Liner Notes for Long John Baldry--Long John's Blues
Side 1
Rock the Joint (John Baldry)
Times Are Getting Tougher Than Tough (Jimmy Witherspoon)
Got My Mojo Working (McKinley Morganfield--aka, Muddy Waters)
Everyday I Have the Blues (Peter Chapman)
You're Breaking My Heart (John Baldry)
Bring My Baby Back (John Baldry)
Side 2
Up Above My Head (There's Music in the Air) (Rosetta Tharpe/Mary Knight)
Dimples (John Lee Hooker/James Bracken)
Five Long Years (Eddie Boyd)
Gee, Baby, Ain't I Good to You? (Andy Razaf/Don Redman)
Going Down Slow (James Oden)
Roll 'Em Pete (Joe Turner/Pete Johnson)
I suppose that my interest in blues music really began when I was in school in the early fifties.
At that time, there wasn't much recorded available to listewn to. The few jazz 78s were like gold then. But in
France, the Disques Vogue label was releasing records by people like Big Bill Broonzy, who was my first original
influence, Muddy Waters, Jimmy Witherspoon, Sidney Bechet--people like that. There were a few small labels in
England like Tempo and Doug Dobell's "77" record company.
I had a banjo when I was twelve, and a little later my father bought me a guitar made especially by Grimshaw
in London. I still have it--it's over fifteen years old, but it's still my favorite.
I learned to play a little bit, and then got mixed up in the young bohemian society in London, about 1955
or 1956. I suppose they're like the hippie society now, except that we were much, much more of a minority.
We were playing around the coffee-houses in London, and in the streets--up and down theater queues, busking.
A lot of people used to make a point of listening to us, throwing quite a bit of money into the hat.
Then I met up with Rambling Jack Elliott, who, of course, is a very big name in American folk music history;
having been the first major influence on Bob Dylan. I was also playing a lot with a fellow named Davy Graham,
who is really on of the most incredible finger-style blues pickers that ever was.
In 1957 I met Cyril Davis and Alexis Korner, who had been playing together for a little while in a club called
the Roundhouse in Wardour Street. A lot of people came by there and played--Big Bill Broonzy, Otis Spann,
Speckled Red, Memphis Slim, Little Brother Montgomery . . . and Jack Elliot, of course. Those were fun days,
and I was learning a lot about the blues.
In 1960, I joined, very briefly, the Bob Cort skiffle group, and we went to Denmark and spent some time there.
Then I came back and formed an electric blues band, with Alex and Ctril, called Blues Incorporated. That was
really something of a step, because it was thought rather dreadful at the time that the blues should be played
with electrical instruments. In fact, it was only a few years before that Muddy had shocked everybody
in Europe by bringing over an electric guitar and playing blues on it.
I suppose that Blues Incorporated was the first white electric blues band in the world. It pre-dates Paul Butterfield
and company. A lot of people got involved with our group. Charlie Watts was on drums, Mick Jagger was also a
singer with us. . . At that time we were the house band of the Marquee Club. Then I spent some time in Germany,
playing with local bands and visitors like Horace Silver.
When I cam back to England, Cyril had split from Alex, and Blues Incorporated had at that time Ginger Baker on
drums, Graham Bond on organ, Dick Heckstall-Smith on sax and Jack Bruce on bass. Cyril had formed the Cyril Davis
All-Stars, which I joined. That was an interesting band--for a time it had Jimmy Page on guitar. He was only fifteen, and
only came in for a little while, because he was more interested in going to art school.
I had come back from Germany on january 7, 1963. We worked quite a bit, and even had our own TV program.
On January 7, 1964, Cyril died; very, very suddenly. I took the band over, and brought Rod Stewart in as vocalist.
I had heard Rod before, playing harmonica, but never singing. But I "discovered" him, at the Twickenham railroad
station, waiting for a train. Roddy was sitting on the platform, singing. He rather impressed me, and so I asked him
how he'd fancy a gig. So Rod came in as vocalist.
We had a Thursday night residency at the Marquee Club, which we kept quite full all the time. Once a month, I would
put on a special concert-type program, bringing in visiting musicians. In early '64, we did the television special,
"Around the Beatles," which was shown in nearly every country in the world.
As a result of appearing on that show, I was offered a contract by United Artists Records, and we made an l.p. which
was called "Long John's Blues," and a few singles.
The band, called the Hoochie Coochie Men, at the time consisted of myself; Ian Armit on piano, who had come to us
from Humphry Lyttelton's jazz band; another Scot, Billy Law, on drums . . . Billy's left the musical scene, now he's got
a grocery shop in Glasgow . . . and a young fellow named Cliff Barton on bass, who had been in the Cyril Davis band.
I think that of all the bass guitar players I've ever heard, including Jack Bruce or anybody, Cliff was the best. He was
*incredible*. Unfortunately, two or three years back and really hooked on heroine, at the age of twenty-four Cliff was
admitted to West Middlesex Hospital in London and died. Our guitar player on the album, Jeff Bradford, was another
great virtuoso. He was one of the finest guitarists to ever come out of English blues. He was one of the very few who
played finger-style on the electric guitar. he certainly pre-dates Eric Clapton or any of the other younger players. I think
he was a very major influence--and idol--of Clapton and Jeff Beck and Jimmy Page. In fact, Jeff Beck used to have a group
called The Tridents that were our interval band at the Eel-Pie Island club in Twickenham. In 1965, Jeff Bradford suffered
a rather severe nervous breakdown and was advised by his doctor to never play guitar again.
