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Clarence "Gatemouth" Brown - The Original Peacock Recordings (1983)

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Clarence "Gatemouth" Brown - The Original Peacock Recordings (1983)

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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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