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Link Wray & Others The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD)

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(Righteous) 27 tracks featuring eight tracks by Link Wray and 19 tracks by various artists from... more

Link Wray & Others: The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD)

(Righteous) 27 tracks featuring eight tracks by Link Wray and 19 tracks by various artists from 1941 to 1962

Article properties: Link Wray & Others: The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD)

  • Interpret: Link Wray & Others

  • Album titlle: The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD)

  • Genre Rock

  • Label RIGHTEOUS

  • Artikelart CD

  • EAN: 5013929986923

  • weight in Kg 0.1
Wray, Link - The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD) CD 1
01 Rumble Link Wray & Others
02 Raw-Hide Link Wray & Others
03 Comanche Link Wray & Others
04 Slinky Link Wray & Others
05 Mary Ann Link Wray & Others
06 Jack The Ripper Link Wray & Others
07 El Toro Link Wray & Others
08 Poppin' Popeye Link Wray & Others
09 Solo Fight Charlie Christian
10 Topsy Django Reinhardt
11 T-Bone Jumps Again T-Bone Walker
12 Rock A While Gore Carter
13 Boogie In The Park Joe Hill Louis
14 Moanin' At Midnight Howlin' Wolf
15 Rocket 88 Jackie Brenston & his Delta Cats
16 Cotton Crop Blues James Cotton
17 The Things I Used To Do Guitar Slim
18 Space Guitar Johnny Guitar Watson
19 Maybelline Chuck Berry
20 Blues In The Night Chet Atkins
21 The Train Kept A-Rollin' Johnny Busnette & The Rock 'n' Roll Trio
22 Mule Train Stomp Roy Buchanan
23 Don't Worry Marty Robbins
24 Ruby Baby Cody Brennan & The Temptations
25 2000 Pind Bee -part I The Ventures
26 The Jam -part I Bobby Gregg & his friends
27 Misirlou Dick Dale
Link Wray may well have been the loudest rock guitarist I’ve ever heard in a concert setting.... more
"Link Wray & Others"

Link Wray may well have been the loudest rock guitarist I’ve ever heard in a concert setting. Considering that over the decades I’ve also luxuriated in the teeth-rattling fretwork of Roy Buchanan and Dick Dale, that’s saying a whole lot (granted, I’m not a heavy metal devotee). That extraordinary volume boost was a necessity for Wray; a childhood bout with the measles had robbed him of a good portion of his hearing (and some of his eyesight too, for that matter). Dedicated Wray fans didn’t mind a temporary bout with deafness in the slightest following one of Link’s signature shredfests; his pulverizing power chords and screaming staccato lead licks were the very definition of what rock guitar has always been and should forever be, making it a small price to pay. What’s more, Link never stopped epitomizing the concept of cool. He proudly wore a leather jacket and shades onstage well into his 70s, when his demographic peers outside the music business had long since donned cardigan sweaters and settled into comfy easy chairs.

Stardom didn’t come easily for Wray; he and his brothers had to work long and hard to escape the impoverished circumstances of their youth and find a foothold in the music industry. Fred Lincoln Wray, Jr. was the middle musical sibling, born May 2, 1929 in Dunn, North Carolina. Vernon was five years older than Link, born January 7, 1924 in Fort Bragg, N.C., and Doug five years younger (July 4, 1934). The Wray boys did some singing at the same church services where their mother, a full-blooded Shawnee Indian, preached the gospel. Link picked up some early guitar lessons when he was eight from an African American slide specialist called Hambone, who taught him the rudiments of how to play the blues. The Wray family moved to Portsmouth, Virginia during the mid-‘40s, but Link was in no particular hurry to embark on his musical career—he didn’t buy his first electric axe until 1949. Link was drafted in ’51, stationed first in Germany and then in Korea, where he was felled by tuberculosis. Finally back in the U.S. in 1953, he bought a Les Paul guitar and a Premier amplifier and got serious about his playing. But he was never quite able to duplicate the elegant, complex technique of his hero, Chet Atkins, so he developed his own mind-melting attack. Jazz guitarists Tal Farlow, Les Paul, and Barney Kessel and country picker Grady Martin also caught his ear, although he wouldn’t end up playing like any of them either.

