If Not For You - Della Reese - The Singles Collection 1955-62 (CD)
You get as stupid as they do. So one of 'em kept saying, "Sing 'Faith,' sing 'Faith,'" so I did "Faith" and the kid come down and he put his arm around me, say, "Looka here, now you Ricky Allen. But just to think how close you can get to having problems.
Hooker used to put us in some trick bags. He had me booked all down in Mississippi, and I wasn't with him no place!
He had another guy, he looked like me. Hooker had him at Pepper's one night, and I'm gonna show you how Hooker was at that time, I mean he'd put you in a trick bag in a minute to get hisself off the hook. I walked in, we just came off the road, and this is right after this incident I was telling you about the kids down South. And I walk in, and Hooker jamming. Aw, man, we sitting there, and the place--he'd pack a house. He didn't have to use no phonies, but he want more money, he'll get any name to go with him.
See, that's a double crowd, that's twice the money. So anyway, I walked in and he had a guy up here, I see him every once in a while now, I don't know his name. Anyway, he says, "Here's Ricky Allen. He won first prize doing "You'd Better Be Sure. See, he was a hustler. I did pretty good, '63 and ' Moose Walker, he wanted to come with me, but what happened, Sonny Lantz, man, he had a little self-made organ.
I never will forget it. We used to rehearse on Ogden Avenue, over at the Imperial Lounge. We heard about the man. And as small as that thing was, it sounded good.
And so I picked him up. At that time, I had A. We had five pieces. And we had every night in the week locked up. Plus dances. Then I had [Lafayette] Leake, he's a piano player. And Hank Hankins, Draper and Beasley on horns. Julian Beasley. He did my arrangements for me. The only thing I didn't like about Beasley. Beasley was intelligent, he could write, but see, his wife had just died, and he sit on my bandstand and go to sleep.
We used to drive from Greenville, Mississippi all the way to Nashville to sleep, and that's a long way. And then come right back and play the next night. Drive from Lebanon to Hopkinsville, Kentucky to sleep, it's a long way. And you get around, you get around, and you be trying to keep your reputation, 'cause if you miss a gig, nobody won't hire you. I had my own show then. He was my drummer then. See, I brought him to Chicago, 'cause he was working in St.
And I know he was bad. He played behind B. That's right. He came in and rehearsed with us some, but what was If Not For You - Della Reese - The Singles Collection 1955-62 (CD), he was trading spots. Hooker would show up, Hooker'd come around, and he'd show Ivory the tune. But like I say, Ivory was consistent, and Hooker was maybe. Hooker traveled on the road all the time, and I stayed mostly around the city. See, my band was the house band at the Copa Cabana.
It was [dee-jay and promoter] Big Bill Hill's club. Lenore, and B. See, Milton is the one started me making money, though. Louis and got me two weeks gig there, man, and all I had to do was just be his guest. And see, when you're used to making 18, 19, 20 dollars a night, and you start makingdollars a night, and nobody else to pay but you, that's not bad! That's when [Muhammad] Ali and [Sonny] Liston was gonna fight, you remember they had such a controversy about it?
We coulda made a million off it if we could have got it out in time but we couldn't get the record out in time. Him and Saxy Russell was on that. But we didn't follow up. After then, I couldn't do anything else. See, Mel was putting all of his money behind Junior [Wells] because Junior was the hottest artist, then I went to Bright Star but it wasn't the same. Mel London was working for another company.
And then he came to me one week and telling me he didn't feel good and he's going to see his doctor, and then two weeks later, he is in the hospital, and then in another two weeks, he's dead, you know.
After Mel died [in ], his uncle called me and he wanted me to come over to look through some papers. But there was so much confusion about it, I lost contact with everything, man. But let me tell you one thing. I don't regret a thing. Ricky Allen. En dam som visade sig vara hans fru svarade, men Ricky var inte hemma.
