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| Backbeat - The World's Greatest Drummer Rock 'n' Roll Drummer |
| Earl Palmer |
| első megjelenés éve: 1999 |
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| (1999)
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CD |
| 4.500 Ft
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| 1. | I Got It
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| 2. | I'm Glad, Glad
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| 3. | (Everytime I Hear) That Mellow Saxophone
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| 4. | Shame, Shame, Shame
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| 5. | Rockin' at Cosmo's
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| 6. | Chicken Shack Boogie
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| 7. | Please Believe Me
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| 8. | Dance With Me Henry
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| 9. | Don't Feel Sorry for Me
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| 10. | Mad About You
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| 11. | I'm Beggin' with Tears
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| 12. | I'm Walkin'
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| 13. | Rock All Night
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| 14. | Johnny's House Party (Pt. 1)
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| 15. | Johnny's House Party (Pt. 2)
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| 16. | King Kong
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| 17. | Sadie Green
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| 18. | Little Bitty Pretty One
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| 19. | Drum Village, Pt. 1
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| 20. | Drum Village, Pt. 2
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| 21. | Ko Ko
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| 22. | Jerry Jerry
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| 23. | Red Hot Rockin' Blues
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| 24. | Rockin' Robin
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| 25. | Sweet Pea
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| 26. | Rockville U.S.A.
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| 27. | La Bamba
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| 28. | It's Love
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| 29. | Somethin' Else
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| 30. | In the Mood
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Jazz / R&B / Rock / Oldies
This 30-song selection of tracks on which Palmer played in the late 1950s cannot, and does not purport to, tell the whole story of his career. After all, there's only one track apiece from his work with Little Richard and Fats Domino. What this various-artists compilation (only four tracks were actually released under Earl Palmer's name) does, however, is give a pretty good idea of Palmer's early rock'n'roll contributions via a few well-known hits, a lot of rarities, and a bunch of styles. While Fats Domino's "I'm Walkin'," Bobby Day's "Rockin' Robin," Ritchie Valens' "La Bamba," Thurston Harris' "Little Bitty Pretty One," and Eddie Cochran's "Somethin' Else" are here, most of this is pretty obscure R&B, catching that music's transition to rock. In addition to fairly little-heard sides by Lloyd Price, Richard Berry, and Shirley & Lee, there's hard R&B from Smiley Lewis ("Shame, Shame, Shame"), Amos Milburn, and Charles Brown; gravelly jump'n'jive from Roy Montrell; Etta James' rock'n'roll remake of "Dance with Me Henry" (not the same as her first and more famous version, "The Wallflower"); instrumental sax rock by Lee Allen; Big T Tyler's insane "King Kong"; Don & Dewey's great harmony romp "Koko"; the rockin' Top Five hit version of "In the Mood" by Ernie Fields; and minor-league rockabilly by Jesse James. The instrumentals cut under his own name are pretty generic stuff ("Johnny's House Party" is a "Honky Tonk" rip), but you'd be checking this out for the cuts graced by Palmer's session drums rather than his own sides anyway.
---Richie Unterberger, All Music Guide
Earl Palmer
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 25, 1924 in New Orleans, LA
Genre: R&B; Jazz
Styles: R&B, Rock & Roll, Bop, New Orleans R&B
Earl Palmer was a first-call drummer on the New Orleans R&B recording scene from 1950 to 1957. Talk about a supreme recommendation -- in a city renowned for its second-line rhythms and syncopated grooves, Palmer was the man, playing on countless sessions by all the immortals: Little Richard, Fats Domino, Smiley Lewis, Dave Bartholomew, and too many more to list here.
Born to a mother who was a vaudevillian, little Earl was learning rhythmic patterns as a tap dancer at age four. Such contacts led him to be around drum kits on a regular basis, and it didn't take him long to master them. Bebop jazz was his first love, but R&B and blues paid the bills starting in 1947, when Palmer joined Bartholomew's band.
Palmer remained the king of the traps at Cosimo Matassa's fabled recording studio until 1957, when a Shirley & Lee session led to an A&R offer from Aladdin Records boss Eddie Mesner. Palmer found studio work just as plentiful in Los Angeles, making major inroads into the rock, jazz, and soundtrack fields as well as playing on countless R&B dates with his frequent compadres Rene Hall on guitar and saxist Plas Johnson. Occasionally, Palmer would record as a leader -- the instrumental "Johnny's House Party" for Aladdin, a couple of early-'60s albums for Liberty.
But even the best session men grapple with a certain sense of anonymity. So the next time you pull out Little Richard's "Tutti Frutti," Smiley Lewis's "I Hear You Knockin'," Lloyd Price's "Lawdy Miss Clawdy," or Fats Domino's "The Fat Man," please keep in mind that it's Palmer feverishly stoking that beat -- with a saucy second-line sensibility that drove those songs in fresh, utterly innovative directions.
---Bill Dahl, All Music Guide |
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