Dave Bartholomew - I'm Walkin' \ Going to the River

So despite spending all day out at Jazz Fest blogging for them, I still feel the need to do a little something on my own blog? Why would I do this when I could be seeing Budos Band, Sharon Jones, Andre Williams, Brownout, or Grupo Fantasma right now? For one, I'm sick of trying to make the decision about which of those to go to. For two, I've got some really hot stuff burning a hole in this blog's pocket. Or something. And oddly enough, they're all localish.


If you notice the song titles and then the writing credits, these are Fats Domino songs we're talking about, but done up in a much different way. For those of you who aren't familiar with him, Dave Bartholomew is sung as the unsung hero of New Orleans R&B. The guy produced or played on half of all those big numbers you know, and yet (and I only use this as an example) my college history of rock & roll teacher said he never released his own material. Of course I was a little shit and corrected him, and I've actually linked him to my blog once so Prof. Charry, here's your proof, though "The Monkey" would be better, more popular proof. I think Dave's gotten a little more come-uppance in years past, but his stake in this city's history will likely never be properly recognized.

These are instrumentals and way further into jazz territory than the R&B originals. But when you listen to I'm Walkin' here, did you ever think Fats Domino could sound so baaaad?
I'm Walkin'

Going to the River is a little more slow and groovy with some funky keyboards thrown in. It's deservedly the B-Side but a good track nonetheless
Going to the River

Sandy Nelson - Drums A Go Go

We've seen Sandy Nelson on this blog before and due to how prolific he is and how few of his albums are reissued, I wouldn't be surprised if we see him again. I don't think these albums are particularly rare, but for the type of artist that was shitting out covers of whatever's hip, as seen here, he's consistently pretty great, as seen here. Only two of these songs give writing credit to Sandy, but there's a real good vibe going on throughout, and none of them are phoned in.

For me, the highlight is his cover of Casbah, which is about as fun as any version I can readily think of. Great driving guitar coupled, of course, with Sandy's prided drums. Really he's not Buddy Rich or anything, so I don't know why he loves doing show-off songs like Soul Drums, but then again that's one of the songs off this album that made it onto some greatest hits album of his. Speaking of which, this is NOT the greatest hits album of his that has a similar cover

Here's a short review: I like this better than my afore-posted Walking Beat, I like this better than most Ventures filler albums, and his new album mentioned on the Walking Beat page is pretty fun but ultimately not completely attention grabbing.

This rip skips a few times but is otherwise pretty clean and definitely keeps a good punch intact. It's a wonder because the LP itself looks like murder. Also, check the words from Sandy on the back cover. Classy.

Here's Sandy

Side A

1. Drums A Go-Go (Paul Buff)
2. (I Can't Get No) Satisfaction (Jagger - Richard)
3. I Like It Like That (C. Kenner - A. Toussaint (represent))
   
4. Casbah (R. Podolor)
5. Boot-Leg (Axton-Dunn-Hayes-Jackson)
6. Wooly Bully (Samudio)

Side B

1. You Turn Me On (Ian Whitcomb)
2. Whittier Blvd. (Thee Midnighters)
3. Do The Boomerang (Cosby-DeWalt-Woods)
4. Kitty's Theme (Nelson)
5. The Clapping Song (L. Chase)
6. Soul Drums (Nelson)

H.B. Barnum - Tia Juana \ Blue Mood

Don't be dissuaded if the name reminds you of PT Barnum and you're expecting some sort of circus music. Despite a less than eventful solo career, he was extremely successful as an arranger. To copy and paste from wikipedia, he has become most widely known as an arranger, for a very wide range of performers including Count Basie, O.C. Smith, Frank Sinatra, The Supremes, Aretha Franklin, Little Richard, Gladys Knight, Al Wilson, and the Pump Girls. This doesn't really sound like any of those, it's a straight up sax-fueled rock & roll instrumentals from (like most of these 45s) 1958.

Tia Juana (yeah, that's how it's spelled on the 45) is a blast. Raunchy, fast and crude. Tequila came out in the same year and I wouldn't be surprised if that had something to do with this track, but melody-wise it's completely its own song.
Tia Juana

Blue Mood isn't nearly as fun. Why do they always have to pair up a good, fast single with a slower number? MORE POWER PLEASE. I mean, it's a good song, but you just go ahead and listen, I don't really have any actual knowledge to spread here.
Blue Mood