Clarence "Gatemouth" BROWN - The Original Peacock Recordings 1990

Clarence "Gatemouth" BROWN - The Original Peacock Recordings 1990
Recorded in Houston, Texas between 1952 & 1959

Blues

Clarence "Gatemouth" Brown's 1950s recordings fuse the energy of big-band horns, the shuffles and boogies of R&B, and his own white-hot guitar leads. Greatly influenced by fellow Texans Blind Lemon Jefferson and T-Bone Walker, Brown absorbed their smooth, melodic, single-string solo technique, but added a rough-edged intensity to his explosive style. The slow blues "Dirty Work at the Crossroads" added Jimmy McCracklin's rolling piano to Brown's bold and brash guitar work, but it was the 1954 instrumental "Okie Dokie Stomp" that put Brown on the map. With blaring horns urging him on, Brown attacks the music with ferocity. "Ain't That Dandy" is another instrumental guitar romp, while 1959's "Just Before Dawn" features Brown's swinging violin.
By Marc Greilsamer.
**
This 1984 Rounder reissue of Clarence "Gatemouth" Brown's 1950s Peacock sides is a classic dose of Brown in his prime, and a blueprint for the fiery guitar style that would influence such fellow Texas axe-slingers as Albert Collins and Johnny ...    Full Description"Guitar" Watson. Even on these early dates, Brown's fluid, irrepressible six-string mastery and his penchant for genre blending, bridging rock & roll, jump blues, swing, and down-home gutbucket wailing are in ample evidence.

Diverse session musicians provide the driving rhythm back-up, striding piano and punchy horns, but it's Brown's guitar work, throaty, bluesy singing and impressive multi-instrumentalism-he's also featured on harmonica on "Gate's Salty Blues" and violin on "Just Before Dawn" that takes center stage. Whether on the steamy slow blues of "For Now So Long," the walking groove of "Ain't That Dandy," or the scintillating rock-swing rave-up of "Okie Dokie Stomp," where Brown's guitar weaves wild, intricate webs around a horn-punctuated rhythm, this is no-nonsense, get-up-and-dance good time music of the highest order. THE ORIGINAL PEACOCK RECORDINGS is among the essential discs in this Texas legend's extensive catalogue.
CD Universe.
**
Clarence "Gatemouth" Brown- Vocals, Guitar, Violin, Harmonica
Jimmy McCracklin- Piano
Henry Boozier- Trumpet
Bill Harvey- Tenor Sax
Ray Johnson- Bass
Nathaniel Douglas- Guitar
Fred Ford- Baritone Sax
Allen Clarke- Baritone Sax
Carl Lott- Bass
Carl Owens- Piano
Duke Barker- Drums
Emile Russell- Drums
Joe Toussaint- Bass
Johnny Parker- Alto Sax
Jual Curtis- Drums
Paul Monday- Piano
San Frisco Jeff- Drums.
**
01. Midnight Hour
02. Sad Hour
03. Ain't That Dandy
04. That's Your Daddy Yaddy Yo
05. Dirty Work at the Crossroads
06. Hurry Back Good News
07. Okie Dokie Stomp
08. Good Looking Woman
09. Gate's Salty Blues
10. Just Before Dawn
11. Depression Blues
12. For Now So Long
**


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Clarence "Gatemouth" BROWN - The Blues Ain't Nothing 1973

Clarence "Gatemouth" BROWN - The Blues Ain't Nothing 1973
Label: Black and Blue
Recorded in France 1971-1973

Blues

Whatever you do, don't refer to multi-instrumentalist Clarence "Gatemouth" Brown as a bluesman, although his imprimatur on the development of Texas blues is enormous. You're liable to get him riled. If you must pigeonhole the legend, just call him an eclectic Texas musical master whose interests encompass virtually every roots genre imaginable.

Brown learned the value of versatility while growing up in Orange, TX. His dad was a locally popular musician who specialized in country, Cajun, and bluegrass -- but not blues. Later, Gate was entranced by the big bands of Count Basie, Lionel Hampton, and Duke Ellington (a torrid arrangement of "Take the 'A' Train" remains a centerpiece of Brown's repertoire). Tagged with the "Gatemouth" handle by a high school instructor who accused Brown of having a "voice like a gate," Brown has used it to his advantage throughout his illustrious career. (His guitar-wielding brother, James "Widemouth" Brown, recorded "Boogie Woogie Nighthawk" for Jax in 1951.)

In 1947, Gate's impromptu fill-in for an ailing T-Bone Walker at Houston entrepreneur Don Robey's Bronze Peacock nightclub convinced Robey to assume control of Brown's career. After two singles for Aladdin stiffed, Robey inaugurated his own Peacock label in 1949 to showcase Brown's blistering riffs, which proved influential to a legion of Houston string-benders (Albert Collins, Johnny Copeland, Johnny "Guitar" Watson, Cal Green, and many more have pledged allegiance to Brown's riffs). Peacock and its sister label Duke prospered through the '50s and '60s.

Gate stayed with Peacock through 1960. The R&B charts didn't reflect Brown's importance (he hit only once nationwide with 1949's two-sided smash "Mary Is Fine"/"My Time Is Expensive"). But his blazing instrumentals ("Boogie Uproar," "Gate Walks to Board," 1954's seminal "Okie Dokie Stomp"), horn-enriched rockers ("She Walked Right In," "Rock My Blues Away"), and lowdown Lone Star blues ("Dirty Work at the Crossroads") are a major component of the rich Texas postwar blues legacy. Brown broke new ground often -- even in the '50s, he insisted on sawing his fiddle at live performances, although Robey wasn't interested in capturing Gate's violin talent until "Just Before Dawn" (his final Peacock platter in 1959).

The '60s weren't all that kind to Brown. His cover of Little Jimmy Dickens' country novelty "May the Bird of Paradise Fly Up Your Nose" for tiny Hermitage Records made a little noise in 1965 (and presaged things to come stylistically). But the decade was chiefly memorable for Brown's 1966 stint as house bandleader for The!!!!Beat, a groundbreaking syndicated R&B television program out of Dallas hosted by WLAC DJ Bill "Hoss" Allen.

When Gate began to rebuild his career in the '70s, he was determined to do things his way. Country, jazz, even calypso now played a prominent role in his concerts; he became as likely to launch into an old-time fiddle hoedown as a swinging guitar blues. He turned up on Hee Haw with pickin' and grinnin' pal Roy Clark after they cut a sizzling 1979 duet album for MCA, Makin' Music. Acclaimed discs for Rounder, Alligator, Verve, and Blue Thumb in the '80s, '90s, and 2000s have proven that Gatemouth Brown is a steadfastly unclassifiable American original. Gatemouth Brown passed away on September 10, 2005 in Orange, TX.    
By Bill Dahl.
**
01.Sad Sad Hour     3.51       
02.You Got money  5.46             
03.My Time is Expensive  4.31            
04.Slow down  4.55             
05.Taking my Chance  6.18            
06.Just got Lucky  3.53            
07.Deep Deep Water  10.07            
08.Goin' to Chicago  4.17           
09.Dirty work at crossroads  4.47            
10.Here i Am  3.25            
11.New okie Dokie Stomp  2.37            
12.Piney Brown Blues  5.04             
13.Hot Club drive  7.13            
14.The People  4.37             
**
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