Jag trodde jag skulle If Not For You - Della Reese - The Singles Collection 1955-62 (CD). Min mamma dog Jag var enda barnet. Jag gifte mig med min fru, Earlieredan Vi fick tvillingar som dog Nu har jag en Cadillacen Chevy samt en Chevy Van - Inga nya bilar, bara begagnat. Jag var bandledare och organiserade upp allt. Jag spelade inga instrument, jag var vokalist. Vi hade B. B KingJimmy ReedJr. WellsJ. Jag lade mig inte i vad andra artister gjorde. Freddy King skrev sin Hideaway. De liksom splittrade upp temat och spelade den under olika namn.
Vi skrev mycket tillsammans. Det var samma sak med The Big Fight. Jag trodde han blivit galen. Den spelades in Skivorna innebar att du blev omskriven. Sedan var det tal om Mercury, men Al Smith dog. Runt slutade jag helt. Jag skaffade mig ett vanligt arbete.
Jag hade tappat intresset. Men jag ville inte. Mel hade alla sin masters i studion, ingenting hemma. Jag satte ihop en fem manna grupp. Det klarar jag inte av. Det finns inga discjockeys kvar heller. Jag har delat ut Jefferson till dem. Intervju av Anders Lillsunde.
Foto: Susan Greenberg Jefferson My attitude is, if the people is for an artist, the artist should be able to read that. And if the artist is doing what the people want to hear, he shows the audience. He's just showing the people he's trying. I think this is what every artist really been needed and need to their life.
It's support, it's people who care. But we won't be able to give so much in minutes. That's for sure. If we can get one and a half - two hours, we got a chance to show people that it's hard to beat Luther Allison, at that kind of pace.
Oh, for many, many years. I'm pretty much after people like J. Lenoir, Howlin' Wolf, you know. There was a few other people who could do that. Buddy Guy and I have continued and Albert Collins, down the stretch. And many people don't like the idea, you know. They say; -"That's not the Blues, this is a clown".
No, people need you to receive. To go out and try to find. Especially nowadays, when the Blues takes over a little more people. It means a bigger venue. Sometimes people wanna be close to the Blues. Lenoir do this stuff.
I'm gonna continue to do it, I like the idea. If somebody that wanna write about it, don't like the idea, that's their problem. You understand what I mean. The audience love it. And what we try to let the audience know, it might be you next time.
We go over and kiss and touch and what not. You can't do it to everybody this time. But the next time, maybe it's you. Then you, and you. And you tell your chosen, your friends, your people, that never know about the Blues, how much fun you had.
Everybody don't do it now. A few people around the world still can try to do this. Because some people don't have the nerve to do it, number one. Especially if you're what we call a superstar, right.
I don't feel like I'm Michael Jackson, that the kids are gonna be tearing my clothes off, and all that stuff. So, I don't worry about that, I go for it. I go on top of them, from here to where you are.
If the whilers will hook, no problem. You've been going on for many years, now. Yes, yes. I enjoy what I'm doing. I'm so proud that people like you is telling the world about Luther Allison.
You, know, winning the W. Handy Awards, for me, was very, very special. Because I had gotten to a point, I had no idea that I had anything left in me to the listening people. If you listen to, go back to Luther Allison, from the last time with you in Norway, up til, until now.
Ah, how could you say Luther Allison is not qualified for this and not qualified for that. Because, what you saw in Norway is what I do all the time. And I can do it, all the time. Except, we can't say the songs we wrote in, we wrote inyou know. You can't say that. But so is B. These things happen. If people began to think about; -"Well, wait a minute. I ain't heard everybody do this, I ain't heard everybody do that. What is this with Cherry Red Wine? What is this talk?
What is this Big City"stuff. I ain't been listening to this". You know, it's like people say; -"Come on baby, don. That was a classic.
That's what Robert Johnson was telling that woman, at that time. And here is Luther Allison says; -"Come on, get ready. You gotta get the hell out of Chicago. Now, we gotta get away from the hood". All the damn then. Now, it's another day. So, I'm trying to make sure people know, that I'm trying to write positively about what's going on today. Not about then. A down and broken hearted old bluesman.
A down and broken hearted wise, a wrong doing dog. I'm talking about the real deal now. Young people gotta understand.
