Fats Domino Goin' Back To New Orleans - Capitol and Liberty Soul Classics Series (CD, Japan)

Fats Domino: Goin' Back To New Orleans - Capitol and Liberty Soul Classics Series (CD, Japan)

It Keeps Rainin' Three Nights A Week

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Artikeleigenschaften von Fats Domino: Goin' Back To New Orleans - Capitol and Liberty Soul Classics Series (CD, Japan)

• Interpret: Fats Domino

• Albumtitel: Goin' Back To New Orleans - Capitol and Liberty Soul Classics Series (CD, Japan)

• Format CD

• Genre Rock 'n' Roll

• Title Goin' Back To New Orleans (Capitol and Liberty)
• Release date 1991

• SubGenre Rock - Rock'n'Roll

• EAN: 4988006656079

• weight in Kg 0.100

Artist description "Domino, Fats"

Fats Domino

Though others were flashier, wilder, louder, and sexier, Fats Domino was the bedrock of rock 'n' roll and rhythm & blues in the 1950s and the early 1960s. Without him, his fellow rock pioneers would not have existed in any meaningful way, as he laid the foundations of rhythm and emotional expression on which he and others built the booming two-minute musical telegrams that changed the world. I wrote the first biography on Fats Domino last year,'Blue Monday: Fats Domino And The Lost Dawn Of Rock 'n' Roll,' for which the definitive Bear Family Fats Domino boxed set 'Out Of New Orleans' is the perfect soundtrack. But sometimes you just want to hit the high spots…hence this great CD.

For over a century before Antoine Domino was born, his French-speaking 'Creole' family had been sugarcane workers in St. James Parish, about 30 miles up the Mississippi River from New Orleans. He was born on February 26, 1928 after his family moved to the rural Lower Ninth Ward of New Orleans. From an early age Antoine loved music, and that love took off after his brother-in-law, Harrison Verrett, a talented jazz banjoist, taught him the basics of piano playing. From then on, Antoine practiced constantly, leading to his departure from school in the fourth grade. He worked at various odd jobs, including as an iceman's helper, a stable boy, and a mechanic. After he took a steady job in his late teens at the Crescent City Bed Factory, Antoine began playing local bars, running into his first band member, saxophonist Robert 'Buddy' Hagans and bandleader Billy Diamond, who soon dubbed Antoine 'Fats' during a stint in which Diamond's band played the Robin Hood club. One of the songs that Domino played during this time was Albert Ammons' Swanee River Boogie (based on Stephen Foster's The Old Folks At Home), which Fats later recorded as Swanee River Hop.

After quitting Diamond's band, Fats led his own band at the Hideaway, a hole-in-the-wall club on Desire Street, where in late 1949 local bandleader Dave Bartholomew and Imperial Records owner Lew Chudd (who was visiting from Hollywood), discovered him playing the popular piano blues favorite The Junker's Blues. Bartholomew and Domino changed the song's drug lyrics into The Fat Man, which became Fats' theme song and his first national hit in the R&B charts in 1950. After two unsuccessful tours with Bartholomew, the pair split up for over a year, in which time Domino developed his style and formed his own band, achieving his first R&B #1 hit with Goin' Home in 1952. Just before their official reunion, Bartholomew got Domino to sit in on piano on Lloyd Price's Lawdy Miss Clawdy that year, leading to the classic 'New Orleans Sound' – combining a strong beat, layered rhythms, and a shouting vocal – and a major crossover which knocked Goin' Home from its perch at the top of the R&B charts.

Major R&B hits followed in 1953, including Going To The River, Please Don't Leave Me, and Rose Mary. By 1954 jukebox operators declared Domino the top R&B seller in the country, but that was just a prelude to Domino's dramatic crashing of pop hit parade party in 1955 with the booming rhythms of Ain't It A Shame, a landmark top ten pop crossover hit (following Pat Boone's lame cover version) in the summer of 1955.  Soon afterwards, Chuck Berry, Little Richard, Elvis, and others followed in Domino's mighty footsteps. However, Domino's follow-ups, All By Myself and Poor Me, also #1 R&B hits, failed to make the pop charts.

A Domino session at Cosimo Matassa's J&M Studio in New Orleans in October 1955 would help to remedy the situation, as it produced Bo Weevil, which put Fats back into the pop top 40 in early 1956, as well as the I'm In Love Again, which was so easy-going and conversational with its stomping beat that its romped all the way to #3 in the pop charts in mid-1956, becoming Fats' biggest hit to date. The B-side was Domino's rocking, drawling interpretation of My Blue Heaven, a massive 1927 pop hit by Gene Austin and Paul Whiteman that was even in the repertoire of blues icon Robert Johnson. The song established the precedent for rocking pop standards and attracted a substantial adult audience to Fats' records for the first time. Domino's version of When My Dreamboat Comes Home continued the trend, with a blasting cover of a 1936 Guy Lombardo hit. Sax man Herbert Hardesty blew sweet rocking solos on both records.

The third of Domino's 1956 standards' trilogy was Blueberry Hill, first recorded by Gene Autry for the 1940 movie 'The Singing Hill' and a number one hit that year by Glenn Miller. Fats heard Louis Armstrong sing it and wanted to record it someday. Unfortunately, he didn't get a full take when his band recorded it in Hollywood in June 1956. Engineer Bunny Robyn pieced it together, and Lew Chudd of Imperial Records made it the b-side of the riff rocker Honey Chile, which Fats plugged in the movie 'Shake, Rattle And Rock!' instead. Fats sang Blueberry Hill on the Ed Sullivan show on November 18, 1956 and the rest is history. Elvis Presley's obsession with the song is especially notable, as he would always 'hound' Fats to play it for him in Las Vegas.

Blue Monday, written by Dave Bartholomew after a painful 1950 club stand with Domino in a blizzard in Missouri, where he afterwards witnessed Kansas City's Blue Monday nightclub performances. The favorite song of Domino, Bartholomew, and Lew Chudd, Fats played it in the movie 'The Girl Can't Help It.' Everyone from Buddy Holly to Bob Seger and Fleetwood Mac recorded this workingman's anthem, which also influenced #1 hits like Staggerlee, The Wanderer, and That'll Be The Day musically.

Fats wrote I'm Walkin' without Bartholomew, performing it on piano at Lew Chudd's house in the fall of 1956. The great parade rhythms of Domino, drummer Earl Palmer, bassist Frank Fields, and guitarist Papoose Nelson, as well as Herbert Hardesty's fine solos, add immeasurably to thrill of this scintillating rocker, which also kicked off Ricky Nelson's career. It has been recorded by both jazz and country greats, including Ella Fitzgerald, Count Basie, and Hank Williams, Jr.

In 1957 Fats recorded a number of more pop-oriented hits, which were solid, though not quite as monumental as earlier hits. It's You I Love (b-side of Valley Of Tears) and Wait And See (from the 1957 movie 'Jamboree!') had solid grooves, unlike The Big Beat, the title song of a 1958 movie that belied its name with an annoying tinny piano. Its b-side, I Want You To Know, however, was a haunting minor-key song that impressed both Buddy Holly & Crickets and the Everly Brothers when Fats performed it on the late 1957 Alan Freed New York Paramount shows that he headlined over them. Both Sonny Curtis and Jerry Allison (who still plays it) recall Holly's love of the song, while the Everlys later recorded it.

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