, and brought in singer Baldry (sometimes replaced by Art Wood), drummer Watts, bassist Bruce, and saxophonist Dick Heckstall-Smith.

Townshend produced the single,Dave Spencer, arranged the strings, and played bass under the pseudonym Bijou Drains. Originally titled "Revolution" but later renamed to avoid confusion with the Beatles' 1968 song of the same name, "Something in the Air" captured post-flower power rebellion, marrying McCulloch's sweeping acoustic and glowing electric guitars, Keen's powerful drumming and yearning falsetto, and Newman's felicitous piano solo. The song, beginning in E major, has three key changes, its second verse climbing to F-sharp major, and, via a roundabout transition, goes down to C major for Newman's barrelhouse piano solo. Following this, the last verse is, like the second, a tone above the previous verse, closing the song in A-flat major.

With the album also selling well, Rafferty was persuaded to return. However, Grosvenor, Coombes, Pilnick, and Harper all left the band. The band officially became a duo with various backing musicians on guitar, bass, and drums. Later in 1973, the single "Everyone's Agreed That Everything Will Turn Out Fine" had modest chart success, and in 1974, the single "Star" reached the Top 30 of both the UK and US charts. Reviewing the single "Star", David Middleton at PopRockNation wrote: > A catchy shuffle of the Lennonesque variety, 'Star' is 3 minutes of pure > shimmering acoustic-guitar pop loveliness and honey-throated vocal > harmonies, punctuated with spikes of harmonica, kazoo, woodblock, and bawdy > barrelhouse piano.

Music critic Ian MacDonald describes the chorus as a section that "drop[s] beats left, right, and centre" in contrast to the "barrelhouse 4/4" of the verse. In his analysis of the song, Pollack says that while he had long considered the chorus's metre to vary in this way, the effect is more one of syncopation within 4/4, rather than formal changes in time signature. Within the three two-bar pairings, he continues, this is achieved through rhythmic accents falling on beats 1 and 4 of the first bar and beat 3 of the second bar. Like the Revolver track "She Said She Said", the song closes with an imitative canon in the voices.

"Bo Carter was a master of the single entendre", remarked the Piedmont blues guitar master "Bowling Green" John Cephas at Chip Schutte's annual guitar camp. The bottleneck guitarist Tampa Red was accompanied by Thomas A. Dorsey (performing as Barrelhouse Tom or Georgia Tom) playing piano when the two recorded "It's Tight Like That" for the Vocalion label in 1928. The song went over so well that the two bluesmen teamed up and became known as the Hokum Boys. Both previously performed in the band of the "Mother of the Blues", Ma Rainey, who had traveled the vaudeville circuits with the Rabbit Foot Minstrels as a girl, later taking Bessie Smith under her wing.

Gonna Boogie Anyway (2010) saw guest appearances by the pianists David Maxwell and Henry Gray; harmonica players Bob Corritore and Rob Stone, guitarist Jeff Stone, and on two tracks, drummer Sam Lay. The album's track listing included cover versions of songs written by Bo Diddley, Jimmy Reed, and Robert Lockwood, Jr. James and Rynn later played on Rob Stone's album Back Around Here (2010). Barrelhouse Stomp, which featured pianists Henry Gray, Arron Moore, and David Maxwell, was recorded between 2009 and 2011. James and Rynn separately contributed guest guitar and bass guitar work on Bob Corritore's albums Harmonica Blues (2010), Long Term Friends in the Blues (2012), and Knockin' Around These Blues by both John Primer and Corritore (2013).

Though details of his life are uncertain, researchers Bob Eagle and Eric LeBlanc state that he was born Carl Lewis in Oklahoma City. Influenced in his guitar playing by T-Bone Walker, he was discovered by Johnny Otis performing in an amateur hour event at the Barrelhouse Club in Los Angeles in 1947. He was recruited to Otis' band, and performed and recorded with him until about 1956. One reviewer says of Lewis: > [He] took the electric guitar to new heights, offering sophisticated turns > of phrase that bordered on jazz-inflected, to low-down gut bucket riffs that > were unceremoniously wrenched out of his instrument — sometimes, all in the > same song, or if need be, in the short space of a twelve-bar solo.