You walked away with five awards, had six nominations, as well. Did you expect that? I didn't expect anything. No, I did not on this one.
Because, you remember Soul Fixin' man? I thought that was one of the ultimate best blues records, with a touch of soul, on the market. Comparing to all the other people that everybody was talking about. I knew there was somebody down in Memphis, down in the States, or somewhere across the world, who knew about Luther Allison and love Luther enough.
But not enough people who Well, I don't believe in that, because all of them musicians, all the promoters knows about Luther Allison. They just say; -"Well, we ain't ready for you. We got other people we got to love first". To see if they control themselves and become worthy of another partner like I, Luther Allison. That's the way I feel it. But what I did expect, when I went to Memphis, and hooked up with the musicians that was so sweet, warm and kind, and needed a friend.
Many of them like I, Luther Allison. I think that was that, I took on two times more grammy awards for myself, just to do that. These people reminded me of when I came up to Chicago. We all used to hang out together and have fun. You don't see that too much no more. So, when I got to Memphis. I felt like I was in heaven all over again. Just to be there, just to be part of this stuff. And then, when the Handy's came, I had nothing to say after two Handy's. Soul Fixin' Man and Bad Love, are they the same record, in two versions?
One European If Not For You - Della Reese - The Singles Collection 1955-62 (CD) one American release. Is it the same situation with Blue Streak? Release yes, label different.
Recorded same place, Memphis, Ardient Studios. Like I always say, we have to We have to We deal with America and we deal with the European market. That's world trade. So, we had sold a lot of records in Europe, before we even went to the studio. But Bruce didn't like the title Bad Love, for some reason. Okay, you're two companies dealing in two different countries. Because I get the feedback".
Just like you and I is talking about that difference. Me, I like the Bad Love. Me, I lovedSoul Fixin' Man, no problem. But for you toas the record companies, you're supposed to compromise and get it together, in the best interest of your artist. Not your power to play to pull this, and pull that. And, that's the same thing happened with Cherry Red Wine. We pushed it for Watching You in Europe. Bruce didn't like Watching You, and we couldn't come up with anything else, that we gotta live with pretty much.
And if you talk about what is happening in the record, Watching You stands up more. But Cherry Red Wine seem to have a better hook for people who understand english, to a point; -"Well, he's talking about that stuff called As simple as that. So, they both works.
But Cherry Red Wine is a little more powerful. But you didn't Watching You, as another typical black Blues asset, to a Blues song. Watching You, Baby, it's what? That's normal! Exactly, and unfortunately, it had to go that way. With both, we get the same credit. Where the people would understand it's the same song. And why it's the same song. You know, you have to protect your artist. Don't leave it for people with; -"You got to have a brain enough to figure this out". No, because if we did, then we wouldn't have 62 million thousand computers doing that with ya!
But you had another song nominated. You had "Move away from the Hood", along with James Solberg. Oh yes. Well, James Solberg and I, we just go way, way back, for a long, long time.
I think When I got the contract to work, from Bruce Iglauer, with Alligator. I just called him up and say; -"Do you want part of this"? Because we talked about this many years. He used to have a nightclub up in Wisconsin, and all that stuff. Me and Koko TaylorOtis Rush, all of us used to play there. He tried to make sure we had some jobs, as when he was doing it. At the same time, he gets something out of it to. He says yes, and so we went for it.
Matter of fact, next week, this coming Friday, I would be headed back to the other side. Trying to make sure we're starting all over again.
To get ready for another record. You've got a brand new CD out now. Well, that's another of the things that we give the great Thomas Ruf credit for. He's looking inside. He's a young producer, a young record company. Trying to make sure he come up with the right kind of answer, for a lot of these people that like the Blues.
And we're taking each other to school, into the strip. And try to make sure that we can recapture some Luther Allison. That was never really put out there for the people who understand that Luther Allison had to be doing something to win five Handy awards, in So this thing we decide, we gotta listen to these tapes, we got a chance to listen to these tapes. We're gonna listen back, to clean up some of the stuff, if we can. And put it out there, because what we're dealing with in Europe, is Luther Allison being lucky enough to say; -"I've been touring Europe for 20 years.
