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Bobby Charles What A Party - The Complete Recordings From 1955-66 (2-CD)

What A Party - The Complete Recordings From 1955-66 (2-CD)
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2-CD digisleeve with 36 page booklet, 65 tracks. Total playing time approx. 155 min....more

Bobby Charles: What A Party - The Complete Recordings From 1955-66 (2-CD)

2-CD digisleeve with 36 page booklet, 65 tracks. Total playing time approx. 155 min.

  • Bear Family Records® provides the first comprehensive overview of the decisive years (1955-1966) in the career of a unique musician and songwriter: Bobby Charles.
  • Double CD featuring his early ballads from southern Louisiana and his Chess recordings of New Orleans rock & roll, plus additional tunes for Jewel, Paula, and Hub City.
  • Swamp Pop - created at a time when that term was not yet common.
  • He wrote Walking To New Orleans, Four Winds and What A Party for Fats Domino - we provide Bobby's own versions.
  • Detailed biography and session information by Bill Dahl.
  • Carefully processed recordings and an extensive illustrated booklet, as is customary with Bear Family releases.

Long before the term ‘swamp pop’ was coined, Bobby Charles was one of the idiom’s primary architects, writing and recording the prototypical mid-‘50s South Louisiana ballads On Bended Knee, Why Did You Leave, and Why Can’t You. He was also a dedicated New Orleans rock and roller whose sizable output for Chess Records included the original Later Alligator and the Crescent City scorchers Take It Easy Greasy, Laura Lee, and No Use Knocking. 

No less than 65 of Bobby’s bayou-bred gems for Chess, Imperial, and Jewel/Paula constitute Bear Family Records®’ double CD ‘What A Party - The Complete Recordings 1955-66‘, easily the most comprehensive overview of Charles‘ career ever compiled. 

A prolific composer in addition to his recording exploits, Robert Charles Guidry was the first swamp rocker to emerge from The Big Easy, his easy-going vocal approach exhibiting Fats Domino’s influence. They both recorded Four Winds and What A Party for Imperial; this set also includes Bobby’s own reading of Walking To New Orleans, a massive hit for Fats. 

Charles‘ romping ‘65 rendition of Jimmy McCracklin’s The Walk is here too, along with a handful of rarities new to CD. It all adds up to a deluxe tribute to a south Louisiana treasure who deserved a much higher profile.

Article properties:Bobby Charles: What A Party - The Complete Recordings From 1955-66 (2-CD)

  • Interpret: Bobby Charles

  • Album titlle: What A Party - The Complete Recordings From 1955-66 (2-CD)

  • Genre Rock'n'Roll

  • Label Bear Family Records

  • Edition 2 Deluxe Edition
  • Price code AS
  • Artikelart CD

  • EAN: 4000127176967

  • weight in Kg 0.115
Charles, Bobby - What A Party - The Complete Recordings From 1955-66 (2-CD) CD 1
01Later AlligatorBobby Charles
02On Bended Knee (false start)Bobby Charles
03On Bended KneeBobby Charles
04Hey Good Lookin' (unissued)Bobby Charles
05Why Did You LeaveBobby Charles
06Don't You Know I Love YouBobby Charles
07Watch It, SprocketBobby Charles
08Time Will TellBobby Charles
09Take It Easy, GreasyBobby Charles
10Laura LeeBobby Charles
11No Use KnockingBobby Charles
12Why Can't YouBobby Charles
13Ain't Got No HomeBobby Charles
14No More (I Ain't Gonna Do It No More)Bobby Charles
15You Can't Suit YourselfBobby Charles
16Put Your Arms Around Me HoneyBobby Charles
17Lonely StreetBobby Charles
18Mr. MoonBobby Charles
19I'm A Fool To CareBobby Charles
20Over YonderBobby Charles
21I'll Turn Square For YouBobby Charles
22One Eyed JackBobby Charles
23Yea Yea BabyBobby Charles
24Good Lovin'Bobby Charles
25Your PictureBobby Charles
26Oh YeahBobby Charles
27Since I Lost YouBobby Charles
28At The JamboreeBobby Charles
29Since She's GoneBobby Charles
30Bye Bye BabyBobby Charles
31What Can I DoBobby Charles
32The Town Is TalkingBobby Charles
33Nothing Sweet As YouBobby Charles
34Four Winds (Let The Four Winds Blow)Bobby Charles
35Those EyesBobby Charles
Charles, Bobby - What A Party - The Complete Recordings From 1955-66 (2-CD) CD 2
01What A PartyBobby Charles
02I Just Want YouBobby Charles
03TeenagersBobby Charles
04Tell Me BabyBobby Charles
05I'd Like To KnowBobby Charles
06Lovesick BluesBobby Charles
07Everybody's LaughingBobby Charles
08Everyone KnowsBobby Charles
09Goodnite IreneBobby Charles
10I HopeBobby Charles
11I Hope (undubbed)Bobby Charles
12Preacher's DaughterBobby Charles
13Preacher's Daughter (alt. take)Bobby Charles
14Ain't Misbehavin'Bobby Charles
15Oh Lonesome MeBobby Charles
16Oh Lonesome Me (alt. Stereo Mix)Bobby Charles
17One More Glass Of WineBobby Charles
18One More Glass Of Wine (alt. Stereo Mix)Bobby Charles
19Worrying Over YouBobby Charles
20The WalkBobby Charles
21The Walk (alt. Stereo Mix)Bobby Charles
22The Jealous Kind (unissued)Bobby Charles
23Cross My Heart (unissued)Bobby Charles
24Who's Sorry Now (unissued)Bobby Charles
25Walking To New Orleans (unissued)Bobby Charles
26See You Later Alligator (unissued)Bobby Charles
27Big Boys CryBobby Charles
28You Made Me Love YouBobby Charles
29SometimesBobby Charles
3024 HoursBobby Charles
Bobby Charles See You Later, Alligator Late at night after a gig in Abbeville, Louisiana... more
"Bobby Charles"

Bobby Charles

See You Later, Alligator

Late at night after a gig in Abbeville, Louisiana a local white R&B band named the Clippers stopped at the Ol' Midway, a local 24-hour restaurant. Finishing his meal, lead singer Bobby Guidry was leaving with the guitarist, who was driving him home. Bobby turned to the pianist, who was still eating, and said, "See you later, alligator!"