Her poetry has been anthologized in The Best American Poetry 2010, Poetry Daily, Verse Daily, and Best New Poets 2005, as well as such journals as Poetry, The Believer, AGNI online, Blackbird, Barrelhouse, Copper Nickel, Gulf Coast, and Black Warrior Review. She was a regular contributor to the "XX Files" column for the Washington Post Magazine and more recently her prose has appeared in the Wall Street Journal and Psychology Today. She has received fellowships to the University of Mississippi (as the Summer Poet in Residence), the Sewanee Writers' Conference (Walter E. Dakin Fellowship), and Virginia Center for the Creative Arts (two Cafritz Fellowships), among others honors. She serves on the Board for the Writer's Center and is also a member of the Arts Club of Washington.

Hooper, who never dreamed she would accept, has to disinvite his girlfriend, Helen Schlesinger, and ask Ball to pretend to be Helen, lest the actress herself not pass muster with the institution's screening committee. Helen fights back while Hooper tries to keep Ball from the clutches of other cadets who want to steal her for themselves. Meanwhile, Harry James and his orchestra perform various songs, including "The Flight of the Bumblebee". The cast also sing and dance their way through such numbers as "Buckle Down, Winsocki" (the tune co-opted in the 1960s for "Buckle Up for Safety"), "Wish I May", "Three Men on a Date", "Alive and Kickin'", "The Barrelhouse, the Boogie-Woogie, and the Blues", and "Ev'ry time".

The American multi-instrumentalist, songwriter, and record producer Steve Jordan produced the soundtrack to the film. He also picked a group of blues musicians, including Billy Flynn (guitar), Larry Taylor (bass), Eddie Taylor Jr. (guitar), Barrelhouse Chuck (piano), Kim Wilson (harmonica), Danny Kortchmar (guitar), Hubert Sumlin (guitar), and Bill Sims (guitar) who, along with Jordan on drums, recorded all of the blues songs used in the film. Beyoncé recorded five songs for the soundtrack, including a cover version of Etta James' "At Last" which was released on December 2, 2008 as its lead single. Mos Def, Jeffrey Wright, Columbus Short, and Eamonn Walker recorded songs for the soundtrack, and Raphael Saadiq, Beyoncé's sister Solange, Mary Mary, Nas, Buddy Guy, and Elvis Presley also appear on the album.

Further, while Leiber and Stoller acknowledged that they had given Otis one-third of the mechanical rights for the original Thornton recording, they denied giving him one-third authorship credit.George Lipsitz, Midnight at the Barrelhouse: The Johnny Otis Story (University of Minnesota Press, 2010) pp. 42–43. On December 4, 1957, Federal Court Judge Archie O. Dawson dismissed Valjo's claim in the New York Federal Court,"Vajo Music Loses 'Hound Dog' Suit", Billboard (16 December 1957) p. 28. on the basis that Otis was "unworthy of belief", that he admitted forging Leiber and Stoller's signatures on a declaration to third-party publisher Lion Music, that Leiber and Stoller were underage at the time, and that Otis had signed a release to any claims for $750.

By the end of the 1920s, Crutchfield had begun traveling a rough-and-tumble circuit of Louisiana lumber camps, Mississippi levee camps and East Texas juke joints,Silvester, Peter J. The Story of Boogie-Woogie: A Left Hand Like God; Scarecrow Press 2009 pp. 143–44. . performing as the M & O KidCrutchfield, James, and Bruin, Leo. St. Louis Blues Piano; Liner Notes 1983/2001 in deference to his mentor, the Mississippi barrelhouse bluesman M & O, whom Crutchfield in later years said was the best he ever heard. The establishments that served the lumber and levee camps typically stayed open all day and night and provided food, drink and lodging for two piano players, who each played a 12-hour shift for tips.

After Watson ended his involvement in early 1957 to join Dickie Bishop's Sidekicks, Davies, who was "tired of all this skiffle stuff", Billy Bragg, Roots, Radicals and Rockers: How Skiffle Changed the World, Faber & Faber, 2017, pp.325-326 closed down the club and, with Alexis Korner, reopened it a few weeks later as the London Blues and Barrelhouse Club. Though it lost its earlier clientele of skiffle fans, the club attracted a new audience, listening to Korner and Davies with accompanying musicians. In November 1957, an LP, Blues from the Roundhouse, was given a limited release of 99 copies on Doug Dobell's 77 label, credited to Alex Korner's Breakdown Group Featuring Cyril Davis ; four of the tracks were written by Lead Belly.

