Clarence Gatemouth Brown - The Best Of A Blues Legend - 1995.

70's recordings by the man


Tracks:

1. Bogalusa Boogie Man 4:38
2. The Drifter 7:27
3. Loup Garou 3:25
4. Jelly, Jelly 4:54
5. Gate's On The Heat 5:10
6. Please Mr. Nixon 4:59
7. Goto My Mojo Working 4:32
8. Cajun Blues 3:34
9. "1:49 of Gate showing how not to start a take on time...." 1:48
10. Gate's Express 3:54
11. Breaux Bridge Rag 2:59
12. Louisian' 3:02
13. Rosalie 2:30
14. Birmingham 2:37
15. After The Band Is Gone 1:54

Info:
FLAC
350 MB
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Link:
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Clarence Gatemouth Brown - Pressure Cooker - 1973.

Review

Before Gate was able to rebuild a following stateside, he frequently toured Europe. He recorded the contents of this inexorably swinging set in France in 1973 with all-star backing by keyboardists Milt Buckner and Jay McShann, saxists Arnett Cobb and Hal Singer, among others. Brown indulges his passion for Louis Jordan by ripping through "Ain't That Just like a Woman" and "Ain't Nobody Here but Us Chickens" and exhibits his immaculate fretwork on the torrid title item.

Track Listing:

1. She Winked Her Eye - 5:15
2. Slow Down - 3:58
3. Just Lippin' - 3:09
4. My Time Is Expensive - 4:28
5. Ain't Nobody Here But Us Chickens - 4:26
6. Pressure Cooker - 2:52
7. Ain't That Just Like A Woman - 5:26
8. Deep, Deep Water - 6:43
9. Cold Strings - 4:54

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FLAC - 232 Mb
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Clarence Gatemouth Brown - The Original Peacock Recordings - Recorded Between 1948 and 1954.

Review
Only 12 songs long, this collection remains the best place to begin appreciating why so many young Texas blues guitarists fell in love with Gatemouth Brown's style (until MCA decides to compile the ultimate Brown package, anyway). Listen to the way his blazing axe darts and weaves through trombonist Pluma Davis' jazzy horn chart on 1954's "Okie Dokie Stomp," and/or the stratospheric licks drenching "Dirty Work at the Crossroads." Brown proves that a violin can adapt marvelously to the blues (in the right hands, anyway) on "Just Before Dawn," and blows a little atmospheric harp on "Gate's Salty Blues."

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Clarence 'Gatemouth' Brown - Down South In The Bayou Country - 1975.

Review
Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970. Both songs drew upon traditional Louisiana lycanthropic folklore, a tradition that advises against wandering around in the swamp under the moon as you just might get taken out by a werewolf. Bonus tracks include a choice sampling of "studio verbiage and other appropriate banter," "Gate's Express" (a ferocious bit of fiddling based on "Orange Blossom Special"), and "Cassoulet," a very danceable Cajun fiddling boogie recorded in Paris during the summer of 1973 with a rhythm section composed of members of the rock group Canned Heat. Anyone who enjoys Down South in the Bayou Country should also investigate Gatemouth's 1975 follow-up album, Bogalusa Boogie Man.

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Clarence 'Gatemouth' Brown - Alright Again - 1981.

Review


One of the most satisfying contemporary Brown discs of all for the discerning blues fan. Nothing but swinging, horn-abetted blues adorn this album, as Gate pays tribute to an influence and a protege by covering T-Bone Walker's "Strollin' with Bones" and Albert Collins's "Frosty." Brown's jauntily revives Junior Parker's "I Feel Alright Again" and Percy Mayfield's "Give Me Time to Explain," while his own numbers -- a funky "Dollar Got the Blues," the luxurious blues "Sometimes I Slip" -- are truly brilliant.



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