1 	Ain`t That Dandy 	
2 	Born In Louisiana 	
3 	Honky-Tonk 	
4 	Dark End Of The Hallway 	
5 	Bits And Pieces 	
6 	Leftover Blues 	
7 	There You Are 	
8 	Early In The Mornin` 	
9 	Things Ain`t What They Used To Be 	
10 	Up Jumped The Devil

Austin City Limits
Austin, TX, 1996.02.06.

Alto Saxophone, Tenor Saxophone – Eric Demmer
Baritone Saxophone – Bill "Foots" Samuel
Bass – Harold Floyd
Drums – David Peters
Keyboards, Organ – Joe Krown
Tenor Saxophone – Dennis Taylor
Trombone – Chris Belleau
Trumpet – Terry Townson
Vocals, Guitar, Fiddle, Viola – Clarence "Gatemouth" Brown

Clarence "Gatemouth" Brown was a versatile and crowd-pleasing entertainer throughout his long career, but it's easy to overlook just how explosive a guitarist he was, and his style mixed an elegant, jazzy tone with a rough rustic edge, and the same could be said of his fiddle playing, or Brown on any of the other instruments he played, from mandolin to harmonica to piano. Brown pretty much invented his own bayou-tinged and jazzy Texas swing style, and if it centered on the blues, it didn't always. Brown was a maverick musician, with a raconteur's attitude and talent to burn, whether he was playing blues, jazz, honky tonk, Cajun, R&B, funk, or one his own wild fiddle breakdowns, and he kept at it all the way through to his death in 2005 at the age of 81. There was no one quite like him. This CD/DVD set presents a live show Brown did for the Austin City Limits TV series in 1996, the last of his four appearances on the show, and it makes for both a fine farewell and a well-recorded introduction to this one-of-a-kind musician. Brown commands the stage with personality and vigor, bringing a funky sway to "Born in Louisiana," big-band jazz to "Bits and Pieces," and gloriously ragged fiddle to "Up Jumped the Devil," with his signature guitar leads scattered all through. Granted, this is Brown reined in just a bit because of the various restraints of television, but it still documents an American treasure doing what he always did, delivering a show like no one else's, a literal tour of American music by a wonderfully unique musician. ---Steve Leggett, AllMusic Review

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1 - Gates Salty Blues (1956)
2 - Midnight Hour (1954)
3 - Please Tell Me Baby (1953)
4 - For Now, So Long (1954)
5 - Rock My Blues Away (1956)
6 - Ain't That Dandy (1956)
7 - Just Before Dawn (1960)
8 - Swingin' The Gate (1960)
9 - May The Bird Of Paradise Fly
10 - Up Your Nose (1965)
11 - A Long Way Home (1965)

Python PLP-KM 27
UK label from the late 60s and early 70s.
Specialised in Blues music. 

Clarence "Gatemouth" Brown's music doesn't elude categories. It embraces them. "An eclectic, a genre-weaver," says The Boston Globe. "Jazz, blues, bluegrass, zydeco, cajun and calypso all fit into his panoramic worldview." Gate is a multi-instrumentalist (guitar, violin, harmonica, piano, mandolin, viola and drums), but perhaps the most impressive aspect of his music is its variety. Gate sums it all up under the category of "American and World Music -- Texas Style." ---alligator.com

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A1 	I Live My Life 	
A2 	Justice Blues 	
A3 	Dirty Work At The Crossroads 	
A4 	After Sunset 	
A5 	Guitar In My Hands 	
A6 	Gatemouth Boogie 	
B1 	You Got Money 	
B2 	Without Me Baby 	
B3 	Depression Blues 	
B4 	Okie Dokie Stomp 	
B5 	Gate Walks The Board

Gatemouth Brown – guitar, vocals
Accompanied by Jimmy McCracklin's Band on items A3 & B2

Python Records PLP-KM 26

Clarence "Gatemouth" Brown. American multi-instrumentalist (guitar, fiddle, bass, drums, mandolin, viola, harmonica) and singer, who gained his nickname "Gatemouth" from a high school instructor who said Brown had a "voice like a gate". While he has been extremely influential in blues fiddle and Texas blues circles (even winning a Grammy Award for Best Traditional Blues Album in 1982 for his album Alright Again!), his music is an eclectic mix of blues, cajun, country, R&B, jazz, and more.

