Jimmy reed - the new jimmy reed album
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During Reed's writ of habeas corpus hearing, Fennell's best friend Curtis Davis denied being able to recall his interviews on "Death Row Stories" or with CNN. He also said that it was an assumption that Fennell didn't get home until 10pm or 11pm. Fennell declined to testify at all, even though the new evidence means that it was completely impossible for Reed to have committed the murder of Stites but that he(Fennell) would be the only suspect because of the timeline the new evidence sets up. The judge said it will take at least 6-8 weeks for his decision. "Visiting Judge Doug Shaver’s decision will be in the form of recommendations for the Court of Criminal Appeals, which has the final say on whether Reed gets a new trial in the 1996 murder of Stacey Stites." < http:///news/rodney-reed-hearing-ends-with-sharp-disagreements-aired/4e56IznX8E8c3syugE6OJJ/ >/ref>
The Synoptic Gospels (Matthew, Mark, and Luke) tell the story of John the Baptist’s imprisonment, so the fourth Gospel can assume that we know about it.
One thing you can certainly hear in this record is Randy Newman and his influence on you. That must go back a long way for you?
No question about it. He was a hero of mine from the very beginning, from when I first heard his work. The particular time when I began making records in the late Seventies, we had the same agency and I was blessed to be Randy's opening act for, oh, about a year, around the time he had "Short People." The two of us were traveling on planes to different hotels. He was truly a hero of mine and he lived up to that status. He's brilliant. He's wickedly funny and there's no better writer than I think he is. I would have been influenced just by listening to the records, let alone from getting to be around him and tour with him. I'm certain that more of that permeated what I do to a degree that my limited abilities can absorb because he's much more thorough in music theory than I am. I hear stuff in my head that I have to go chase and figure out, and he hears stuff in his head that he understands as soon as he hears it. We're quite different in that regard. But at least he gives me some things to aspire to.
“It’s the most incredible thing to be happy and secure in something,” he said. “It’s a pretty crazy time and place to bring a child into this turbulent and insane world -- but I really can’t wait to do it and really just love it.”
For years after, syndicated re-runs of The Donna Reed Show entertained new generations of young people. In a growing resurgence of nostalgia and a salute to Mother's day, the cable provider Nickelodeon aired a week long "Seven Day Donna-Thon" of episodes during its "Nick-at-Nite" programming schedule in 1990. Select episodes from the series were broadcast and commercial exposure was given to the fledgling organization, The Donna Reed Foundation, in Denison, Iowa.
JIMMY REED HONEST I DO Mathis James Reed
BORN: September 6, 1925, Dunleith, MS
DIED: August 29, 1976, Oakland, CA
There's simply no sound in the blues as easily digestible, accessible, instantly recognizable and as easy to play and sing as the music of Jimmy Reed . His best-known songs -- "Baby, What You Want Me to Do," "Bright Lights, Big City," "Honest I Do," "You Don't Have to Go," "Going to New York," "Ain't That Lovin' You Baby" and "Big Boss Man" -- have become such an integral part of the standard blues repertoire, it's almost as if they have existed forever. Because his style was simple and easily imitated, his songs were accessible to just about everyone from high school garage bands having a go at it to Elvis Presley , Charlie Rich , Lou Rawls , Hank Williams, Jr ., and the Rolling Stones , making him -- in the long run -- perhaps the most influential bluesman of all. His bottom string boogie rhythm guitar patterns (all furnished by boyhood friend and longtime musical partner Eddie Taylor ), simple two-string turnarounds, countryish harmonica solos (all played in a neck rack attachment hung around his neck) and mush mouthed vocals were probably the first exposure most White folks had to the blues. And his music -- lazy, loping and insistent and constantly built and reconstructed single after single on the same sturdy frame -- was a formula that proved to be enormously successful and influential, both with middle-aged Blacks and young White audiences for a good dozen years. Jimmy Reed records hit the charts with amazing frequency and crossed over onto the pop charts on many occasions, a rare feat for an unreconstructed is all the more amazing simply because Reed's music was nothing special on the surface; he possessed absolutely no technical expertise on either of his chosen instruments and his vocals certainly lacked the fierce declamatory intensity of a Howlin' Wolf or a Muddy Waters . But it was exactly that lack of in-your-face musical confrontation that made Jimmy Reed a welcome addition to everybody's record collection back in the '50s and '60s. And for those aspiring musicians who wanted to give the blues a try, either vocally or instrumentally (no matter what skin color you were born with), perhaps Billy Vera said it best in his liner notes to a Reed greatest hits anthology: "Yes, anybody with a range of more than six notes could sing Jimmy's tunes and play them the first day Mom and Dad brought home that first guitar from Sears & Roebuck. I guess Jimmy could be termed the '50s punk bluesman." Reed was born on September 6, 1925, on a plantation in or around the small burg of Dunleith, MS. He stayed around the area until he was 15, learning the basic rudiments of harmonica and Acoustic Guitar from his buddy Eddie Taylor , who was then making a name for himself as a semi-pro musician, working country suppers and juke joints. Reed moved up to