Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - goldminemag
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - metal rules
Bear Family Records, the international gold standard for excellence in music reissues, offers the most in-depth look yet available at the groundbreaking R&B and rock ’n’ roll hits of the pioneering New Orleans singer-pianistFats Domino in its new box set I’ve Been Around, to be released November 8, 2019.
The monumental collection contains 312 tracks comprising all the Crescent City titan’s work forImperial Records, for which he cut his first and greatest hits from 1948-1962, and ABC-Paramount Records, his recording home from 1963-65. A motherlode of originally unreleased alternate takes, undubbed and unedited masters, and newly discovered instrumental backing tracks, is included.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Bear Family Records, the international gold standard for excellence in music reissues, offers the most in-depth look yet available at the groundbreaking R&B and rock ’n’ roll hits of the pioneering New Orleans singer-pianistFats Domino in its new box set I’ve Been Around, to be released November 8, 2019.
The monumental collection contains 312 tracks comprising all the Crescent City titan’s work forImperial Records, for which he cut his first and greatest hits from 1948-1962, and ABC-Paramount Records, his recording home from 1963-65. A motherlode of originally unreleased alternate takes, undubbed and unedited masters, and newly discovered instrumental backing tracks, is included.
Domino (1928-2017) was the first major artist to explode off the R&B charts and into the teenage consciousness during the 1950s. He made his mark both as a session pianist behind Big Joe Turner, Lloyd Price, and Smiley Lewis (whose work backed by the keyboardist is heard on I’ve Been Around) and as a star in his own right, notching hit after hit with his sunny vocalizing and romping, rolling work on the 88s.
He changed American music in the process by crafting universally popular songs that bridged the then seemingly vast chasm between African-American and white audiences. New Orleans bandleader Dave Bartholomew called him the “cornerstone” of rock ’n’ roll.
As biographer Rick Coleman noted in Blue Monday: Fats Domino and the Lost Dawn of Rock ’n’ Roll, the musician “[stepped] beyond blues and jazz to the crossroads of a new, wider world that he would help create both musically and socially.” In 1986 he was one of the 10 inaugural inductees in the Rock and Roll Hall of Fame.
Press - Fats Domino I’ve Been Around - The Complete Imperial and ABC Recordings - shepherdexpress.com
A case could be made for 1948 as the birthdate of rock and roll. "Okie Boogie," recorded that year by The Maddox Brothers and Rose, was western swing stripped to bedrock with a furiously pounding rhythm yanking the usually tragic pedal steel along for a reckless ride. Then again, a track by Bob Wills and his Texas Playboys, "Seven Come Eleven," recorded in 1945 and also included in The Bakersfield Sound, also hints at rockabilly with its fierce slapping rhythm.
The Bakersfield Sound is a magnificently authoritative 10-CD box set whose heavily illustrated hardbound book contains artist bios and track-by-track notations. Wills was included in the set for his seminal influence on the country music scene that coalesced in the environs of Bakersfield, Calif. The city was a mecca for Dust Bowl refugees with farm fields and oil wells offering work for any man willing to roll up his sleeves. Honky-tonks were their place of refuge when the workday ended.
Bakersfield is recalled as an alternative to Nashville, and during the 1960s, it challenged the Tennessee town as country music's capital. All of the folks whose recordings are collected here had aspirations of popularity, and some made it. To generalize the difference with Nashville, the Bakersfield boys (and several gals) were proud of their authentically rural roots and had no interest in hiding them behind slickly conceived pop arrangements.
A case could be made for 1948 as the birthdate of rock and roll. "Okie Boogie," recorded that year by The Maddox Brothers and Rose, was western swing stripped to bedrock with a furiously pounding rhythm yanking the usually tragic pedal steel along for a reckless ride. Then again, a track by Bob Wills and his Texas Playboys, "Seven Come Eleven," recorded in 1945 and also included in The Bakersfield Sound, also hints at rockabilly with its fierce slapping rhythm.
The Bakersfield Sound is a magnificently authoritative 10-CD box set whose heavily illustrated hardbound book contains artist bios and track-by-track notations. Wills was included in the set for his seminal influence on the country music scene that coalesced in the environs of Bakersfield, Calif. The city was a mecca for Dust Bowl refugees with farm fields and oil wells offering work for any man willing to roll up his sleeves. Honky-tonks were their place of refuge when the workday ended.
Bakersfield is recalled as an alternative to Nashville, and during the 1960s, it challenged the Tennessee town as country music's capital. All of the folks whose recordings are collected here had aspirations of popularity, and some made it. To generalize the difference with Nashville, the Bakersfield boys (and several gals) were proud of their authentically rural roots and had no interest in hiding them behind slickly conceived pop arrangements.