The Album
The whole album was done in one day, with most sections done in just one take. It was all on a single, mono track.
A lot of the numbers are familiar, almost classic blues. "Roll 'Em, Pete," of course was a great hit for Joe Turner along
with Pete Johnson, his piano player. I first heard "Gee, Baby, Ain't I Good to You?" in the very good version Joe Williams
made with the Count Basie band. "Up Above My Head" was made popular by Sister Rosetta Tharpe and Mary Knight. Ian
had played piano with them, when they were on tour in Britain. Unfortunately the song is the only recorded duet between
Rod and myself to be released. Later on, we made quite a few recordings with the Steampacket, but contractual problems
made them impossible to be issued to the public.
"Times Are Getting Tougher than Tough" was Jimmy Witherspoon's theme song; "Going Down Slow" was written by
St. Louis Jimmy Oden, although a lot of people take credit for it. "Five Long Years" was written by Eddie Boyd. He lives
in Belgium now, and plays in a bar in Brussels; still swinging along.
It brings back a lot of memories to me, this album. I know it's an old one now, getting on for eight years. But it still sounds
fresh to me. I think it doesn't sound that dated . But then the blues doesn't really date, does it?
--John Baldry
Los Angeles, California
June, 1971
Personel (on all selections except "Bring My Baby Back"): John Baldry, lead vocals; Ian Armit, piano;
Jeff Bradford, guitar and harmonica; Cliff Barton, bass; Billy Law, drums. On "Up Above My Head," Rod Stewart
is added on second vocal. On "Going Down Slow," "Five Long Years" and "Bring My Baby Back," Baldry
plays guitar. On "Bring My baby Back," Baldry is accompanied by studio musicians of unrecalled identity.
"Up Above My Head" was produced by Jack Good and released in June, 1964. "Bring My Baby Back" was produced by
Martin Davis and released in November, 1966. Neither has heretofore been available on any album. The other
ten titles were produced by Ron Belchier and released in November, 1964 as the album "Long John's Blues"
(in the U.S., on Ascot Records ALS 16022).
All titles were recorded "live" at I.B.C. Studios, London, and in mono, only. In the interest of obtaining
maximum fidelity to the originals, no attempt at an artificial stereo effect has been made here.
Liner Notes for Long John Baldry--Long John's Blues
Side 1
Rock the Joint (John Baldry)
Times Are Getting Tougher Than Tough (Jimmy Witherspoon)
Got My Mojo Working (McKinley Morganfield--aka, Muddy Waters)
Everyday I Have the Blues (Peter Chapman)
You're Breaking My Heart (John Baldry)
Bring My Baby Back (John Baldry)
Side 2
Up Above My Head (There's Music in the Air) (Rosetta Tharpe/Mary Knight)
Dimples (John Lee Hooker/James Bracken)
Five Long Years (Eddie Boyd)
Gee, Baby, Ain't I Good to You? (Andy Razaf/Don Redman)
Going Down Slow (James Oden)
Roll 'Em Pete (Joe Turner/Pete Johnson)
I suppose that my interest in blues music really began when I was in school in the early fifties.
At that time, there wasn't much recorded available to listewn to. The few jazz 78s were like gold then. But in France, the Disques Vogue label was releasing records by people like Big Bill Broonzy, who was my first original influence, Muddy Waters, Jimmy Witherspoon, Sidney Bechet--people like that. There were a few small labels in England like Tempo and Doug Dobell's "77" record company.
I had a banjo when I was twelve, and a little later my father bought me a guitar made especially by Grimshaw in London. I still have it--it's over fifteen years old, but it's still my favorite.
I learned to play a little bit, and then got mixed up in the young bohemian society in London, about 1955
or 1956. I suppose they're like the hippie society now, except that we were much, much more of a minority.
We were playing around the coffee-houses in London, and in the streets--up and down theater queues, busking. A lot of people used to make a point of listening to us, throwing quite a bit of money into the hat.
Then I met up with Rambling Jack Elliott, who, of course, is a very big name in American folk music history;
having been the first major influence on Bob Dylan. I was also playing a lot with a fellow named Davy Graham, who is really on of the most incredible finger-style blues pickers that ever was.
In 1957 I met Cyril Davis and Alexis Korner, who had been playing together for a little while in a club called
the Roundhouse in Wardour Street. A lot of people came by there and played--Big Bill Broonzy, Otis Spann, Speckled Red, Memphis Slim, Little Brother Montgomery . . . and Jack Elliot, of course. Those were fun days, and I was learning a lot about the blues.
