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Lonnie Johnson Complete Recordings Vol.6

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catalog number: CDDOCD5068

weight in Kg 0,100

$17.70 *

Lonnie Johnson: Complete Recordings Vol.6

(1930/31) (72:32/22)


Johnson, Lonnie - Complete Recordings Vol.6 CD 1
2: I Got The Best Jelly Roll In Town - Part 2 - Lonnie Johnson
3: She Don't Know Who She Wants - Lonnie Johnson
4: Don't Drive Me From Your Door - Lonnie Johnson
5: The Dirty Dozen - Lonnie Johnson with Spencer Williams
6: Keep It To Yourself - Lonnie Johnson with Spencer Williams
7: I Just Can't Stand These Blues - Lonnie Johnson
8: Deep Sea Blues - Lonnie Johnson
9: The Bull Frog And The Toad - Lonnie Johnson with Spencer Williams
10: The Monkey And The Baboon - Part 2 - Lonnie Johnson with Spencer Williams
11: Long Black Train - Lonnie Johnson
12: I Have To Do My Time - Lonnie Johnson
13: No More Troubles Now - Lonnie Johnson
14: Sam, You Can't Do That To Me - Lonnie Johnson
15: You're Getting Old On Your Job - Lonnie Johnson With Clara Smith
16: What Makes You Act Like That? - Lonnie Johnson With Clara Smith
17: You had Too Much - Lonnie Johnson With Clara Smith
18: Don't Wear It Out - Lonnie Johnson With Clara Smith
19: Got The Blues For Murder Only - Lonnie Johnson
20: Let All Married Women Alone - Lonnie Johnson
21: Southland Is All Right With Me - Lonnie Johnson
22: Blues Is Only A Ghost


Artikeleigenschaften von Lonnie Johnson: Complete Recordings Vol.6

  • Interpret: Lonnie Johnson

  • Albumtitel: Complete Recordings Vol.6

  • Format CD
  • Genre Blues

  • Music Genre Blues
  • Music Style Prewar Country Blues
  • Music Sub-Genre 941 Prewar Country Blues
  • Title Complete Recordings Vol.6
  • Label DOCUMENT

  • SubGenre Blues - Acoustic

  • EAN: 0714298506822

  • weight in Kg 0.100

Artist description "Johnson, Lonnie"

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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