Big Joe Turner Greatest Hits FLAC

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Big Joe Turner Greatest Hits FLAC

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Torrent info

Name:Big Joe Turner Greatest Hits FLAC

Infohash: 7B768BD91BF38E6B70534825DDA7879DADFA5A48

Total Size: 301.05 MB

Seeds: 0

Leechers: 1

Stream: Watch Full Movie @ Movie4u

Last Updated: 2015-09-07 11:49:24 (Update Now)

Torrent added: 2010-02-16 16:07:14






Torrent Files List


01 - The Chill is On.flac (Size: 301.05 MB) (Files: 23)

 01 - The Chill is On.flac

12.93 MB

 02 - After My Laughter Came Tears.flac

14.92 MB

 03 - Bump Miss Suzie.flac

12.40 MB

 04 - Chains of Love.flac

15.04 MB

 05 - I'll Never Stop Loving You.flac

14.48 MB

 06 - Sweet Sixteen.flac

14.48 MB

 07 - Baby I Still Want You.flac

14.56 MB

 08 - Honey Hush.flac

15.85 MB

 09 - Crawdad Hole.flac

14.23 MB

 10 - Oke She Moke She pop.flac

15.03 MB

 11 - Shake Rattle and Roll.flac

15.79 MB

 12 - Well All Right.flac

13.12 MB

 13 - Hide & Seek.flac

14.28 MB

 14 - Flip Flop & Fly.flac

15.95 MB

 15 - The Chicken & the Hawk.flac

13.58 MB

 16 - Boogy Woogy Country Girl.flac

13.29 MB

 17 - Corrine Corrina.flac

16.49 MB

 18 - Midnight Special Train.flac

14.23 MB

 19 - Red Sails in the Sunset.flac

12.75 MB

 20 - Feeling Happy.flac

15.03 MB

 21 - Blues in the Night.flac

12.61 MB

 Big Joe Turner - Greatest Hits.log

7.96 KB

 Big Joe Turner - Greatest Hits.txt

8.34 KB
 

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Torrent description

Big Joe Turner
Greatest Hits
1989
FLAC

The definitive \'Blues in the Night.\'

1. Chill Is On
2. After My Laughter Came the Tears
3. Bump Miss Suzie
4. Chains of Love
5. I\'ll Never Stop Loving You
6. Sweet Sixteen
7. Baby I Still Want You
8. Honey Hush
9. Crawdad Hole
10. Oke-She-Monke-She-Pop
11. Shake, Rattle & Roll
12. Well All Right
13. Hide and Seek
14. Flip Flop and Fly
15. Chicken and the Hawk
16. Boogie Woogie Country Girl
17. Corrine Corrina
18. Midnight Special Train
19. Red Sails in the Sunset [*]
20. Feeling Happy
21. Blues in the Night [*]


Thank you. Enjoy!

Comments: weeweehours@gmail.com


--
The premier blues shouter of the postwar era, Big Joe Turner\'s roar could

rattle the very foundation of any gin joint he sang within -- and that\'s

without a microphone. Turner was a resilient figure in the history of

blues -- he effortlessly spanned boogie-woogie, jump blues, even the

first wave of rock & roll, enjoying great success in each genre.

Turner, whose powerful physique certainly matched his vocal might, was a

product of the swinging, wide-open Kansas City scene. Even in his teens,

the big-boned Turner looked entirely mature enough to gain entry to

various K.C. niteries. He ended up simultaneously tending bar and singing

the blues before hooking up with boogie piano master Pete Johnson during

the early \'30s. Theirs was a partnership that would endure for 13 years.

The pair initially traveled to New York at John Hammond\'s behest in 1936.

On December 23, 1938, they appeared on the fabled Spirituals to Swing

concert at Carnegie Hall on a bill with Big Bill Broonzy, Sonny Terry,

the Golden Gate Quartet, and Count Basie. Turner and Johnson performed

\"Low Down Dog\" and \"It\'s All Right, Baby\" on the historic show, kicking

off a boogie-woogie craze that landed them a long-running slot at the

Cafe Society (along with piano giants Meade Lux Lewis and Albert Ammons).

As 1938 came to a close, Turner and Johnson waxed the thundering \"Roll

\'Em Pete\" for Vocalion. It was a thrilling up-tempo number anchored by

Johnson\'s crashing 88s, and Turner would re-record it many times over the

decades. Turner and Johnson waxed their seminal blues \"Cherry Red\" the

next year for Vocalion with trumpeter Hot Lips Page and a full combo in

support. In 1940, the massive shouter moved over to Decca and cut \"Piney

Brown Blues\" with Johnson rippling the ivories. But not all of Turner\'s

Decca sides teamed him with Johnson; Willie \"The Lion\" Smith accompanied

him on the mournful \"Careless Love,\" while Freddie Slack\'s Trio provided

backing for \"Rocks in My Bed\" in 1941.

