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PLAYBOYS Wail Baby Wail (2009 album!)

Wail Baby Wail (2009 album!)
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catalog number: CDRR007

weight in Kg 0,107


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PLAYBOYS: Wail Baby Wail (2009 album!)

(2009/ROLLIN') 12 tracks, this album is the killer diller of the month!! 12 hot R&B tracks hot guitar licks and a steamhammer sax plus the usual Playboy! Rob Glazebrook(voc/gtr), Wayne Hopkins(bass/voc), Clive Osbourne(sax/voc), Ricky McCann(drms/ voc). Recorded in London, December 2008.


Playboys, The - Wail Baby Wail (2009 album!) CD 1
1: Wail Baby Wail
2: Shake Baby Shake
3: I Smell A Rat
4: Mamma Get The Hammer
5: Mojo Boogie
6: Rockin' The Mule
7: Train Rock
8: Betty Betty Betty
9: Have Mercy Miss Percy
10: Pappa Lou
11: Old Red Devil
12: Lovers Curse


Artikeleigenschaften von PLAYBOYS: Wail Baby Wail (2009 album!)

  • Interpret: PLAYBOYS

  • Albumtitel: Wail Baby Wail (2009 album!)

  • Format CD
  • Genre Rock'n'Roll

  • Number of discs 1
  • Title Wail Baby Wail (2009 album!)
  • Release date 2009

  • SubGenre Rock - Rock'n'Roll

  • EAN: 5060171660057

  • weight in Kg 0.107

Artist description "Playboys, The"

The Playboys

My Buddy Done Stole My Chippie

The Dominoes, Checkers, and Clovers had all let tenor Charlie White go. The next step was to do his own thing. Where better than at Atlantic Records?

The Playboys didn't actually exist. Atlantic pianist/arranger/songwriter Jesse Stone had asked former Ravens/Blenders tenor Ollie Jones to assemble a quartet for studio purposes. Among his initial recruits was Winfield Scott (aka Robie Kirk), a prolific songwriter when not singing (he penned LaVern Baker's '55 smash Tweedlee Dee).  Vocal group expert Marv Goldberg believes White's first Playboys single, coupling the intense self-penned blues Tell Me (Are You Really Mine) and the Lincoln Chase-penned mambo Rock, Moan And Cry, released in August of 1954, marked the first time the quartet backed an Atlantic act. It wouldn't be the last. They provided harmonies behind Ruth Brown, LaVern Baker, Joe Turner, Carmen Taylor, and Ivory Joe Hunter, always under different names, though they eventually became known as The Cues.

Perhaps White's Playboys sides would have done better on Atlantic rather than its recently established Cat subsidiary. Atlantic honcho Jerry Wexler had coined the phrase 'cat music' as a euphemism for rock and roll; it didn't take off, and neither did the label he named after it. White and his backing quartet cut his debut single as a front man on July 10, 1954 in New York, returning on December 9 for an encore session. The rollicking Good Golly Miss Molly (a shame writer Stone couldn't have patented that title) b/w Honey Bun (weirdly, this rocker front-billed White but the other side didn't) closed out The Playboys' Cat discography in early '55.

The hell-raising My Buddy Done Stole My Chippie from the December date deserved an airing too. An intriguing storyline, White's animated lead (the way he drops the last syllable of "chippie" every time is priceless) in front of The Playboys, and Sam 'The Man' Taylor's roaring sax ride were all first-rate, but it never saw the light of day on Cat. Somehow it survived Atlantic's vault fire that wiped out a lot of the label's unissued masters.

White turned up solo in 1957 on New York's Winley Records with Sweetie Baby b/w Little Mama Don't Leave Me, encoring the next year with Nobody's Fault But Mine b/w Dearest To Me. The Cues signed with Capitol and made their own string of mid-'50s singles, ending up a more bankable entity than White.

- Bill Dahl -

Various Vol.6, Street Corner Symphonies 1954

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