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01. Pressure Cooker
02. Let The Good Times Roll
03. Ain't That Just Like A Woman
04. Sad Sad Hour
05. Choo Choo Boogie
06. Slow Down
07. She Winked Her Eye
09. Salt Pork West Virginia
10. Taking My Chance
11. Ain't Nobody Here But Us Chickens
12. Just Got Lucky
13. Cold Storage

Musicians:
Clarence "Gatemouth" Brown – guitar, harmonica, vicals
Roland Loblogeois – bass
Milt Buckner – organ
Jay McShann – piano
Arnett Cobb – tenor saxophone
Michael Silva, Paul Gunther – drums

Born in Vinton, Louisiana, Brown was raised in Orange, Texas. His professional musical career began in 1945, playing drums in San Antonio. He was nicknamed “Gatemouth” for his deep voice. He received note, and his fame took off, during a 1947 concert by T-Bone Walker in a Houston nightclub. When Walker became ill, Brown took up his guitar and played “Gatemouth Boogie,” to the delight of the audience. He soon played guitar and other instruments, living primarily in Texas.

In the 1960s he moved to Nashville to participate in a syndicated R & B television show, and while he was there recorded several country singles. He struck up a friendship with Roy Clark and made several appearances on the television show Hee Haw. By the late 60s he had decided to leave the music business and he moved to New Mexico and became a deputy sheriff.

However, in the early 1970s several countries in Europe had developed an appreciation for American roots music, especially blues, and Brown was a popular and well-respected artist there. He toured Europe twelve times, beginning in 1971 and continuing throughout the 1970s. He also became an official ambassador for American music, and participated in several tours sponsored by the U.S. State Department, including an extensive tour of Eastern Africa. He moved to New Orleans in the late 1970s. ---last.fm

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01. Breaux Bridge Rag  
02. Folks Back Home  
03. Bayou Sam					play  
04. Loup Garou  
05. Louisian'  
06. Sweet Texas Rose  
07. Sheriff's Barbecue  
08. Bad Week For Old Fiddlers  
09. Sunrise Cajun Style  
10. Louisiana Woman  
11. Rosalie 					play 
12. Jamboree  
13. Waiting For Gate's Express  
14. Gate's Express  
15. Cassoulet  
16. Never Ending Song Of Love

Clarence "Gatemouth" Brown (vocals, violin, harmonica); 
Henry Vestine (guitar); 
Red Lane (acoustic guitar, electric guitar); 
Don Buzard (pedal steel guitar); 
Jim Ehinger (piano); 
Julius Farmer (bass instrument); 
Jack Huffman (drums); 
Geraldine "Sister Gerry" Richard (background vocals).

Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970. Both songs drew upon traditional Louisiana lycanthropic folklore, a tradition that advises against wandering around in the swamp under the moon as you just might get taken out by a werewolf. Bonus tracks include a choice sampling of "studio verbiage and other appropriate banter," "Gate's Express" (a ferocious bit of fiddling based on "Orange Blossom Special"), and "Cassoulet," a very danceable Cajun fiddling boogie recorded in Paris during the summer of 1973 with a rhythm section composed of members of the rock group Canned Heat. Anyone who enjoys Down South in the Bayou Country should also investigate Gatemouth's 1975 follow-up album, Bogalusa Boogie Man. --- arwulf arwulf, allmusic.com

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01. Midnight Hour
02. Sad Hour
03. Ain't That Dandy
04. That's Your Daddy Yaddy Yo
05. Dirty Work at the Crossroads
06. Hurry Back Good News
07. Okie Dokie Stomp		play
08. Good Looking Woman		play
09. Gate's Salty Blues
10. Just Before Dawn
11. Depression Blues
12. For Now So Long