Chicago in 1943, but was quickly drafted into the Navy, where he served for two years. After a quick trip back to Mississippi and marriage to his beloved wife Mary (known to blues fans as "Mama Reed"), he relocated to Gary, IN, and found work at an Armour Foods meat packing plant while simultaneously breaking into the burgeoning blues scene around Gary and neighboring Chicago. The early '50s found him working as a sideman with John Brim's Gary Kings (that's Reed blowing harp on Brim's classic "Tough Times" and its instrumental flipside, "Gary Stomp") and playing on the street for tips with Willie Joe Duncan , a shadowy figure who played an amplified, homemade one-string instrument called a Unitar. After failing an audition with Chess Records (his later chart success would be a constant thorn in the side of the firm), Brim's drummer at the time -- improbably enough, future blues guitar legend Albert King -- brought him over to the newly formed Vee-Jay Records where his first recordings were made. It was during this time that he was reunited and started playing again with Eddie Taylor , a musical partnership that would last off and on until Reed's death. Success was slow in coming, but when his third single, "You Don't Have to Go" backed with "Boogie in the Dark," made the number five slot on Billboard 's charts, the hits pretty much kept on coming for the next decade. But if selling more records than Muddy Waters , Howlin' Wolf , Elmore James or Little Walter brought the rewards of fame to his doorstep, no one was more ill-equipped to handle it than Jimmy Reed . With signing his name for fans being the total sum of his literacy, combined with a back-breaking road schedule once he became a name attraction and his self-description as a "liquor glutter," Reed started to fall apart like a cheap suit almost immediately. His devious schemes to tend to his alcoholism -- and the just plain aberrant behavior that came as a result of it -- quickly made him the laughing stock of his show business contemporaries. Those who shared the bill with him in top-of-the-line venues like the Apollo Theater -- where the story of him urinating on a star performer's dress in the wings has been repeated verbatim by more than one oldtimer -- still shake their heads and wonder how Jimmy could actually stand up straight and perform, much less hold the audience in the palm of his hand. Other stories of Jimmy being "arrested" and thrown into a Chicago drunk tank the night before a recording session also reverberate throughout the blues community to this day. Little wonder then that when he was stricken with epilepsy in 1957, it went undiagnosed for an extended period of time, simply because he had experienced so many attacks of delirium tremens, better known as the "DTs." Eddie Taylor would relate how he sat directly in front of Reed in the studio, instructing him while the tune was being recorded, exactly when to start to start singing, when to blow his harp, and when to do the turnarounds on his guitar. He also appears, by all accounts, to have been unable to remember the lyrics to new songs -- even ones he had composed himself -- and Mama Reed would sit on a piano bench and whisper them into his ear, literally one line at a time. Blues fans who doubt this can clearly hear the proof on several of Jimmy's biggest hits, most notably "Big Boss Man" and "Bright Lights, Big City," where she steps into the fore and starts singing along with him in order to keep him on the beat. But seemingly none of this mattered. While revisionist blues historians like to make a big deal about either the lack of variety of his work or how later recordings turned him into a mere parody of himself, the public just couldn't get enough of it. Jimmy Reed placed 11 songs on the Billboard Hot 100 pop charts and a total of 14 on the charts, a figure that even a much more sophisticated artist like . King couldn't top. To paraphrase the old saying, nobody liked Jimmy Reed but the people. Reed's slow descent into the ravages of alcoholism and epilepsy roughly paralleled the decline of Vee-Jay Records, which went out of business at approximately the same time that his final 45 was released, "Don't Think I'm Through." His manager, Al Smith , quickly arranged a contract with the newly formed ABC-Bluesway label and a handful of albums were released into the '70s, all of them lacking the old charm, sounding as if they were cut on a musical assembly line. Jimmy did one last album, a horrible attempt to update his sound with funk beats and wah-wah pedals, before becoming a virtual recluse in his final years. He finally received proper medical attention for his epilepsy and quit drinking, but it was too late and he died trying to make a comeback on the blues festival circuit on August 29, 1976. All of this is sad beyond belief, simply because there's so much joy in Jimmy Reed's music. And it's that joy that becomes self evident every time you give one of his classic sides a spin. Although his bare bones style influenced everyone from British Invasion combos to the entire school of Louisiana swamp blues artists ( Slim Harpo and Jimmy Anderson in particular), the simple indisputable fact remains that -- like so many of the other originators in the genre -- there was only one Jimmy Reed . ~ Cub Koda
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Disclosure : This website has links that take you to another website so you can order this highly recommended DVD guitar course. They are affiliate links , that if you click on them, like what you see, and purchase the course, I may get a small commission. It does not affect the cost that you pay at all. In fact, being a close friend of Jimmy, I cannot recommend him or the course high enough. He is an amazing human and guitar instructor.
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