Harmonica Frank's songs appeared on many all-black blues compilations in the 1960s and 1970s, collectors being unable to distinguish his race. In 1972 he was "rediscovered" by Stephen C. LaVere and in the following years recorded two albums for the Adelphi and Barrelhouse labels, including a compilation of the early material. Additional full albums were recorded before his death in 1984, many of which have become available on CD, though his vintage recordings (1951–59) remain mostly out of print and unavailable aside from occasional tracks on compilations. In his 1975 book Mystery Train: Images of America in Rock 'n' Roll Music, author Greil Marcus presented a unique vision of America and music, and how they relate by using (as metaphors) six musicians, one of whom was Harmonica Frank.

George Lipsitz is an American Studies scholar and professor in the Department of Black Studies at the University of California, Santa Barbara, and the author of over half a dozen books, including The Possessive Investment in Whiteness. He is a leading scholar in social movements, urban culture, inequality, the politics of popular culture, and Whiteness Studies. In addition to The Possessive Investment in Whiteness, he has written Midnight at the Barrelhouse, Footsteps in the Dark, A Life in the Struggle, Time Passages, Dangerous Crossroads, American Studies in a Moment of Danger, Rainbow at Midnight, Sidewalks of St. Louis, Class & Culture in Cold War America and How Racism Takes Place. Lipsitz serves as Chairman of the Board of Directors of the African American Policy Forum and is on the board of the National Fair Housing Alliance.

Inspired by Illinois Jacquet and Lester Young, McNeely teamed with his older brother Robert McNeely, who played baritone saxophone, and made his first recordings with drummer Johnny Otis, who ran the Barrelhouse Club that stood only a few blocks from McNeely's home. Shortly after he performed on Otis's "Barrel House Stomp." Ralph Bass, A&R; man for Savoy Records, promptly signed him to a recording contract. Bass's boss, Herman Lubinsky, suggested the stage name Big Jay McNeely because Cecil McNeely did not sound commercial. McNeely's first hit was "The Deacon's Hop," an instrumental which topped the Billboard R&B; chart in early 1949. Big Jay McNeely performed for the famed fifth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles produced by Leon Hefflin, Sr. on July 10, 1949.

Dylan would return to similar images and suggestions in later songs, such as "I Dreamed I Saw St. Augustine" and "Señor (Tales of Yankee Power)". This version was recorded on July 29, 1965, the same day that Dylan also recorded "Positively 4th Street" and "Tombstone Blues". Musically, the song has a lazy tempo driven by lazy-slap drumming with a shuffling beat and slight emphasis on the offbeat from session drummer Bobby Gregg. There is also a barrelhouse piano part played by Paul Griffin, a raunchy bass part played by Harvey Brooks, an electric guitar part played by Mike Bloomfield and an unusual harmonica part. Dylan played the album version of the song live for the first time as part of his set in the August 1971 Concert for Bangladesh.

In the years before World War II, McTell traveled and performed widely, recording for several labels under different names: Blind Willie McTell (for Victor and Decca), Blind Sammie (for Columbia), Georgia Bill (for Okeh), Hot Shot Willie (for Victor), Blind Willie (for Vocalion and Bluebird), Barrelhouse Sammie (for Atlantic), and Pig & Whistle Red (for Regal). The appellation "Pig & Whistle" was a reference to a chain of barbecue restaurants in Atlanta; McTell often played for tips in the parking lot of a Pig 'n Whistle restaurant. He also played behind a nearby building that later became Ray Lee's Blue Lantern Lounge. Like Lead Belly, another songster who began his career as a street artist, McTell favored the somewhat unwieldy and unusual twelve-string guitar, whose greater volume made it suitable for outdoor playing.

