THE INFLUENCE OF THE DEEP SOUTH FROM NEW ORLEANS TO THE COUNTRY BLUES OF ROBERT JOHNSON, THE URBAN BLUES OF BUDDY GUY TO THE CONTEMPORARY RAP ARTISTS OF TODAY LIKE BUCKSHOT LAFONKE. FROM ARTHUR ALEXANDER (FLORENCE) ALABAMA TO JOHN LENNON (LIVERPOOL) MERSEYSIDE, ENGLAND.
Contact for Groovin' Records (Rhythm 'n' Blues, Funk and Folk Blues)
IN SEARCH OF THE MERSEY BLUES
Roger Eagle
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| Photograph by Spud Murphy | Photograph courtesy Michael Ochs Archive | |
| JOHN LENNON
John Lennon in my opinion remains the most influential partner of the Beatles song writing team. His classic song 'Working Class Hero ' is the most descriptive statement of the class system that still rules the lives of every British citizen and remains one of my all-time favourite 'Folk-Blues' tracks ever written. The Rhythm and Blues connection with John Lennon goes back to the early 1960's when a friend of mine, MikeHaralambos mentioned to John during a conversation in the Grapes public house in Mathew Street, that he should listen to the American R&B singer Arthur Alexander as a possible source for new or at least inspirational material. At the dawn of 1962 Dot Records released Arthur Alexander's "You'd Better Move On". This album had quite an influence on the British R&B scene. In 1963 The Beatles released "Anna (Go to Him)" an Alexander composition on their "Please Please Me" album and The Rolling Stones released "You'd Better Move On" as a single in the same year. The success of both The Beatles and The Rolling Stones is well documented while the career of Arthur Alexander remains relatively unknown, although he did make an appearance at the Cavern Club, Liverpool! Many of the bands who played the Cavern during the 60's, including my own band of that time, The Almost Blues, played "Shot of Rhythm and Blues". The Beatles covered this exciting number on the memorable marathon sessions at the Cavern in 1963. The posters stated "Good Friday April 12th -Great 'Shot of Rhythm and Blues' Marathon No 2 Starring The Beatles".
ARTHUR ALEXANDER Arthur Alexander was born on the 10th May 1940 (same year as John Lennon) in Florence Alabama (I was there in May 1999), about five miles from the Tennessee River which separates Florence from Sheffield and Muscle Shoals. His father was a blues singer who played the local Juke Joints at weekends. Like so many R&B singers his career started in a gospel group (Heartstrings) and he will always be remembered for the haunting 'A' side 'You Better Move On'. This was recorded in 1961 at a converted tobacco warehouse in Muscle Shoals. The 'B' side was 'Shot of Rhythm and Blues'. The 'A' side was covered by the Rolling Stones, the Beatles arch-rivals throughout the 1960's, and for many teenagers this was their initial route in search of American blues music. Florence, Alabama was also the birthplace of W C Handy known as the 'Father of the Blues', but that's another story! For many years Alexander was forced to work outside of the music business - he was a bus driver for much of this time. In 1993 he recorded his first album for 21 years - 'Lonely Just Like Me', but unfortunately he collapsed and died in June of that year, three days after performing in Nashville with his new band. |
Footnote: Liverpool band The
Lawnmower have dedicated an anti-war song
'Babylon Blues' to John Lennon on their new CD 'Rockin' Rhythm and Blues'.
To purchase this C D send a cheque /PO to the value of £11.50
to:- Groovin'
Records PO Box 39, Hoylake,
Wirral, Merseyside, CH47 2HP, England,
United Kingdom.
E:speakers Corner:- 1)
During the invasions of both Iraq
and Afghanistan the
silence of the British 'pop' fraternity was and still remains deafening!
If
John Lennon was around today he would
have undoubtedly been at the forefront of protest against wars fought behind
the banner of ' just wars'! Wars are brutal and are used as a means to
consolidate strategic, political and fiscal objectives.