Turner ventured out to the West Coast during the war years, building

quite a following while ensconced on the L.A. circuit. In 1945, he signed

on with National Records and cut some fine small combo platters under

Herb Abramson\'s supervision. Turner remained with National through 1947,

belting an exuberant \"My Gal\'s a Jockey\" that became his first national

R&B smash. Contracts didn\'t stop him from waxing an incredibly risqué

two-part \"Around the Clock\" for the aptly named Stag imprint (as Big

Vernon!) in 1947. There were also solid sessions for Aladdin that year

that included a wild vocal duel with one of Turner\'s principal rivals,

Wynonie Harris, on the ribald two-part \"Battle of the Blues.\"

Few West Coast indie labels of the late \'40s didn\'t boast at least one or

two Turner titles in their catalogs. The shouter bounced from RPM to Down

Beat/Swing Time to MGM (all those dates were anchored by Johnson\'s piano)

to Texas-based Freedom (which moved some of their masters to Specialty)

to Imperial in 1950 (his New Orleans backing crew there included a young

Fats Domino on piano). But apart from the 1950 Freedom 78, \"Still in the

Dark,\" none of Turner\'s records were selling particularly well. When

Atlantic Records bosses Abramson and Ahmet Ertegun fortuitously dropped

by the Apollo Theater to check out Count Basie\'s band one day, they

discovered that Turner had temporarily replaced Jimmy Rushing as the

Basie band\'s frontman, and he was having a tough go of it. Atlantic

picked up his spirits by picking up his recording contract, and Turner\'s

heyday was about to commence.

At Turner\'s first Atlantic date in April of 1951, he imparted a

gorgeously world-weary reading to the moving blues ballad \"Chains of

Love\" (co-penned by Ertegun and pianist Harry Van Walls) that restored

him to the uppermost reaches of the R&B charts. From there, the hits came

in droves: \"Chill Is On,\" \"Sweet Sixteen\" (yeah, the same downbeat blues

B.B. King\'s usually associated with; Turner did it first), and \"Don\'t You

Cry\" were all done in New York, and all hit big.

Turner had no problem whatsoever adapting his prodigious pipes to

whatever regional setting he was in. In 1953, he cut his first R&B

chart-topper, the storming rocker \"Honey Hush\" (later covered by Johnny

Burnette and Jerry Lee Lewis), in New Orleans, with trombonist Pluma

Davis and tenor saxman Lee Allen in rip-roaring support. Before the year

was through, he stopped off in Chicago to record with slide guitarist

Elmore James\' considerably rougher-edged combo and hit again with the

salacious \"T.V. Mama.\"

Prolific Atlantic house writer Jesse Stone was the source of Turner\'s

biggest smash of all, \"Shake, Rattle and Roll,\" which proved his second

chart-topper in 1954. With the Atlantic braintrust reportedly chiming in

on the chorus behind Turner\'s rumbling lead, the song sported enough pop

possibilities to merit a considerably cleaned-up cover by Bill Haley &

the Comets (and a subsequent version by Elvis Presley that came a lot

closer to the original leering intent).

Suddenly, at the age of 43, Turner was a rock star. His jumping

follow-ups -- \"Well All Right,\" \"Flip Flop and Fly,\" \"Hide and Seek,\"

\"Morning, Noon and Night,\" \"The Chicken and the Hawk\" -- all mined the

same good-time groove as \"Shake, Rattle and Roll,\" with crisp backing

from New York\'s top session aces and typically superb production by

Ertegun and Jerry Wexler.

Turner turned up on a couple episodes of the groundbreaking TV program

Showtime at the Apollo during the mid-\'50s, commanding center stage with

a joyous rendition of \"Shake, Rattle and Roll\" in front of saxman Paul

\"Hucklebuck\" Williams\' band. Nor was the silver screen immune to his

considerable charms: Turner mimed a couple of numbers in the 1957 film

Shake Rattle & Rock (Fats Domino and Mike \"Mannix\" Connors also starred

in the flick).

Updating the pre-war number \"Corrine Corrina\" was an inspired notion that

provided Turner with another massive seller in 1956. But after the

two-sided hit \"Rock a While\"/\"Lipstick Powder and Paint\" later that year,

his Atlantic output swiftly faded from commercial acceptance. Atlantic\'s

recording strategy wisely involved recording Turner in a jazzier setting

for the adult-oriented album market; to that end, a Kansas City-styled

set (with his former partner Johnson at the piano stool) was laid down in

1956 and remains a linchpin of his legacy.

Turner stayed on at Atlantic into 1959, but nobody bought his

violin-enriched remake of \"Chains of Love\" (on the other hand, a revival

of \"Honey Hush\" with King Curtis blowing a scorching sax break from the

same session was a gem in its own right). The \'60s didn\'t produce too

much of lasting substance for the shouter -- he actually cut an album

with longtime admirer Haley and his latest batch of Comets in Mexico City

in 1966!

But by the tail end of the decade, Turner\'s essential contributions to

blues history were beginning to receive proper recognition; he cut LPs

for BluesWay and Blues Time. During the \'70s and \'80s, Turner recorded

prolifically for Norman Granz\'s jazz-oriented Pablo label. These were

super-relaxed impromptu sessions that often paired the allegedly

illiterate shouter with various jazz luminaries in what amounted to

loosely run jam sessions. Turner contentedly roared the familiar lyrics

of one or another of his hits, then sat back while somebody took a

lengthy solo. Other notable album projects included a 1983 collaboration

with Roomful of Blues, Blues Train, for Muse. Although health problems

and the size of his humongous frame forced him to sit down during his

latter-day performances, Turner continued to tour until shortly before

his death in 1985. They called him the Boss of the Blues, and the

appellation was truly a fitting one: when Turner shouted a lyric, you

were definitely at his beck and call. ~ Bill Dahl, All Music Guide

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