In 1955 Bobby Guidry was a 17-year-old Cajun teenager from Abbeville, Louisiana--population 9,308, in Vermilion Parish, just south of Lafayette. "I come from a very poor family," he noted. "We never really had a car, a TV, or anything. We just survived."  Emory and Edwina (Richard) Guidry raised four children; he delivered gasoline to rice farmers in the area and she was a housewife.

Bobby had grown up with his French-speaking parents listening to Cajun radio, but when they were bickering, he turned the dial and discovered the amazing sounds of country and rhythm & blues--notably his idols, Hank Williams and Fats Domino. Warren Storm, who went on to swamp pop fame, was a school chum; they recorded demos in the bathroom and traveled to New Orleans to see Paul Gayten's band play at the Brass Rail. Bobby loved R&B so much that he joined a band called the Cardinals including musicians older than him who attended Southwestern Louisiana Institute.

According to another Abbeville musician, Ned Theall (later the leader of the Boogie Kings), guitarist Larry Guidry started the Cardinals playing Guitar Slim and Earl King songs with a black harmonica player/vocalist named Raphael, who went over well in the white clubs, but hotels and restaurants banned him. After Bobby joined, Larry changed the band's name to the Clippers. "What a band!" , Theall declared in his book-length autobiography on the Boogie Kings' website. "The Clippers were a huge influence on local music for many years to follow."  Within weeks of Bobby's hiring, the band had three saxophones, college men Harry Simoneaux, Carlo Marino, and Raoul Prado, and a rhythm section including pianist Edwin Leblanc and drummer Kenneth Theriot.

Back at the Ol' Midway, drunken girls and guys in the booth near the door heard Bobby's farewell to his gator—a phrase which was popular in the Louisiana swamplands, where alligators were a plentiful nuisance; people hunted (or raised) them for their leather and meat; Bobby in particular had a pet gator in his pond.

A girl replied to his hip salutation, but Bobby didn't quite hear the reply as he exited the restaurant. He went back inside and asked her, "What did you say?"  "After a while, crocodile!" laughed the girl. "I love you!"smiled Bobby. He went home and stayed up all night to write his song. His dad, who had to get up before dawn to drive his truck, yelled at him to turn the light out. "I used to always make up songs," stated Bobby. "It's a gift from God is all that can see, 'cause I can't read or write a note of music. I can't play any kind of musical instrument. For some reason the songs just come out. But if they don't come from the heart, they don't come out."

Not long afterwards Bobby was thrilled to see his hero Fats Domino in person in Abbeville at Robinson's Recreation Center. He was one of the few white faces in the hall, but he bravely went up to meet Fats afterward. He even told him he had a song for him called See You Later, Alligator. "I don't know about alligators and stuff like that," laughed Fats. "You gotta listen to this song," pleaded Bobby. "I just finished doin' a session," said Fats, "but maybe later on."

Bobby was disappointed but his band played at a high school graduation dance in Crowley, and Bobby sang See You Later, Alligator. The young Cajuns really liked the song; they requested it five or six times. Charles 'Dago' Redlich, who owned Dago's Record Shop in Crowley, came up to Bobby afterwards and told him that Leonard Chess had told him to let him know if he ever heard anything exciting. The next day at the record store, they called collect to Chess, who asked Bobby to sing him the song. So Guidry sang his alligator ode to a man 1,000 miles away in Chicago.

Leonard liked the song. "You go to New Orleans," said Chess, "I'm gonna call Paul Gayten. He'll arrange some studio time for you at Cosimo's. And he'll get the musicians." Bobby bristled; he told him that he recorded with his own band or no deal. After some discussion, Chess agreed.

Guidry and his band headed to New Orleans one night after a gig in October 1955. They went right into J&M Studio "as tired as can be"  and recorded See You Later, Alligator. The rhythm section beat out a rapid shuffle with drummer Kenneth Theriot plastering his snare drum, the saxes and guitar sawing the song's riff, and pianist Ed LeBlanc manically plinking the high keys (until his fingers periodically wore out). Tenor sax man Harry Simoneaux jumped in midway with a solo sounding appropriately like a goose honking frantically as a gator chomped it. Bobby delivered his classic song in his gruff hipster's talk-sing.

The phrase "see you later, alligator"  may have first become popular around New Orleans, since, as Shane Bernard notes in his book 'Swamp Pop,' Mississippi keelboatmen used the slang "alligator" (later shortened by local jazzmen to "gator" and "gate") to refer to people both positively and negatively. On the other hand, Jim Dawson in 'Rock Around The Clock,' states that jazzmen (perhaps referring to big-jawed hornmen with 'chops') used the terms "gate," "gates," and "gater"  to refer to hipsters who swing like a gate, leading to the puns in saxophonist Willis Jackson's 1949 instrumentals Gator Tail and Later For The Gator. In any event, the rhyming jazz jive talk of the 1930s and 1940s became popular with white youths in the 1950s, notably in this case, those in Louisiana with connections to both black music and alligators.

Bobby Charles See You Later, Alligator
Read more at: https://www.bear-family.com/charles-bobby-see-you-later-alligator.html
Copyright © Bear Family Records

 

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