Rhythm and Blues in New Orleans

Rhythm and Blues in New Orleans

by John Broven


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Rhythm and Blues in New Orleans by John Broven

Documents the rise and development of this unique music form. Tracing the careers and songs of the major R&B artists, it includes the important peripheral activities of the New Orleans music industry. More than 100 photographs and graphic illustrations are included, along with a full appendix featuring a complete list of best-selling records.

Product Details

ISBN-13: 9781455619511
Publisher: Pelican Publishing Company, Incorporated
Publication date: 03/04/2016
Pages: 360
Sales rank: 1,253,731
Product dimensions: 5.90(w) x 8.90(h) x 1.10(d)

About the Author

John Broven, a contributing writer for the British magazine Blues Unlimited, is also the author of Pelican's South to Louisiana: the Music of the Cajun Bayous. He has been an ardent fan and collector of Louisiana music for twenty years, and is an honorary member of the Louisiana Music Commission in recognition of his research into the history of the state's music.

Table of Contents

Acknowledgments for the Third Edition 9

Introduction to the Third Edition 11

Author's Note and Acknowledgments for the First Edition 15

Introduction to the First Edition 17

Part I Rhythm and Blues, 1946-55

1 There Was a Tradition, Which Was the Great Tradition of Jazz 25

2 That the Records Sounded Decent at All by Today's Standards Is a Miracle 38

3 The Braun Brothers Were the First People to Come Out of Town 47

4 Well, Let's Go Down There and See Fats Domino; They Told Me He's Real Good 67

5 I Made "Lawdy Miss Clawdy," Then 1 Made Shirley and Lee, "I'm Gone"; Those Two Records Were Burnin' 78

6 [Guitar Slim] Had an Electric Sound Like You Never Heard 92

Part II Rock 'N' Roll, 1955-59

7 "Tutti Trulli" Was Practically an Afterthought at the First Session 103

8 When Things Go Right T Can Make Records All Day 108

9 My Real Assignment Was to Root Out More Lloyds. Fats Dominos, and All That Jazz 119

10 Dave Bartholomew Seemed to Have a Greater Interest in My Music than Paid [Gay ten] Did 124

11 We Were the Nucleus of AM the Rock that Came Out of New Orleans 135

12 The Dew Drop inn Was the Real Hangout 145

Part III The Local Record Scene, 1955-63

13 The Only Local Label We Had of Any Significance Was Ace 165

14 Johnny-[Vincent] Saw a Goldmine in the Sky with Pop Records 179

15 Mac Rebennaek Played on a Lot of Sessions: It Was More than Playing… He Contributed 187

16 Ric Was Small; He Didn't Want to Venture Out, Mr. Ruffino 189

17 With Minit We Were Never Consciously Trying to Do an R&B Record; It Just Happened 202

18 Along with Minit Records, Joe Banashak Started Another Company Called Instant Records 212

19 I Had My Own Plans with A.F.O. 219

20 Cosimo's Studio Was Fully Booked and It Was Hard to Get In 228

Part IV The End of an Era, the Start of Another, 1963-

21 If We'd Had Grammys al. That Time, Fats and I Would Have Been Up There Twenty Years Straight 245

22 A Lot of People Came Up on a Shoestring Trying to Make It 251

23 The Whole Music Scene Changed-Not Only New Orleans; the Whole Rock Music Scene Changed 259

24 Well, I Knew All the Top People in [Nola], 'Cause I Was Doing All the Recording 266

25 One Day Cosimo Said, "The Jig Is Up" 273

26 The Meters Were a Big Hit in the Late 1960s 286

27 Jumpin", Dancin', Carry in' On, and Having a Good Time 294

28 The Influence of New Orleans Rhythm and Blues Continues to Loom Large Today 298

Appendix 310

Notes 329

Index 340

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Rhythm and Blues In New Orleans 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
This book is the original and still definitive book on New Orleans rhythm & blues, the music that was the true forerunner of what popularly became rock 'n' roll. As a boy in England, Broven was so thrilled by Little Richard's performance of the song 'Long Tall Sally' in the movie DON'T KNOCK THE ROCK that he ran from the matinee showing at his local theatre to buy it before the record store closed. It was only years later that he discovered that Little Richard's hits, like those of his other favorite, Fats Domino (who dominated Louisiana music and rhythm & blues in the 1950s and is appropriately pictured on the cover) were recorded by New Orleans studio musicians who created the backbone of rockin' rhythm & blues. Other musicians featured here include Roy Brown, who popularized the word 'rock' in rhythm & blues long before Alan Freed in his 1947 classic 'Good Rockin' Tonight' (which like Little Richard and other New Orleans records were significantly covered by Elvis Presley); Aaron Neville, Dave Bartholomew, Lloyd Price, Allen Toussaint and legendary drummer Earl Palmer, the last four of whom have recently been inducted into the Rock & Roll Hall of Fame. Similarly to Charlie Gillett's groundbreaking classic THE SOUND OF THE CITY, Broven thoroughly covers the record companies who came to New Orleans to mine the city's musical gold, but he also takes an in-depth look into the musicians which made the city a musical force. RHYTHM & BLUES IN NEW ORLEANS features interviews with many of them, including Mac 'Dr. John' Rebennack, whose lengthy reminisces during an English tour inspired the book. It is a must for anyone interested in the history of rhythm & blues, rock 'n' roll, black culture or New Orleans culture.