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Ray Sharpe Linda Lu - Monkey's Uncle 7inch, 45rpm

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catalog number: REP19040

weight in Kg 0,050


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Ray Sharpe: Linda Lu - Monkey's Uncle 7inch, 45rpm

Classic twin spin rocker by Mr.Sharpe!


Sharpe, Ray - Linda Lu - Monkey's Uncle 7inch, 45rpm Single (7 Inch) 1
1: Linda Lu
2: Monkey's Uncle


Artikeleigenschaften von Ray Sharpe: Linda Lu - Monkey's Uncle 7inch, 45rpm

  • Interpret: Ray Sharpe

  • Albumtitel: Linda Lu - Monkey's Uncle 7inch, 45rpm

  • Format 7
  • Genre Rock 'n' Roll

  • Music Genre R&B / Soul
  • Music Style Singles - Repro / Rock & Roll / Rockabilly
  • Music Sub-Genre 575 Singles - Repro/R&R/Rockabilly
  • Title Linda Lu - Monkey's Uncle 7inch, 45rpm
  • Vinyl size Single (7 Inch)
  • Speed / RPM 45 U/min
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Label REPRO

  • SubGenre Rockabilly

  • EAN: 4000127736727

  • weight in Kg 0.050

Artist description "Sharpe, Ray"

Ray Sharpe

"Well now they call my baby Fatty, but her real name is Linda Lu".
Every entertainer needs one song that he can call his own and for Ray Sharpe that song is Linda Lu. It was written whilst he was still a skinny teenager struggling to establish himself in the blues clubs of Dallas, Texas. It carried him into the national charts in the summer of 1959 and provided him with a fleeting taste of that big time success which his immense talent deserved but never really sustained. Even after Linda Lu dropped out of the best selling lists, the song never deserted him. Ray settled into a steady routine of club work, and every night his show would not be complete until that familiar shuffling guitar sound had heralded in his most famous number.
Ray Sharpe has always had more than one song to offer an audience however. He has a most diverse musical taste and can comfortably move through a whole range of styles, encompassing R& B, country, funk, soul, blues and of course rock and roll, all in the course of one evening's entertainment.

He grew up with the blues. Born on 8th February 1938, his earliest memories of music were the sounds of Buddy Johnson, Pee Wee Crayton and the like, which would be heard from a neighbour's radio as he played in the street close to his Fort Worth home. His parents had divorced whey he was very young and his mother struggled to bring up her four young children in a state of near poverty. Their home had neither electricity nor indoor plumbing, and a radio of their own was an unattainable luxury.
Later things did improve when the family was re-housed into a new apartment and, as he moved into his teens, Ray acquired a liking for country music. This was in the days when segregation still cut across most areas of American society, and the music was no exception. A young black kid who was hooked on Lefty Frizzell and Hank Williams was an exception to all the rules, and among his contemporaries for a time he was given the nickname of `Hillbilly Ray.'

It was country music rather than the blues which inspired Sharpe to take up the guitar. He was attracted to the simpler licks and the straightforward lyrics which he could easily sing along with, but acquiring a guitar in the first place was1ar from simple. He struck a deal with his school janitor who paid him 50 cents a night to scrub floors and take out the
trash. (Yakety Yakl Don't Talk Back). When he saved up 24 dollars, he walked across town to buy a Stella guitar which he had been admiring in the window of a music store, only to find that he was still 50 cents short on purchase price. After another five mile round trip to borrow the balance from his aunt, the guitar was finally his, and he started to play. That guitar never left his side and he practised continually, but for some time was unable to understand the mechanics of tuning it, so would have to walk across town to the music store every time that it needed any adjustment.

By the mid-Fifties the family was residing close to 18th Street in Fort Worth which was an area infamous for its seedy clubs and beer joints. A bar called the 'Coconut Grove' on Harding Street had a particularly tough reputation, but the owner let Ray work there for tips and he did sufficiently well that he was re-hooked on several occasions. He graduated from high school in 1956 with the intention of training for a career in interior decoration but was now earning too much money from weekend gigs for this to be a very attractive proposition.

After forming his own trio called lay Sharpe and the Blues Whalers' with pianist Raydell Reese and drummer Cornelius Bell, they worked steadily around the Fort Worth clubs of the period, including the 'Star Grill', 'Johnny Boy's Chicken Shack,' the 'Zanzibar Club,' and the 'Red Devil.' The 'Paler', which was situated on 28th Street, was the scene of a regular radio spot on KCUL, and when they finally moved to the more prestigious `Penguin Club' on East Rosedale for a lengthy residency, Sharpe's reputation as an exciting entertainer was assured.

Rock and roll was now the driving influence behind Ray's music. Elvis Presley, Fats Domino and especially Chuck Berry were his favourites, and at some stage or other virtually every one of Chuck's songs has been featured in his stage act. The opportunity to make a record finally came around early in 1958 after the 'Blues Whalers' had served a lengthy apprenticeship in the clubs.
Artie Glenn was the writer of Cryingln The Chapel, which had given his son Darrell a big Country hit a few years earlier. Both father and son would come out to hear Sharpe play, and Artie struck a deal that Ray would be the guitarist on Darrell's next recording session, on the understanding that whatever studio time remained when they had finished, could be used to make his own record. The session took place at Cliff Herring's studio and resulted in two demos, one an instrumental, Presley, and the other a medium-pace R&B number called That's The Way I Feel. Both songs were written by Ray.

Artie Glenn sent copies of the demo out to various people and obtained a favourable response from the hit making duo of Lester Sill and Lee Haziewood, who at that time were in the early stages of their chart run with Duane Eddy. A session took place at Audio Recorders in Phoenix, Arizona on 2nd April at which Ray re-cut. That's The Way I Feel and also recorded another of his own songs, Oh My Baby's Gone. Duane Eddy was in town awaiting the start of a tour and sat in on the session sharing guitar duties with Ray. The other musicians involved were Al Casey who played electric bass, Buddy Wheeler on string bass, Bob Taylor on drums, and a larger than life character called Bob `Easy Deal' Wilson at the piano. The latter will reappear later in our story.

Hazlewood leased the single to Randy Wood of Dot Records who issued it in September 1958 on his subsidiary label, Hamilton. That's The Way I Feel made no real impact, although Ray received a favourable response from his home town jocks. They eventually flipped the record over and made Oh My Baby's Gone an R&B hit in the local charts for the Dallas-Fort Worth area. However, nationally the record did nothing. A year later it was re-issued on Dot when Randy Wood saw a chance of a hit on the back of Linda Lu, but it still failed to sell. Ironically when Sharpe visited Europe for the first time in 1992 he found that after Linda Lu, Oh My Baby's Gone was his most popular record on that side of the Atlantic and needed to ...

Ray Sharpe Linda Lu
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