The only
losers in such wars are always civilians whose murders are carefully
concealed behind the term 'Collateral Damage'.
An estimated 600,000
civilians have been killed in Iraq by the so called 'civilised' west led by
US neo-con strategic and economic interests obscenely aided by Bliar - the UK's
'name in history man'. (A truly obscene partnership if ever there was one also known as the Bush/Bliar
Christian Democratic Bullshit Project)!!!
Surely the actions of these men as they 'stand asshole to
asshole' is a similar kind of barbarism to that committed by Saddam and Bin
Laden. - they all indulge in the killing of innocent civilians?
Truly 'civilised'
nations have abolished the 'Death Penalty' so were does that leave the USA ?
- Say No More!
The
Bluesman's CD single 'No
More War Blues'
AL
Willard Peterson
2)
Adorning people with titles such as
'Sir' or 'Lord' perpetuates the myth of superiority. This medieval
practice does not belong in the 21st Century!
Those who hand out
titles and those who 'greatfully' accept them perpetuate the structure of
the class system that is endemic and peculiar to the United Kingdom.
Surely it takes a far greater mortal to refuse such an
accolade.
People of this calibre are very rare today!
Paul, Elton, Mick and Cliff hand back your obnoxious and silly titles!
John Lennon would have done just that as he did
with his MBE! (The other Beatles did follow his initiative). 'Member
of the British Empire' - Ye God's!
It is hard for some people to
accept the fact that the Empire is now defunct and should be consigned to
history along with the 'name in history man'.
Thank God he's gone and Bush to go!
Nothing changes - the 'privileged' minority still control and
exploit the subjugated majority so that 10% of the UK population owns 90% of
the wealth.
Fortunately for the peoples of the world the Internet has
brokered the means by which to breach the 'establishments' prohibited
barriers.
Lennon chanted 'Power to the People' and 'Give Peace a
Chance' to such great effect that it helped bring about his unfortunate and
early demise!
People have more power than they realise but many remain
'doped on religion sex and TV' and compromised by the 'war on terror' that
really means the 'war on civil liberties' - the demise of democracy!
Democracy = PR nothing less will suffice.
On a rather more promiscuous note it is gratifying to realise
that the USA has Disneyland and the UK the Royal Family which helps puts
things into perspective!
What do you think? Your
Comments Please.... lennon@groovinrecords.co.uk
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| ROGER EAGLE - R'n'B, DJ (15/07/43 - 04/05/99) |
'WHAT'S IN A NAME?' |
The Name = The Lawnmower
In the early 1980's I was involved in the recording of the Frantic Elevators 'live' double album at Adam's club, Seel Street, Liverpool, for Roger's label Crackin' Up. At that time I was managing Square One Studios (SOS), a recording studio in the city centre of Liverpool, taking a break from live performance.
As you are well aware the singer of the Frantic Elevators was Mick Hucknall (Simply Red). During the recording of this album Roger was promoting various R&B and Soul acts at Adam's club and on this particular night in question the visiting guest artist was non other than Bo Diddley!
