Elmer Gantry (1960) + [extras]

Although labeled a psychedelic band in their day, the Opera never sat comfortably in that strawberry field, partially because of the diversity of their sound, but also due to the simple fact they were just too far ahead of their time even for the psyched-out crowd. In fact, Elmer Gantry's Velvet Opera continued to sound thoroughly modern for decades, while their myriad musical meanderings took them down wayward byways that later became stylistic highways - at least in their native U.K.. So it's no surprise then, that this band would have slotted perfectly into the Britpop scene, or going back further in time, into the R&B-drenched mod scene. The Opera's admiration for R&B is evident on "Intro," an homage to Archie Bell & the Drells, while their equal respect for bluesy jazz is showcased on a fabulous cover of Oscar Brown's "I Was Cool" which absolutely smokes…

When producer Chris Albertson brought Lonnie Johnson and guitarist Elmer Snowden into a studio for this album on April 9, 1960, both musicians hadn't recorded in a number of years. Indeed, Snowden hadn't seen the inside of a studio in 26 years, but you'd never know it by the fleet-fingered work he employs on the opening "Lester Leaps In," where he rips off one hot chorus after another. Johnson plays a dark-toned electric while Snowden plays acoustic, with Wendell Marshall rounding things out on bass. Given Johnson's reputation as a closet jazzer, it's remarkable that he merely comps rhythm behind Snowden's leads on "C-Jam Blues" and "On the Sunny Side of the Street." Johnson handles all the vocals, turning in an especially strong turn on the second take of "Stormy Weather." Lots of studio chatter make this disc of previously unissued material a real joy to listen to, a loose and relaxed session with loads of great playing and singing to recommend it.

Banjoist Elmer Snowden only led two albums in the LP era, and his OJC CD reissue is his best showcase. Snowden, who is joined by pianist Cliff Jackson, bassist Tommy Bryant, and drummer Jimmy Crawford, is the lead voice throughout the dozen standards, all of which date from the 1920s or '30s. Snowden's banjo style is a lost art, and this is his definitive recording.

This combination works quite well. Guitarist-singer Lonnie Johnson was just starting a successful comeback, and here he is teamed up with acoustic rhythm guitarist Elmer Snowden (who had not recorded since 1934) and bassist Wendell Marshall. Johnson sings smooth blues and sentimental ballads with equal skill, and both guitarists have opportunities to display their complementary but distinctive styles. This CD reissue is easily recommended, as is its more instrumental counterpart, Blues, Ballads, and Jumpin' Jazz, Vol. 2.

After four years off records and in obscurity, Lonnie Johnson launched his final comeback with this release, which has been reissued on CD. Teamed with tenor saxophonist Hal Singer, pianist Claude Hopkins, bassist Wendell Marshall and drummer Bobby Donaldson, Johnson sings and plays guitar on a variety of blues, showing that the layoff (he was working at the time as a janitor) had not hurt his abilities in the slightest.