Clarence "Gatemouth" Brown- Vocals, Guitar, Violin, Harmonica
Jimmy McCracklin- Piano
Henry Boozier- Trumpet
Bill Harvey- Tenor Sax
Ray Johnson- Bass
Nathaniel Douglas- Guitar
Fred Ford- Baritone Sax
Allen Clarke- Baritone Sax
Carl Lott- Bass
Carl Owens- Piano
Duke Barker- Drums
Emile Russell- Drums
Joe Toussaint- Bass
Johnny Parker- Alto Sax
Jual Curtis- Drums
Paul Monday- Piano
San Frisco Jeff- Drums.

Recorded in Houston, Texas between 1952 & 1959

Clarence "Gatemouth" Brown's 1950s recordings fuse the energy of big-band horns, the shuffles and boogies of R&B, and his own white-hot guitar leads. Greatly influenced by fellow Texans Blind Lemon Jefferson and T-Bone Walker, Brown absorbed their smooth, melodic, single-string solo technique, but added a rough-edged intensity to his explosive style. The slow blues "Dirty Work at the Crossroads" added Jimmy McCracklin's rolling piano to Brown's bold and brash guitar work, but it was the 1954 instrumental "Okie Dokie Stomp" that put Brown on the map. With blaring horns urging him on, Brown attacks the music with ferocity. "Ain't That Dandy" is another instrumental guitar romp, while 1959's "Just Before Dawn" features Brown's swinging violin. ---Marc Greilsamer.

Only 12 songs long, this collection remains the best place to begin appreciating why so many young Texas blues guitarists fell in love with Gatemouth Brown's style (until MCA decides to compile the ultimate Brown package, anyway). Listen to the way his blazing axe darts and weaves through trombonist Pluma Davis' jazzy horn chart on 1954's "Okie Dokie Stomp," and/or the stratospheric licks drenching "Dirty Work at the Crossroads." Brown proves that a violin can adapt marvelously to the blues (in the right hands, anyway) on "Just Before Dawn," and blows a little atmospheric harp on "Gate's Salty Blues." ---Bill Dahl, allmusic.com

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01.Sad Sad Hour	 3.51	    
02.You Got money  5.46	  	    
03.My Time is Expensive  4.31	 	    
04.Slow down  4.55	  	    	play
05.Taking my Chance  6.18 		    
06.Just got Lucky  3.53	 	play	    
07.Deep Deep Water  10.07	 	    
08.Goin' to Chicago  4.17		    
09.Dirty work at crossroads  4.47	 	    
10.Here i Am  3.25	 	    
11.New okie Dokie Stomp  2.37	 	    
12.Piney Brown Blues  5.04	  	    
13.Hot Club drive  7.13	 	    
14.The People  4.37

Clarence "Gatemouth" Brown (vocals, guitar, violin, harmonica); 
Jimmy Dawkins, Mickey Baker (guitar); 
Michel Attenoux (alto saxophone); 
Hal Singer (tenor saxophone); 
Xavier Chambon (trumpet); 
Al Grey (trombone); 
Jay McShann (piano); 
Stan Hunter (organ); 
Chris Columbus, Michel Denis, Paul Gunther (drums).

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)

In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX. --- Bill Dahl, allmusic.com

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1. She Winked Her Eye - 5:15
2. Slow Down - 3:58
3. Just Lippin' - 3:09              play
4. My Time Is Expensive - 4:28
5. Ain't Nobody Here But Us Chickens - 4:26
6. Pressure Cooker - 2:52           play
7. Ain't That Just Like A Woman - 5:26
8. Deep, Deep Water - 6:43
9. Cold Strings - 4:54

Personnel: 
Clarence "Gatemouth" Brown (vocals, guitar); 
Michael Attenoux (alto saxophone); 
Arnett Cobb, Hal Singer (tenor saxophone); 
Xavier Chambon (trumpet); 
Al Grey, Claude Gousset (trombone); 
Jay McShann (piano); 
Milt Buckner, Stan Hunter (organ); 
Roland Lobligeois (bass); 
Michael Silva, Paul Gunther, Chris Columbo (drums).

