Please enable They were successful enough that the National Jazz Federation asked the band to play a show at Festival Hall with American ragtime pianist Ralph Sutton and blues/jazz legend Lonnie Johnson.
& Feb. 24, 1957)
It was catchy, earthy, even bluesy (after a fashion) American music played in a way that the British kids could master without an enormous amount of trouble -- a guitar or two, and maybe a banjo, an upright bass (or even one made from a washtub or tea chest, a broom handle, and a piece of rope), and a washboard-and-thimble for percussion. 's://ssl':'://www')+'.google-analytics.com'+'/siteopt.js?v=1&utmxkey='+k+'&utmx='+(x?x:'')+'&utmxx='+(xx?xx:'')+'&utmxtime='+new Date().valueOf()+(h? Boll Weevil Blues unissued LD9 April 12, 1953 Hotel Gentofte, Copenhagen, Denmark (Donegan & Barber) Hard Time Blues (KC 9) Storyville This is a preliminary attempt at a chronological discography. Showcase . http://www.p.griggsy.btinternet.co.uk/Untitled/Lonnie.html, Creative Commons Attribution-ShareAlike License. Connect your Spotify account to your Last.fm account and scrobble everything you listen to, from any Spotify app on any device or platform. He formed his own group, the Tony Donegan Jazz Band, in 1952. I Shall Not be Moved
It was an enormous hit in 1956 (which also later inspired the creation of a full album, An Englishman Sings American Folk Songs, released in America on the Mercury label in the early 1960s) but ironically, because it was a band recording, Donegan made no money from this recording beyond his original session fee. NME Rock 'n' Roll Years. London: Reed International Books. p. 27. CN 5585. ^ a b Lewis, Randy (5 November 2002). "Lonnie Donegan, 71; His Music Influenced 1960s Rock Bands". Los Angeles Times. Retrieved 27 October 2021. ^ "Lonnie Donegan was born 90 years ago today". Frank Beacham's Journal. 29 April 2021. Retrieved 27 October 2021. But in 1954, before anyone (especially anybody in England) knew what rock & roll was, Donegan was cool, and his music was hot. Donegan received no encouragement to play an instrument or choose music as a profession, for his father, like many talented musicians during the economic slump of the '30s, was continually out of work. Heart surgery in 1992 slowed Donegan down again, but by the end of the year he was touring once again with Chris Barber. For the next six years, Lonnie spent 335 weeks on the Official Singles chart. 2, Does Your Chewing Gum Lose It's Flavour (On The Bedpost Overnight) b/w
www.hillmanweb.com/book/gigs, Rock Island Line b/w John Henry (with The Chris Barber Jazz Band), Midnight Special b/w New Burying Ground (with The Chris Barber Jazz Band), Diggin' My Potatoes b/w I Don't Care Where They Bury My Body, Bring A Little Water, Sylvie b/w Dead Or Alive, Don't You Rock Me Daddy-O b/w I'm Alabammy Bound, On A Christmas Day b/w Take My Hand Precious Lord, My Dixie Darling b/w I'm Just A Rolling Stone, The Grand Coolie Dam b/w Nobody Loves Like An Irishman, Sally Don't You Grieve b/w Betty Betty Betty, Lonesome Traveller b/w Times Are Getting Hard Boys, Lonnie's Skiffle Pt. Tom Dooley, Lonnie Donegan Hit Parade -- Vol 8
Nobody Loves Like An Irishman
His next single for Decca, "Diggin' My Potatoes," cut at an October 30, 1954 concert at London's Royal Festival Hall, was banned by the BBC for its suggestive lyrics -- this hurt sales but also gave Donegan a slight veneer of daring and rebelliousness that didn't hurt his credibility with the kids. Some of the songs from the original Showcase album do show a certain confidence and assertiveness seeping in, moving the music in more of a slick, popular direction. He is referred to as the "King of Skiffle" and is often cited as a large influence on the generation of British musicians who became famous in the 1960s. He might've continued touring the United States but for the fact he got lonely (his wife and newborn child were brought over), and that "Lost John" had reached number two in England. Discography.