Since to ". And that's a beautiful track record. So, we got a live release from the first place I ever played in Europe. It's Montreux Jazz Festival, from to And bits and pieces of what Luther Allison had done then, all the way up untilon records. That's where we're coming from, and we hope so many people will buy this record and go back and understand, I still can do probably everything that's on this new record.
And I love to go back to do some of that. But in the meantime, we're just gonna go forward. And try to hope that maybe somebody in Memphis, down at the Handys, will take a look at this record.
As a foreign release, or what now. And give us credit for it. And give us another shot at five, or six, or ten more Handys next year. You told me at Notodden Blues Festival, that what's left for you to do, is something for the young people. What precisely would you try to do? Well, number one When I was back in Chicago at Buddy Guy's club I have nephews and nieces and stuff.
Everyone at that scale is young, got different music appears, living in the hood. Saying; -"Uncle, can you help us? We got a great group. But uncle, as you know, we have no money. We have no management, we have no gigs. We have no way out, we have no place to play really". And I said, -"If I get to it this year, for sure, I will find a couple of days to come down, and try to show you guys how to get out of that.
But in the meantime, what I'm trying to do, is to hook you up with some of the major bluesclubs, that I play. Where you'll be able to experiment your music to this kind of audience, that I deal with". Because, on the other side Now you gotta look at the fact, not even in the states There's a few black musicians today, that's Blues. That do not have that black audience, which so many people in Europe would figure we would have, because we're black.
Well, we don't have it. BB King has it now, to a point, he's had it all his life. I would even say Buddy Guy got it. Or, as a total, because it's just not there. We have to reprogram, we have to make sure a record company's going down and buy black ghetto time, at any rate.
And we got one thing working for us. They cannot discriminate against us. So what we gotta do is take our material there and say we want it played on our black station, to our black people as well. And we all know, black and whites do fall apart, on certain areas. Some of them become superstars, but then again, they're trying to come together. But, we don't have to wait that long, matter of fact. We ain't got that long to wait.
These youngsters is growing up and they're growing up with a mind that nobody cares. It's like rap music. People come to me every day. I love the idea because they got somebody to communicate with. Just like they did up in the early days with rock'n'roll. The young people are the ones who's interested.
It's not the old people. The young people, they can rap and everybody in the world jump on it. Black, white, purple, you name it. All I say is clean up the words, you don't have to be violent. But you do need communication. Now, if you talk rap, you listen to the old DJ's of rock'n'roll, blues, that had those rock'n'roll when it first came in. Soul music, folk music, you're talking rap music right on that because that's what they DJ's did.
They've been doing this, so what's wrong with rap music? Just change the words. Because, even in blues there was dirty words. You just can't be accepted in the United States to say dirty words. Mick Jagger said dirty words for a whole lot of years, even in U. And he loved it. He's doing this here". But he made name, he made money. We're gonna try to go out there and save some of this energy and stop being greedy and If Not For You - Della Reese - The Singles Collection 1955-62 (CD).
And really focus a lot more on younger people comin' up the stretch, white, black, blue or purple, you name it. And see if we can get some response from radio stations and stars.
And we can play for instance on the radio station, saying; -"I'm gonna play a bluessong, I'm gonna play a rocksong, I'm gonna play a soulsong, I'm gonna play a folksong, I'm gonna play a jazzsong". I don't care if I'm right with what children just can hear. What difference? Well, let them be the judge.
If you call it out, you ain't got a chance, because they're gonna listen to that one program corner. If it's blues they like, it's blues they like. If they don't like it, they may go down and listen to that programmed thing, where everybody'll be.
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In Other Climes 1. IRabBits 1. Italian Secret Service 1. Jack Nitzsche 1. Jackie Leven 1. Jackie Wilson 3. Jacqui Dankworth 1. James Grant 1. James Last 1. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab. Add to Watchlist. This listing was ended by the seller because the item is no longer available. This amount is subject to change until you make payment.
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