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Huck'n'AL at Adams Club May 1982 ©Groovin/Mayday Photo by Jef Barnes |
Penny Kiley, Norman Killon, Roger Eagle in Probe Photo by Carol Power Courtesy of Garry Gannicliffe |
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Roger Eagle was also the resident DJ on these nights working under the name of 'Juke Box Johnson'. |
| Mick and myself were in the audience awaiting the arrival of Bo, listening to the R&B grooves provided by the Eagle. As a DJ, Roger said very little, he let the music do the talking! |
| During one of his forays into the audience he asked Mick and myself to give him a break while he went backstage to see Bo Diddley. |
| On this occasion Mick asked me if I would accompany him on harmonica while he sang 'Ginhouse'. I returned the compliment by singing 'Got my Mojo Working' with Mick playing frantic harmonica! The audience response was ecstatic! A great warm-up for Bo! |
| A memorable night was had by all. |
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'Dead
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'The
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Brutality, Religion & ADanceBeat' |
The Opposition supports Rockin' Dopsie at Eric's |
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Whilst continuing with the recording of the Frantic Elevators during the coming weeks I noticed posters around Adam's club advertising an appearance by a band called The Lawnmower! |
| On asking Roger 'Who's this band - The Lawnmower?' He replied "That's you and Mick- You've got two weeks to get it together!" |
| The Lawnmower performed from that night onwards on an ad-hoc basis with Mick Hucknall as the lead vocalist, playing regularly at Adam's club and the Left Bank Bistro, Mathew Street, Liverpool. After approximately 10 dates with Lawnmower, Mick left Liverpool for Manchester to form Simply Red. The rest is pop history! |
| The Lawnmower played Blues Festivals and Jazz/Blues bars throughout the North West. |
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The band have a couple of CD releases on Groovin' Records: 'Rockin' Rhythm and Blues' (Groove 01) & 'AL Willard Peterson - The Lawnmower Man - A Dozen Choice Cuts' (Groove 02) . For more information mailto: groovin.records@virgin.net.co.uk |
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I supplied various articles as well as a running advert for trumpet tuition in the Last Trumpet and also helped Roger with the distribution. |
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Roger Eagle in the doorway of his beloved Eric's Club in Mathew St. Notice Steve Hardstaff's poster copy of the Last Trumpet to the right of Roger. Photo Courtesy of Christine Purnell of Blue 'C' |
Roger at Square One Studios (SOS) whilst masterin of Photo Courtesy of Francesco Mellina |
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| 'Juke Box at Eric's' |
| This fine compilation by Roger Eagle again emphasizes his love of Rock & Roll, Rockabilly and R&B music. This was mastered at SOS studios, Liverpool. |
| Square One Studios was responsible for many 'Indie' recordings during the years 1980 to 1987. Some even appeared in the 'Indie' Charts! | This includes work's such as the Frantic Elevators, Searchin' for the Only One', the Mighty Wah! Echo and the Bunnymen, Pink Military, Dead or Alive, It's Immaterial, A Flock of Seagulls and many more… |
| On a Personal Level |
| I have known Roger since his earlier days in Liverpool when he was promoting Chuck Berry, The Feelgoods, Beefheart and Zappa etc, at the Stadium. |
| During the 1970's I supplied the P.A. at Eric's on numerous occasions for the likes of |
| Queen Ida and Rockin' Dopsie and the Cajun Twisters. (P.A. courtesy of my deal with Chappell Music/EMI - 29th and Dearborn). |
| I also supplied and worked the P.A. for a mini tour promoted by Roger, with the Specials, Selector and Madness - from Eric's to the Midlands. |
Roger Eagle 'Rhythm and Blues Promoter'
| My last memorable involvement with Roger was in the 1980's at another of his and Zane Branson's Rhythm and Blues promotions at Bodelwyddan Castle in North Wales. | ||
| On this bill was one of my teenage heroes, a blind New Orleans street singer called Snooks Eaglin. | ||
| I had asked Roger if it would be possible to meet Snooks so he could sign a very rare single, | ||
| 'Country Boy/Alberta on Storyville'. A single that I had treasured dearly since my teenage years! | ||
| Unfortunately Snooks Eaglin's wife upon seeing such a rare single declared that 'I've just got to have that!' and after much jostling and snatching I decided to sign the single from my good-self to the hapless Snooks. He was so pleased with the transaction that he stated that if I ever passed through Baton Rouge (Louisiana), he would gladly put me up at his place! (I just so happened to be in Mississippi and Alabama directly after the funeral, continuing my quest, 'In Search of the Blues' and I had hoped to travel further south to Louisiana earlier this year but that was not to be). | ||
It was Roger Eagle's reaction to this transaction that I will always
remember. He held his hands to his head and called me a bloody idiot! 'Do
you know how much that single is worth? It's rare man! I don't believe it!