Donegan mostly listened to swing and vocal acts such as Glenn Miller, Tommy Dorsey, the Ink Spots, and the Andrews Sisters during the early '40s, although he also heard some Indian music on the BBC, and African songs as transliterated for movies. The family, which moved to East London in 1933, had no desire to see him go into a dead-end profession. But Wright's best single moment comes in his fiery but all too brief electric guitar solo during "Cumberland Gap."
He formed his own group, the Tony Donegan Jazz Band, in 1952. Donegan went on to make a series of popular records with successes including "Cumberland Gap" and, particularly "Does Your Chewing Gum Lose It's Flavour (On The Bedpost Over Night)", his only hit song in the U.S., released on Dot. 3 Tops With Lonnie. He also played in Ken Colyer's group. Before the smoke cleared, "Rock Island Line" also managed to reach the Top 20 in America, a major feat for a British artist at that time. The only way Donegan had of mastering his instrument was by listening to old records and painstakingly working out the music and a technique,
Carter's "Wabash Cannonball." He'd left the Barber band by then -- though Barber continued to play on his records into the middle of the following year -- enticed into a solo career by offers of huge amounts of money to embark on a solo performing career. In concert, the group's sound was fuller still, with Donegan and Wright sharing guitar chores with bearded, bespectacled Dick Bishop, who had played on Donegan's earliest records. His bluff didn't work but the mix of personalities did, and he was in Barber's first band. The Ken Colyer Jazzmen, as they were called, specialized in Dixieland jazz, and built a formidable reputation, their shows popular in every club they played.
Donegan's "Gamblin' Man" / "Puttin' On the Style" single was number one on the UK chart in July 1957, when Lennon first met Paul McCartney. Walton-on-Thames Film Studios, Surrey (J.Currie, gtr), August 28, 1957 British Legion Hall, Plymouth, Devon. Yes Suh Smith&Co SSCD1123 LD9. The name "skiffle" was hung on this music as a way of referring to it on the group's posters. For LP, just put in Title. He'd left the Barber band by then -- though Barber continued to play on his records into the middle of the following year -- enticed into a solo career by offers of huge amounts of money to embark on a solo performing career. . It was through BBC broadcasts around 1946 that Donegan first started learning to play songs like "Frankie and Johnny," "Putting on the Style," and "House of the Rising Sun." Still later, Jimmy Currie, a veteran of Tony Crombie's Rockets (the first home-grown rock & roll band in England, patterned loosely after Bill Haley's Comets) became Donegan's lead guitarist in what is regarded as his strongest band. Donegan passed away November 3, 2002, following heart problems. Mickey Ashman - Bass 1956
It was country & western and blues records, especially those by Frank Crumit and Josh White, that really attracted Donegan's interests. Rock Island Line / John Henry (1955) UK #8 . How Long How Long Blues
The next month he was at Abbey Road Studios in London cutting a song for EMI's Columbia label. New artists, most notably Tommy Steele and, later, Cliff Richard, started out playing skiffle music and put their own stamp on the material before moving on to other sounds. This group recorded two excellent blues numbers with Lonnie Donegan as vocal called "In the evening when de sun go down" and "The Midnight Special" After a year, Ken colyer stormed out of the group and Chris Barber took over. The man extending the invitation was Chris Barber, himself an aspiring young jazzman. BINGO! The Chris Barber Jazz Band, as they became known, were popular enough to justify the recording of an album for Britain's Decca Records label. They were successful enough that the National Jazz Federation asked the band to play a show at Festival Hall with American ragtime pianist Ralph Sutton and blues/jazz legend Lonnie Johnson.
In 1949, he was drafted into the British Army. My Dixie Darling
The disc closes with Donegan's arrangement of "Love Is Strange," cut under the direction of Joe Meek (who suggested the clinking bottle percussion) and given a beat that makes it sound more like a calypso number. Cet lment a bien t ajout / retir de vos favoris.
Donegan and his band essentially played live in the studio (there was virtually no overdubbing in those days), but the best record of their sound comes from a concert recorded at London's Conway Hall on January 25, 1957, which was later released by Pye. d.write('
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