Serial Bad Weddings 2

When it came to belting out R&B and Jump Blues, the men didn’t always have it their own way. As I’M A BAD, BAD GIRL proves, there were any number of raucous chanteuses ready, willing & able to make their presence felt. These women were strong, independent and sassy, and knew precisely what they wanted. Most of the time it was for their man to be either under their thumb, or atop their bed and they made no bones about it! This is predominantly rootin’, tootin’, bootin’ stuff, with the brass sounding, the horns wailing, and the guitarist getting just the occasional look-in. But to add shade to this comprehensive 3-CD set, there are cooler sides from singers like Betty Hall Jones, Ella Mae Morse and Myra Taylor, and Gospel, from Sister Rosetta Tharpe and Faye Adams. Every important Lady singer of the era is included, ranging from the well-known - e.g. Billie Holiday, Dinah Washington, Ruth Brown, ‘Little’ Esther Phillips, LaVern Baker, Big Maybelle - to names familiar, perhaps, primarily to specialist collectors - e.g. Little Sylvia, Fluffy Hunter, Pearl Traylor, Tiny Davis, Zilla.

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When it came to belting out R&B and Jump Blues, the men didn’t always have it their own way. As I’M A BAD, BAD GIRL proves, there were any number of raucous chanteuses ready, willing & able to make their presence felt. These women were strong, independent and sassy, and knew precisely what they wanted. Most of the time it was for their man to be either under their thumb, or atop their bed – and they made no bones about it! This is predominantly rootin’, tootin’, bootin’ stuff, with the brass sounding, the horns wailing, and the guitarist getting just the occasional look-in. But to add shade to this comprehensive 3-CD set, there are cooler sides from singers like Betty Hall Jones, Ella Mae Morse and Myra Taylor, and Gospel, from Sister Rosetta Tharpe and Faye Adams.

Considering the Bruthers released just one single, it took some digging to manufacture an entire album of material from their brief legacy. Sundazed, as usual, was up to the task, compiling the 11-track Bad Way to Go CD, all but two of the songs coming from previously unreleased studio recordings. Both sides of their sole 1966 45, "Bad Way to Go"/"Bad Love," are here of course, and "Bad Way to Go" is certainly the best of the bunch. Its tense, almost circus-like up-and-down riffs, archetypically snarling mid-'60s garage vocal, doom-clouded organ, and furious tempo changes make it one of the best '60s garage records to have escaped inclusion on the Nuggets box set. The previously unreleased "The Courtship of Rapunzel," recorded just a couple of months later, had a similarly manic-aggressive feel, though perhaps its roller coaster riffs were a little too similar to "Bad Way to Go" to raise it to the same level. A few more Alf Delia originals here are enjoyable teen outrage in the same herky-jerkyish style, the 1965 demo "I'm Gonna Be Alone" betraying a melodramatic pre-Beatles influence along the lines of Del Shannon, and the folk-rock-influenced late-1966 outtake "Walk in the Sun" offering evidence of possible growth into a more mature sound. But the brief set's diluted by some typically energetic-but-derivative garage covers (of the Beatles' "I Wanna Be Your Man," the Who's "My Generation," and the Blues Project's "Wake Me, Shake Me"), as well as an instrumental version of "The Courtship of Rapunzel."

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Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency – these were songs devised to get attention – but, years later, it's astounding how strong this catalog of songs is: "Born Under a Bad Sign," "Crosscut Saw," "Oh Pretty Woman," "The Hunter," "Personal Manager," and "Laundromat Blues" form the very foundation of Albert King's musical identity and legacy.

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