I don't believe it!'
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| Roger Eagle was first and foremost a 'Music Man'. His love of music from the R&B, Blues, Rock & Roll, Soul, Reggae and Dub catalogue was his driving force, monetary gain was secondary. He would often be found looking through new and second hand record collections throughout the northwest, searching for previously unreleased tracks or specialist and imported rare releases. |
| He was so passionate about the music that swamped his living quarters, that on one occasion in his Sefton Park flat, whilst under the influence, I couldn't help but give him my rare copy of Little Richard and the Buck Ram Orchestra, a 10 inch album on Camden! |
| His need seemed far greater than mine did at that time! |
| Where is the equivalent enthusiasm combined with that generosity of spirit found in Liverpool today? |
| Where are those in the Music Industry whose passion for music is inspirational? |
| We will miss him! I will miss him! |
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Postcard from Roger 22 July 1982 in commemoration of the re-opening of Eric's 10th September 2011 |
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Bill Sykes Book - a very commendable read It was a privilege to say something and play a little blues harmonica for those paying tribute to Roger. |
Jayne Casey, Bill Sykes, and host Angie Sammons at the Picket Book Launch 09/08/12 |
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AL Peters
The Lawnmower Man
© Groovin'Records/Mayday Music 09/08/1999/2005/2011.
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P.S. Roger took the name 'Lawnmower' from a country blues number inspired by the line 'She's got ways like a mowin' machine' - Hence The Lawnmower! |
In Search of the Mersey Blues - Mississippi and Alabama - May 1999
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Hazelhurst, Mississippi I always wanted to be an engine driver or brakeman, as epitomised by Jimmie 'T for Texas' Rodgers |
Birthplace of Robert Johnson (1911-1938) one of the most influential Blues Singers who wrote 'Sweet Home Chicago', 'Cross Road Blues', 'Come into my Kitchen' and 'Love in Vain' |
Tutwiler, Mississippi, Old Prairie Church, Sonny Boy Williamson's (Rice Miller, 1899-1965) resting place. 'Help Me' and 'Nine Below Zero' became standards for Merseybeat R&B bands |
The Crossroads near Tutwiler Station where it is alleged that W C Handy upon hearing a knife blade being drawn across the strings of a guitar coined the term 'The Blues' |
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Email from Bill Harry Editor of Mersey Beat Dear Al,
I'd appreciate your opinion. In his book ‘Liverpool: Wondrous Place,’ Paul Du Noyer wonders why there was no blues scene in Liverpool and asks: “Why did the art school R&B bands of South-east England become the new aristocracy, while the Liverpool boys (the Beatles, as usual excepted) got consigned to cabaret or civvy street?”, while Spencer Leigh, in the same book, says that the blues passed Liverpool by. Yet Alexis Korner told me in August 1963: “The only place in England that a blues guitarist would be able to find recognition is Liverpool”. What do you think. Was Liverpool devoid of blues music as DuNoyer and Leigh say, or were they wrong? Incidentally, I now have a second site www.merseybeat.co.uk Best
Bill. Mersey
Beat
- Merseyside's Own Entertainment Paper
Dear Bill
Good questions? I remember goin for a meal with Roger Eagle and Alexis Korner at Reno's Taverna off Duke St after he had played Adams Club in Seel St in the 1980's. As far as the Blues is concerned in relation to the Liverpool music scene it has always been there but more in a background capacity. To me when asked about the lack of Blues in the city I always refer to Liverpool's preference of popular music and on many occasions when playin live have been asked to bring a more varied style to my live performances by pub landlords and promoters. I think that there is a general fear about the term 'Blues Music' as that of a genre that is laden with sadness and pathos and not conducive to a 'happy clappy' night out. To me Blues is a wonderful medium that portrays the Truth about life in all its glory and remains the most potent vehicle