The Wrays formed a country band in 1954 to play the rough-and-tumble gin joints around Portsmouth and nearby Norfolk, recruiting their cousin, Brentley ‘Shorty’ Horton, to play bass and provide comic relief with Doug on drums, Vernon on rhythm guitar and occasional piano, and Dixie Neal, the brother of Gene Vincent’s bassist Jack Neal, on steel guitar. They were billed as The Lazy Pine Wranglers for a time, then Lucky Wray (Vernon’s temporary alias, stemming from his gambling skills) and The Palomino Ranch Gang. A connection with pioneering country broadcaster Connie B. Gay in Tidewater, Virginia led to the group minus Neal relocating to Washington, D.C., where Gay had established a popular television program, ‘Town and Country Time,’ hosted by young accordion wielder Jimmy Dean. For all its political sophistication, D.C. was loaded with hillbilly talent and plenty of watering holes in which to showcase it. In addition to the personable Dean, Marvin Rainwater and guitarist extraordinaire Roy Clark were part of the bustling scene. All three of them recorded for producer Ben Adelman, the owner of Empire Studio there (West Virginia native Patsy Cline cut her first demos, long since lost, under Adelman’s supervision with Dean’s Texas Wildcats backing her). Although his legend rests solidly on a legacy of blistering instrumentals, Link’s debut release in January of 1956 for Adelman’s Kay label paired two of his raucous rockabilly vocals, I Sez Baby and the all but incomprehensible Johnny Bom Bonny, as half of an EP that Link shared with the obscure duo of Bob Dean and Cindy.

Adelman indefatigably hustled his finished masters to various labels; he found a home for three country-oriented singles by the considerably smoother-voiced Lucky Wray (It’s Music She Says, Got Another Baby, and Teenage Cutie) at H.W. ‘Pappy’ Daily and Don Pierce’s Starday Records in 1956-57, the last one sub-billing Link and Doug on its label. Starday released the masters through its custom service rather than issuing them on the main label, intending them for regional exposure only with the manufacturing costs paid by the artists themselves. Right in the middle of it all, the TB that Link had contracted in Korea sent him to the hospital in the summer of 1956 all the way until March of the following year. A grueling operation to remove his left lung largely put an end to any serious singing aspirations; from here on, Wray would concentrate on his blazing guitar technique and mostly leave the vocal duties to others, in particular his brother Vernon, whose prospects looked bright once Bernie Lowe and Kal Mann’s Philly-based Cameo Records brought him aboard in mid-1957. The songwriting duo was on a real roll, having penned Elvis’ pop chart-topper (Let Me Be Your) Teddy Bear. Their label was too, scoring its own number one seller that same year with Charlie Gracie’s Butterfly.

As Lowe led the choir-cushioned orchestra, Vernon crooned the Mann/Lowe copyright Remember You’re Mine, issued in June of ’57 after the label flipped the singer’s name so he was billed as Ray Vernon. Cameo even sprang for a full-page ad promoting the single in ‘The Billboard.’ But any hopes of a hit were dashed when Pat Boone covered the tune for Dot, taking it into the Top Ten and leaving Ray’s original in the dust (its bouncy flip Evil Angel might have nicely suited Gracie). Cameo responded to Boone’s cover by replacing Remember You’re Mine with I’ll Take To-morrow (To-day) as Evil Angel’s plattermate; Link’s biting axe was prominent on the new ballad, unlike its sedate predecessor. Cameo tried again with Ray that autumn with the rocking I’m Counting On You, penned by Atlanta-born blues shouter Chuck Willis (1957 was a big year for Chuck; his revival of the ancient blues C.C. Rider for Atlantic, perfectly tempoed for dancing The Stroll, sailed to the top of the R&B charts). This time, Link made his presence felt with a searing solo, and even if the arrangement was a tad rough around the edges, Ray’s encore outing stood as a contender for hitdom yet didn’t quite make the grade.

 

 

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Tracklist
Wray, Link - The King Of Distortion Meets The Red Line Rebels - Link Wray And Others (CD) CD 1
01 Rumble
02 Raw-Hide
03 Comanche
04 Slinky
05 Mary Ann
06 Jack The Ripper
07 El Toro
08 Poppin' Popeye
09 Solo Fight
10 Topsy
11 T-Bone Jumps Again
12 Rock A While
13 Boogie In The Park
14 Moanin' At Midnight
15 Rocket 88
16 Cotton Crop Blues
17 The Things I Used To Do
18 Space Guitar
19 Maybelline
20 Blues In The Night
21 The Train Kept A-Rollin'
22 Mule Train Stomp
23 Don't Worry
24 Ruby Baby
25 2000 Pind Bee -part I
26 The Jam -part I
27 Misirlou