Chalky

Where and when was this first played?

Have you a link to the BIN one George? I've seen the other after Joan passed the link on.

Isn't there a look-a-like boot/re-issue as well of this?? What is the take on the Tommy Tate cd released recently by kent? Same as the original 45 or the "smoother" take?

As Joe said not one for Northern night (IMO).

neither has mine, hopefully just slowed down with Easter post.....

https://www.guardian.co.uk/music/2011/apr/21/eddie-kirkland-obituary A blues musician with raw energy who was always on the road Tony RussellThursday 21 April 2011 18.22 Eddie Kirkland playing at the Koh Samui music festival in 2005 Photograph: Leon Schadeberg / Rex Features Journalists called him "the gypsy of the blues" and his website titled him "road warrior", testimony to the fact that the blues singer and guitarist Eddie Kirkland, who has died aged 87, doggedly took his music wherever he could find an audience. His friend Pete Lowry, who recorded Kirkland for his Trix label in the 1970s, said that Kirkland was "still trying to conquer the world one saloon or pub at a time. This will be the first time in his life that he has stopped moving forward at full speed." Kirkland came to the attention of blues enthusiasts as an occasional partner, both on the road and in the studio, of John Lee Hooker, his clanging guitar, and occasionally voice, adding to the excitement of Louise, Let's Talk It Over and others of Hooker's early-50s recordings for the Chess and Modern labels. He made a few singles himself around that time, for the King and Fortune labels, but established his credentials with the 1962 LP It's the Blues Man! (Tru-Sound), an album still remarkable for its originality and raw power. One of its strongest tracks, Man of Stone, was covered by John Mayall on his album Crusade. Kirkland was born in Kingston, Jamaica, from a brief liaison between a Cuban fisherman and a Jamaican girl not yet in her teens. A year later, his mother brought him to New Orleans and soon afterwards to Alabama, where she worked on sugarcane farms owned by the Kirkland family, who looked after her son and gave him their name. He learned to play the guitar, and picked up songs from local and transient musicians, and from records. In his early teens he ran away with the Silas Green medicine show. After belatedly getting some schooling in Indiana, he spent two years in the army during the second world war, but in 1945 was dishonourably discharged after getting into a fight with a racist officer. He then rejoined his mother, who had moved to Detroit, where he met Hooker. In the early 60s he toured with Otis Redding, and in 1965 he had a regional hit on Volt, the Stax subsidiary for which Redding recorded, with a harmonica instrumental, The Hawg, on which he was accompanied by the famous Stax session team of Steve Cropper, Duck Dunn and Al Jackson. By the end of the decade, however, now living in Macon, Georgia, he was finding work hard to come by. A couple of albums for Trix, the acoustic Front and Center (1973) and the more progressive The Devil and Other Blues Demons (1974), and one for JSP, Pick Up the Pieces (1981), confirmed his creativity as a songwriter, but it was in person that he was most completely himself - "the most intense performer I've ever had the pleasure of seeing," said Lowry, a judgment the blues writer Elijah Wald echoed 25 years later. "For pure raw energy and emotion, he may be the greatest blues artist alive." There are those who expect blues musicians to have a life that mirrors the hard times they sing about, and Kirkland's cannot have disappointed them. In the mid-70s, in a club in Georgia, he was injured in a random shooting, after which he was blind in his left eye and deaf in his left ear. Later, a heart-bypass operation left him with permanent leg problems and massive medical bills. It was easy to believe him when he said, "I had a pretty tough life". It was less easy when he added, "but I never worry about it". He continued to work, his performances still noteworthy for his hyperactive stage presence, customised guitars and garish accessories, such as bejewelled turbans. He made further albums of his own soul-blues compositions and novel rhythms and tunings on the Evidence, Deluge, Telarc and, again, JSP labels. He died after being injured in a road accident in Homosassa, Florida, returning home to Macon after a gig. - Eddie Kirkland, blues musician, born 16 August 1923; died 27 February 2011

As far as I understood the P-Vine was taken directly from the Turbo LP and "cleaned" up a bit?

It's would be ok here Joan, it's finished anyway and besides I don't think it matters little anyway. But as this is a sale don't want to influence it one way or t'other so best by PM.

I didn't se the one on evilBay, have you got a link Joan?

plenty knew what it was though even though it was covered up

Most of us do as Paul asks and buy the new releases from companies like his but the fact is that market contributes little to the rare soul scene. If anything it is the other way round with the rare soul crate diggers ultimately benefiting the "new" release market, Tommy Tate as mentioned a prime example. If it hadn't been for rare soul scene the wider listening audience would have been unaware of the record. It's not like Tommy Tate was being done a diservice by the lack of recognition is it? He was already a major player on the soul scene and has the respect of most of us and he knew of his status on the soul scene. This one record if it had stayed covered up would have made little difference. As mentioned earlier it does appear to be those who are not involved in the rare soul scene who seem to object the most. Think we will have to agree to differ on this one.

I think both sides are average but that wasn't the question.....

Cheers for that Paul. Tis a shame they can't be issued on vinyl.

Well then...how do we get these cd's?

Don't really need three topics for same subject on the go at same time so merged them all into one I voted ages ago

Just checkout the crossover topic in refosoul. Loads of quality records there at all prices.

I would have said this was in classic oldie category? Had plenty of action over the years. Heard it countless times over the years all over the place.

They are probably same copies as before. And if 100 copies turned up it would still be rare item. To say it's not rare anymore is ridiculous and misleading.

They are all still in this forum where you put them, some are titled differently so that might be why you can't find them. Might be better if you just used one topic week after week and then they will all be together? Just search Look at your box using Manship as the criteria and they will show in results.

doubt that very much, he's booked for Lifeline through this year which he is honouring and I presume the same can be said of the 100 Club.

He told us he was going to honour bookings he has others this year then calling it a day.

Soussan did it Pete about the same time I believe. Eddie Daniels is in refosoul, great record but I do wonder why it was booted, wouldn't have though it a typical 1975ish northern soul record?

Coincidence Steve. Butch had a booking he took not realising Bamburg clashed with Lifeline. But we do have two of the scenes future spinning vinyl for you, Liam and Paul from Beat Boutique, so you can get a glimpse of the scenes future whilst Butch and Mick fulfil other commitments.

radio stations are totally different, they have to pay the PRS. Us occasional DJ's are or should be covered by the venues license. And what the f "k do you know about me? I have no ego to stroke, done plenty for artists and getting them recognition over the years, tracked artists down, arranged for them to come over here and written articles and reviews for their music, I've done my bitt for artists so don't tell me I don't care. And how do you know a covered up record isn't unknown? I know of a few that are uncredited. And most cover ups are uncovered after a short time. Pray tell just what money is an artist going to get out of me or anyone else playing one of their records at a NS venue? F "k all thats how much.

Butch is retiring. He said so last year and he has been selective regarding the bookings he has taken for a few years now. He told me he will honour his bookings this year then that is it. He's taking no more bookings, anywhere. Whether the retirement is permanent time will tell. As said some apathy and maybe a loss of interest in the scene, not the music but the scene, could be some of the reasons. I gave him the dates for Lifeline next year (2012), well tried to but he wasn't having any of it. Andy had long chats with him over it but seems his mind is made up. As for Mick, I asked him at Skeggy couple of weeks ago as I knew he might not be available for Lifeline this year, he said the scene might have to take a back seat due to work commitments. He said nothing of retiring just work is work and must come first. He is a member so sure he will give you the full facts if he reads.