for political protest. Working Class Hero by Lennon in my opinion is one of the most poignant Folk Blues songs ever written! Blues or should I say Folk Blues survived throughout the 1960's to day in the Folk Clubs and on many occasions I would go to see The Spinners because of Hughie Jones's performance and appreciation of the Blues. Blues also survived in its heavier format on the Pub Rock circuit at the Moonstone and Liverpool Stadium in the 1970's. But it is the 'Music Men' the likes of the late Roger Eagle and Zane Branson who have always been in favour of adding the Blues to their promotions - men who are not afraid to buck the trend puttin on people like Honey Boy Edwards, Homesick James, Brownie McGhee & Sonny Terry, Snooks Eaglin, Blind Boys of Alabama etc Buddy Guy has recently played the Philharmonic the very place that I saw Muddy Waters who signed my programme with a 'MW' in the early 1960's. Many Jazz Clubs did pay homage to the Blues promotin the likes of Big Bill Broonzy, Josh White and Brownie & Sonny etc and in particular the Cavern that saw the likes of Sonny Boy Williamson and John Lee Hooker backed by John Mayall. I think you probably know the story about Bob Wooller gettin in touch with me sayin that 'there is someone you'd love to meet at the Cavern this afternoon' so I sagged off from Liverpool Junior Art School to meet a well oiled Sonny Boy Williamson. I just didn't know what to say to the man on this occasion but what a charismatic harmonica player! In 1999 I visited his restin place in Tutweiller Mississippi as well as Robert Johnson's Hazlehurst, Muddy's Clarksdale Arthur Alexander's Florence Alabama, Howling's Natchez etc,etc At the time of the 'Almost' Blues there were guite a few Blues based bands spurned from the Art College fraternity like the Roadrunners and another Hope Hall favourite the St Louis Checks. The 'Almost' Blues supported Alexis at Hope Hall on one of their earlier gigs and as usually the case were persuaded by EMI to move away from their original Blues format into a more soulful outfit that put paid to my vocal input with me transferin to trumpet. I have now reverted back after all these years. So you can see external as well as internal influences workin against the Blues. Having said that there is now a proliferation of 'Jam Nights' that often produce a lot of Blues Players and venues that have Blues Nights throughout the city. There are many fine Blues Players around Liverpool like Raphael Callaghan & Christine Purnell of Blue C, Joey Sheils and the Wheels, Xander Brothers, Neil Partington's Forty Four etc Another point of interest is that when American Blues Artists arrived in this country they always had British musicians backin them either from London or Manchester never from Liverpool. Manchester produced a televised Gospel & Blues Train Extravaganza from a train station on a typical rainy day featurin Muddy, Cousin Joe, Sister Rosetta Tharpe etc - a show that bucked the trend and passed into Blues Folklore. This once again shows the position of the Blues in the popular culture of these major cities with Manchester and London producing the more sought after session musicians. What a great pity that Liverpool has not nurtured the same respect for this most influential of music forms that so inspired the early Beatles especially the likes of Arthur Alexander.
Kind Regards AL
a.k.a.
GROOVIN RELEASES:- 'Craig Charles & the 'Mighty' Lawnmower (Groove 11) 'Greenfish Cafe Blues' - AL 'Bluesman' Peters (Groove 12) 'The Last Trumpet' - AL Willard Peterson (Groove 13) The Ballad of AL & Janine - AL 'Bluesman' Peters (Groove 14) The Chained Collective - AL 'Bluesman' Peters & John Hodgson (Groove 15)
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The Merseyside Home of Rhythm & Blues, Groovin' Records Releases, The Lawnmower, Willard & the Poor Boys,The Bluesman, The Almost Blues, Al Willard Peterson, No More War Blues, Abbey Road London, Liverpool, Mersey Beat, CD's, Gigs, Reviews, Adrian Henri, Craig Charles & Mick Hucknall (The early years)
Web site: www.groovinrecords.co.uk
Email: groovin.records@phonecoop.coop
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'The Merseyside Home of Rhythm and Blues'
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