Lonnie Johnson with Elmer Snowden Blues & Ballads (LP, 180g Vinyl)
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- catalog number: LPCR00838
- weight in Kg 0.38
Lonnie Johnson with Elmer Snowden: Blues & Ballads (LP, 180g Vinyl)
“Blues & Ballads” is Lonnie Johnson 's third album, released in 1960. The diverse range of originals and covers showcases Johnson's versatility on guitar and as a singer. Johnson is joined on this recording by his contemporaries Elmer Snowden and Wendell Marshall. AllMusic stated that Johnson “effortlessly reveals his artistic range”.
Includes (AAA) lacquers cut from the original tapes and pressed on 180-gram vinyl at QRP. A replica tip-on sleeve completes the package.
Video von Lonnie Johnson with Elmer Snowden - Blues & Ballads (LP, 180g Vinyl)
Article properties: Lonnie Johnson with Elmer Snowden: Blues & Ballads (LP, 180g Vinyl)
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Interpret: Lonnie Johnson with Elmer Snowden
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Album titlle: Blues & Ballads (LP, 180g Vinyl)
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Genre Blues
- Geschwindigkeit 33 U/min
- Vinyl record size LP (12 Inch)
- Record Grading Mint (M)
- Sleeve Grading Mint (M)
- Vinyl weight 180g Vinyl
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Artikelart LP
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Label Craft Recordings
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EAN: 0888072655751
- weight in Kg 0.38
| Johnson, Lonnie - Blues & Ballads (LP, 180g Vinyl) LP 1 | ||||
|---|---|---|---|---|
| 01 | Haunted House | Lonnie Johnson with Elmer Snowden | ||
| 02 | Memories Of You | Lonnie Johnson with Elmer Snowden | ||
| 03 | Blues For Chris | Lonnie Johnson with Elmer Snowden | ||
| 04 | I Found A Dream | Lonnie Johnson with Elmer Snowden | ||
| 05 | St Louis Blues | Lonnie Johnson with Elmer Snowden | ||
| 06 | I’ll Get Along Somehow | Lonnie Johnson with Elmer Snowden | ||
| 07 | Savoy Blues | Lonnie Johnson with Elmer Snowden | ||
| 08 | Back Water Blues | Lonnie Johnson with Elmer Snowden | ||
| 09 | Elmer’s Blues | Lonnie Johnson with Elmer Snowden | ||
| 10 | Jelly Roll Baker | Lonnie Johnson with Elmer Snowden | ||
Lonnie Johnson
Truth be told, Lonnie Johnson didn't require amplification to play brilliant single-string lead guitar, though he hopped on board when electric models became available. Urban through and through while most of his contemporaries were overwhelmingly rural, the New Orleanian brought a deft harmonic sophistication to his melodic picking, answering his sung lyrics like a second voice the way B.B. King and his peers would do it later on.
A man of many birthdates (February 18, 1899 is one possibility), Alonzo Johnson started out on violin, learning piano and mastering guitar along the way. Blues was by no means his only specialty; he crooned sentimental ballads like a wandering troubadour and played hot jazz guitar, becoming a pioneer in that field as well and influencing Charlie Christian (Robert Johnson was one of Lonnie's blues disciples). Johnson made his first waxings in 1925 in St. Louis for OKeh and was amazingly prolific for the label into 1932. Along with his own voluminous releases, Lonnie recorded with Louis Armstrong and Duke Ellington; his late '20s instrumental duets with white jazz guitarist Eddie Lang were eons ahead of their time. Johnson cut for Decca in 1937-38 and Bluebird from '39 to '42, building a massive catalog.
In the postwar era, Johnson joined the roster of King Records and topped the R&B charts in 1948 with his atmospheric blues ballad Tomorrow Night. Later that year, Pleasing You (As Long As I Live) just missed the same happy fate. Lonnie cut Why Should I Cry at King's Cincinnati studio on February 26, 1951; it's an exceptionally strong example of his later electrified approach. He made his last singles for the R&B trade in '56 for Rama, dropping off the scene to work as a hotel janitor, only to be rediscovered and brought back to action in 1960 with a series of LPs for Prestige/Bluesville.
Spending his last years north of the border, Johnson died of a stroke in Toronto on June 16, 1970. His influence on the progression of blues guitar was mammoth.
Bill Dahl
Chicago, Illinois
Electric Blues 1939-2005. - The Definitive Collection!
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