Guitar Slim: You're Gonna Miss Me - The Complete Singles Collection 1951-1958 (CD)
Guitar Slim's guitar style was highly individual and somewhat original and was an inspiration to scores of guitarists from Buddy Guy to Jimi Hendrix and Frank Zappa.
Here for the first time Jasmine have gathered together all of his singles in one package and of course this includes his phenomenal hit, 'The Things That I Used To Do' which topped the Billboard R&B charts for a remarkable 14 weeks selling over a million copies. The song has now become staple of the genre and has been covered by Stevie Ray Vaughan, James Brown, Chuck Berry, Freddy King to mention a few!
Article properties: Guitar Slim: You're Gonna Miss Me - The Complete Singles Collection 1951-1958 (CD)
|Guitar Slim - You're Gonna Miss Me - The Complete Singles Collection 1951-1958 (CD) CD 1|
|01||Bad Luck Is On Me (Woman Troubles)|
|02||Cryin' In The Morning|
|04||Standin' At The Station|
|07||The Things That I Used To Do|
|08||Well, I Done Got Over It|
|09||The Story Of My Life|
|10||A Letter To My Girlfriend|
|11||Later For You Baby|
|12||Trouble Don't Last|
|15||Our Only Child|
|16||Stand By Me|
|17||I Got Sumpin' For You|
|18||You're Gonna Miss Me|
|20||Think It Over|
|21||Sum'thin' To Remember You By|
|22||You Give Me Nothin' But The Blues|
|23||Down Through The Years|
|25||If I Should Lose You|
|26||It Hurts To Love Someone (That Don't Love You)|
|27||I Won't Mind At All|
|28||Hello, How Ya' Been, Goodbye|
|29||When There's No Way Out|
|30||If I Had My Life To Live Over|
Guitar Slim and His Band
Guitar Slim and His Band
The Things That I Used To Do
Talk about outrageous showmanship, Eddie 'Guitar Slim' Jones wore bright red, blue, and green suits and shoes—and dyed his hair to match! He'd enter and exit venues playing his axe via a 200-foot cord while riding the shoulders of a muscular roadie. And he'd turn up the volume on his box to the boiling point—all treble and no bass, through tinny speakers—to achieve a biting distortion anticipating rockers more than a decade down the line. People across the South took notice fast.
"He was incredible. He had some kind of charismatic thing about him that he drew people before he even started making recordings. He'd just go somewhere and perform, and the next time he'd go back there, there'd be a mob," said his New Orleans disciple, the late Earl King. "There'd be crowds of people, you know, word of mouth: 'Guitar Slim is coming back here!'"
People in the New Orleans neighborhood where he lived took notice too. "Eight o'clock in the morning with the amp cranked up, man, you could hear him two blocks away," said Earl. "They wanted to put him out of the hotel where he was staying because of the noise, but he wouldn't pay 'em no mind. Nobody at that time had no kind of rig like Slim. That was unheard of. Everybody had those little tiny amps, and Slim used to use the P.A. system with big huge speakers. Some of his own inventions. What a character, man!"
Born December 10, 1926 in Greenwood, Mississippi, the Delta bluesman found his way to New Orleans by 1950, when he was featured at Frank Painia’s Dew Drop Inn. Imperial took a chance on Slim first in '51, but neither those two singles nor one for J-B the next year sold. Painia hooked the lanky guitarist up with bassist Lloyd Lambert's band and got him an audition with Johnny Vincent, then working as a Specialty Records A&R man. On October 26, 1953, Slim went into Cosimo Matassa's J&M Studio in New Orleans to wax his first date for Specialty with Lambert's crew: drummer Oscar Moore, four horns including tenor saxist Joe Tillman, and young moonlighting pianist Ray Charles, who also handled the arranging.
Slim's timing eccentricities meant that each song cut that day required numerous takes, including his masterpiece, The Things That I Used To Do. The horns sway, Slim testifies vocally with sanctified passion, and his guitar rings with raw emotion (Brother Ray's joyous 'Yeah!' on the final break probably indicates how happy he was to get a releasable take). Specialty boss Art Rupe wasn't impressed, telling Vincent his job was on the line if the record bombed. Johnny had the last laugh when Slim sat atop the R&B charts for 14 weeks at the start of '54. Things even dented the pop hit parade, peaking at #23—unheard of for a Southern blues.
- Bill Dahl -