Before Gate was able to rebuild a following stateside, he frequently toured Europe. He recorded the contents of this inexorably swinging set in France in 1973 with all-star backing by keyboardists Milt Buckner and Jay McShann, saxists Arnett Cobb and Hal Singer, among others. Brown indulges his passion for Louis Jordan by ripping through "Ain't That Just like a Woman" and "Ain't Nobody Here but Us Chickens" and exhibits his immaculate fretwork on the torrid title item.---Bill Dahl, allmusic.com

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1 Stranded 03:53
2 Frosty 03:47
3 I Feel Alright Again 02:33
4 Sunrise Cajun Style 03:54
5 Sometimes I Slip 06:32
6 One More Mile 04:15
7 The Drifter 10:04
8 Real Life 03:52
9 Okie Dokie Stomp 04:10
10 Information Blues 03:23
11 Gate Walks to Board 03:58
12 Dollar Got the Blues 04:39

Clarence "Gatemouth" Brown (vocals, guitar, violin, fiddle); 
Luther Wamble (guitar); 
Bill "Foots" Samuel (saxophone, alto saxophone, tenor saxophone, baritone saxophone); 
Dennis Taylor, Homer Brown, Alvin "Red" Tyler (tenor saxophone); 
Joe Sunseri (baritone saxophone); 
Terry Tullos, Mark Wells, Stanton Davis, Jr., Bobby Campo (trumpet); 
Ernie Gautreau (trombone, valve trombone); 
Jim McMillen (trombone); 
Lawrence Sieberth, Lewis Stephens, Craig Wroten (piano); 
Dan Matrazzo (keyboards); 
Robert Shipley, Lloyd Herrman (drums).

Here's one for you: How many ways can you slice and dice a bluesman's catalog? Rounder already has Texas Swing, a generous 17-song (out of 20) sampling of Clarence "Gatemouth" Brown's two early-1980s gems Alright Again! and One More Mile--and both original albums are still available. Now they've shaved the running time (and the price accordingly) to give listeners yet another, more-affordable option. The real attraction here, however, is the addition of three smoking live cuts: two from 1985's Real Life (also available in its entirety) and one 10-minute romp through "The Drifter," recorded in 1982 and issued on the obscure 1992 compilation Strike a Deep Chord: Blues Guitar for the Homeless. Truth is, you can't really go wrong with any of these options, for Brown's assured vocals and razor-sharp guitar (and occasional fiddle or harp) always impress, whether on slow and gritty 12-bars, horn-fueled jump, or fleet-fingered swing. ---Marc Greilsamer, Editorial Review

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01. Information Blues 
02. Song For Renee 
03. Stranded 
04. Sunrise Cajun Style 
05. Big Yard 
06. Ain't That Dandy 
07. One More Mile 
08. I Wonder 
09. Flippin' Out 
10. Near Baku 

Personnel:
Clarence Gatemouth Brown (guitar, violin, vocals) 
Bill Foots Samuel (flute, alto sax, baritone sax, soprano sax, tenor sax, horn) 
Homer Brown (tenor sax, horn) 
Bobby Campo (flute, trumpet) 
Ernie Gautreau (trombone) 
Tom Moran (rhythm guitar) 
Robert Shipley (drums) 
Miles Kevin Wright (bass) 
Craig Wroten (piano)

Considerably more varied than its predecessor, with nods toward the Louisiana swamp ("Sunrise Cajun Style," complete with pedal steel guitar), sentimental ballads (Cecil Gant's "I Wonder"), and jazz ("Big Yard"). Blues purists will perk up for revivals of Junior Parker's "Stranded" and Roy Milton's "Information Blues." ---Bill Dahl, allmusic.com

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