In 1960, I joined, very briefly, the Bob Cort skiffle group, and we went to Denmark and spent some time there. Then I came back and formed an electric blues band, with Alex and Ctril, called Blues Incorporated. That was really something of a step, because it was thought rather dreadful at the time that the blues should be played with electrical instruments. In fact, it was only a few years before that Muddy had shocked everybody in Europe by bringing over an electric guitar and playing blues on it.
I suppose that Blues Incorporated was the first white electric blues band in the world. It pre-dates Paul Butterfield and company. A lot of people got involved with our group. Charlie Watts was on drums, Mick Jagger was also a singer with us. . . At that time we were the house band of the Marquee Club. Then I spent some time in Germany, playing with local bands and visitors like Horace Silver.
When I came back to England, Cyril had split from Alex, and Blues Incorporated had at that time Ginger Baker on drums, Graham Bond on organ, Dick Heckstall-Smith on sax and Jack Bruce on bass. Cyril had formed the Cyril Davis All-Stars, which I joined. That was an interesting band--for a time it had Jimmy Page on guitar. He was only fifteen, and only came in for a little while, because he was more interested in going to art school.
I had come back from Germany on january 7, 1963. We worked quite a bit, and even had our own TV program. On January 7, 1964, Cyril died; very, very suddenly. I took the band over, and brought Rod Stewart in as vocalist.
I had heard Rod before, playing harmonica, but never singing. But I "discovered" him, at the Twickenham railroad station, waiting for a train. Roddy was sitting on the platform, singing. He rather impressed me, and so I asked him how he'd fancy a gig. So Rod came in as vocalist.
We had a Thursday night residency at the Marquee Club, which we kept quite full all the time. Once a month, I would put on a special concert-type program, bringing in visiting musicians. In early '64, we did the television special, "Around the Beatles," which was shown in nearly every country in the world.
As a result of appearing on that show, I was offered a contract by United Artists Records, and we made an l.p. which was called "Long John's Blues," and a few singles.
The band, called the Hoochie Coochie Men, at the time consisted of myself; Ian Armit on piano, who had come to us from Humphry Lyttelton's jazz band; another Scot, Billy Law, on drums . . . Billy's left the musical scene, now he's got a grocery shop in Glasgow . . . and a young fellow named Cliff Barton on bass, who had been in the Cyril Davis band. I think that of all the bass guitar players I've ever heard, including Jack Bruce or anybody, Cliff was the best. He was *incredible*. Unfortunately, two or three years back and really hooked on heroine, at the age of twenty-four Cliff was admitted to West Middlesex Hospital in London and died. Our guitar player on the album, Jeff Bradford, was another great virtuoso. He was one of the finest guitarists to ever come out of English blues. He was one of the very few who played finger-style on the electric guitar. he certainly pre-dates Eric Clapton or any of the other younger players. I think he was a very major influence--and idol--of Clapton and Jeff Beck and Jimmy Page. In fact, Jeff Beck used to have a group called The Tridents that were our interval band at the Eel-Pie Island club in Twickenham. In 1965, Jeff Bradford suffered a rather severe nervous breakdown and was advised by his doctor to never play guitar again.
The Album
The whole album was done in one day, with most sections done in just one take. It was all on a single, mono track.
A lot of the numbers are familiar, almost classic blues. "Roll 'Em, Pete," of course was a great hit for Joe Turner along with Pete Johnson, his piano player. I first heard "Gee, Baby, Ain't I Good to You?" in the very good version Joe Williams made with the Count Basie band. "Up Above My Head" was made popular by Sister Rosetta Tharpe and Mary Knight. Ian had played piano with them, when they were on tour in Britain. Unfortunately the song is the only recorded duet between Rod and myself to be released. Later on, we made quite a few recordings with the Steampacket, but contractual problems made them impossible to be issued to the public.
"Times Are Getting Tougher than Tough" was Jimmy Witherspoon's theme song; "Going Down Slow" was written by St. Louis Jimmy Oden, although a lot of people take credit for it. "Five Long Years" was written by Eddie Boyd. He lives in Belgium now, and plays in a bar in Brussels; still swinging along.
It brings back a lot of memories to me, this album. I know it's an old one now, getting on for eight years. But it still sounds fresh to me. I think it doesn't sound that dated . But then the blues doesn't really date, does it?
--John Baldry
Los Angeles, California
June, 1971
Personel (on all selections except "Bring My Baby Back"): John Baldry, lead vocals; Ian Armit, piano;
Jeff Bradford, guitar and harmonica; Cliff Barton, bass; Billy Law, drums. On "Up Above My Head," Rod Stewart is added on second vocal. On "Going Down Slow," "Five Long Years" and "Bring My Baby Back," Baldry plays guitar. On "Bring My baby Back," Baldry is accompanied by studio musicians of unrecalled identity.
"Up Above My Head" was produced by Jack Good and released in June, 1964. "Bring My Baby Back" was produced by Martin Davis and released in November, 1966. Neither has heretofore been available on any album. The other ten titles were produced by Ron Belchier and released in November, 1964 as the album "Long John's Blues" (in the U.S., on Ascot Records ALS 16022).
All titles were recorded "live" at I.B.C. Studios, London, and in mono, only. In the interest of obtaining
maximum fidelity to the originals, no attempt at an artificial stereo effect has been made here.