What most African Americans would identify today as "gospel" began in the early 20th century. The gospel music that Thomas A. Dorsey, Sallie Martin, Willie Mae Ford Smith and other pioneers popularized had its roots in the blues as well as in the more freewheeling forms of religious devotion of "Sanctified" or "Holiness" churches -- sometimes called "holy rollers" by other denominations -- who encouraged individual church members to "testify," speaking or singing spontaneously about their faith and experience of the Holy Ghost and "Getting Happy," sometimes while dancing in celebration.New World Encyclopedia. "Urban Gospel" Dec 23 2013 In the 1920s Sanctified artists, such as Arizona Dranes, many of whom were also traveling preachers, started making records in a style that melded traditional religious themes with barrelhouse, blues and boogie- woogie techniques and brought jazz instruments, such as drums and horns, into the church.

While he trained to be a concert pianist, he chose a career in pop music, playing light jazz and pop tunes. He invented a device called the Tipsy Wire Box, which could be attached to a piano to make it sound like an out-of-tune barrelhouse upright. (Another interpretation is that "Tipsy Wire Box" was a slang expression for the piano itself, which was merely "detuned"; that is, one of the three strings that make up each note of the main section of the piano is slightly flatted, giving the piano the characteristic sound.) In 1953 he adopted the moniker Schräger Otto (Crazy Otto), and recorded for Deutsche Grammophon. His tunes became hits in Germany, France, England, and America; his albums were released on Decca and MGM in the U.S. and Polydor which were distributed by Philips Electrical Industries Pty.

Situated in a basement opposite Ealing Broadway station, it was reached by descending the narrow steps of the alley that leads to Haven Place, between the tea shop and what at the time was a jewellery shop. Korner and Davies moved their previously acoustic blues club at the Roundhouse pub in Wardour Street, the London Blues and Barrelhouse Club, to Ealing on 17 March 1962 after it was ejected for going electric. The Ealing venue had been suggested to them by Blues Incorporated singer Art Wood. Korner recalled: “The club held only 200 when you packed them all in. There were only about 100 people in all of London that were into the blues and all of them showed up at the club that first night”. The club is noteworthy as the place where, on 24 March 1962, Charlie Watts first met Brian Jones then, on 7 April 1962 Alexis Korner introduced Mick Jagger and Keith Richards to Brian Jones, and the nucleus of the Rolling Stones first came together.

The music scene in Soho can be traced back to 1948 and Club Eleven, generally regarded as the first venue where modern jazz, or bebop, was performed in the UK. It closed in 1950 following a drugs raid. The Harmony Inn was a hang-out for musicians on Archer Street operating during the 1940s and 1950s. A blue plaque at the site of the Marquee Club on Wardour Street, Soho, commemorating Keith Moon's performances there with The Who The Ken Colyer Band's 51 Club, a venue for traditional jazz, opened on Great Newport Street in 1951. Blues guitarist and harmonica player Cyril Davies and guitarist Bob Watson launched the London Skiffle Centre, London's first skiffle club, on the first floor of the Roundhouse pub on Wardour Street in 1952. It was renamed the London Blues and Barrelhouse Club in the late 1950s, and closed in 1964. In the early 1950s, Soho became the centre of the beatnik culture in London. The first coffee bar to open was Moka at No. 29 Frith Street. It was formally opened in 1953 by the film star Gina Lollobrigida, and the frothed coffee produced from stainless steel machines was pioneering in British culture.

The Daddies are generally classified as a swing and/or ska band by the media, and their music is largely composed of various interpretations of both genres, ranging from traditional jazz and big band-influenced forms to modernized rock and punk fusions. During their commercial breakthrough in the 1990s, critics conceived terms such as "punk swing", "power swing" and "big band punk rock" to describe the Daddies' unique approach to these fusions, mixing "the propulsion of swing beats and rabbit-punch bursts of brass with grimy rebel-rock guitars to give the jumpin' jive sound a much-needed facelift". The Pacific Northwest Inlander wrote of this style in 1994, "atop the swing of the band's jazz you can hear strains of Parliament-Funkadelic, crumbs of barrelhouse rhythm and blues, snippets of ska, and huge whiffs of in-your-face punk rock", likening the Daddies to "Cab Calloway-meets-Johnny Rotten, or the Duke Ellington Orchestra pumped up on steroids and caffeine". The Daddies themselves used to facetiously classify their music as "swing- core", exemplified by the fast tempos and frequent use of guitar distortion in their swing material, as well as "third wave swing", owing to their prominent ska influence.