What can you tell me about the ‘Party Blues’ artist and songs of the 1940′s -60′s?

What I mean are the Blues artist with more sex related, comedic, or raunchy lyrics. If you have any links, please share them. Thanks
Melting Media…: Thank YOU!
Kelvin C: That is awesome bro!

I think for the really raunchy stuff you might want to check music from the 30′s take Robert Johnson’s “Traveling Riverside Blues” (1937) it is the song that gave us those immortal lines;

Now you can squeeze my lemon ’til the juice run down my…
(spoken) ’til the juice rune down my leg, baby, you know what I’m talkin’ about
You can squeeze my lemon ’til the juice run down my leg
(spoken) That’s what I’m talkin’ ’bout, now
But I’m goin’ back to Friars Point, if I be rockin’to my head

http://squeezemylemon.blogspot.com/2009/03/robert-johnson-traveling-riverside.html

A book that I can recommend is “Squeeze My Lemon: A collection of classic blues lyrics. >>> http://www.amazon.com/gp/product/0634055461&tag=squeezemylemon-20

And then there is the CD, “Let Me Squeeze Your Lemon: The Ultimate Rude Blues Collection” >>> http://www.amazon.com/gp/product/B00009QI2C&tag=squeezemylemon-20

Subtitled – The Ultimate Rude Blues Collection. 49 original blues classics of a risque nature, this double CD collection isn’t so much X-rated as exhilarating, offering rib tickling rump shakers – each with their own nudge-nudge, wink-wink meaning. Featured artists include Charlie Pickett, Bull Moose Jackson, The Honeydripper, Mississippi Sheiks, Big Bill Broozy, Lonnie Johnson, Dirty Red, Bo Carter and many, many more.

Disc: 1
1. Catfish Blues – Thomas, Bobo “Slim”
2. I Want a Bowlegged Woman – Glover, Henry
3. Hard Lead Pencil
4. Little Red Dress (Drawers)
5. Love Operation
6. Blue Bloomer Blues
7. Let Me Squeeze Your Lemon
8. Doodle Hole Blues
9. One More Greasing
10. Kitchen Man – Razaf, Andy

Disc: 2
1. Sweet Honey Hole – Fuller, Blind Boy
2. Banana in Your Fruitbasket
3. Mouse’s Ear Blues
4. I Want Plenty of Grease in My Frying Pan
5. Let Me Play With Your Poodle – Hopkins, Lightnin’
6. I Let My Daddy Do That – Parth, Johnny
7. She Want to Sell My Monkey
8. I’m a Mighty Tight Woman – Wallace, Sippie
9. Phonograph Blues – Johnson, Scott [Son
10. She Shook Her Gin

Mark Lanegan – Methamphetamine Blues.

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(Re)Conception $19.98 Helen Sung has made great strides since winning the 2007 Mary Lou Williams Piano Competition. Recruiting two of the most in-demand rhythm players for this trio date, bassist Peter Washington and drummer Lewis Nash, the pianist mixes things up with fresh arrangements of standards, time-tested jazz compositions, and a few less frequently played works. Her swinging take of Duke Ellington’s “C Jam Blues” begins with a playful exchange with Washington before launching into the familiar theme, with the walking bass and light percussion propelling her inventive improvising as she avoids the clich? d route through this jazz standard. She also offers a snappy midtempo setting of the maestro’s “Everything But You,” playfully incorporating “Things Ain’t What They Used to Be” before she turns on the afterburners in her superb solo. Her punchy take of George Shearing’s “(Re)Conception” reveals the potential of this neglected bop gem. Thelonious Monk’s “Teo” is another overlooked piece, though Sung transforms it into a rapid-fire Bud Powell-flavored romp. Jerry Bock’s “Far from the Home I Love” (from the musical Fiddler on the Roof) is not typically heard much on jazz record dates, but Sung delivers a sentimental yet shimmering interpretation. Her bright rendition of Burt Bacharach’s “Wives and Lovers” puts the spotlight on the talented Washington for an extensive solo. Sung also contributed one original, the lively, constantly shifting “Duplicity.” Helen Sung is clearly one artist to watch among the musicians of her generation. ~ Ken Dryden, Rovi

…I Listen to the Wind That Obliterates My Traces $55.98 Hardcore fans of 20th century music, be it gospel, blues, old-timey, sermons, folk, country, African, Asian, etc., have always been drawn to the Dust-to-Digital imprint since the label’s first box set, Goodbye, Babylon, issued in 2004; it consists of five CDs containing 135 religious songs recorded between 1902-1960, and another disc of 25 sermons cut between 1926-1940, all packaged in a wooden coffin-like box containing a 200-page book and cotton bolls for packing. Devotees of both the music and its fetishistic packaging have grown exponentially. The label’s latest chapter, however familiar its sonic contents may be, is one of its most mysterious, mercurial offerings yet. …I Listen to the Wind That Obliterates My Traces: Music in Vernacular Photographs 1880-1955 is compiled from the personal collection of interdisciplinary sound and visual artist Steve Roden. It contains a book of photographs of musicians — mostly unknown — and others related to the hearing of music. This beautifully hardbound book also contains two CDs containing 51 songs recorded between approximately 1914-1955, taken from 78s and acetates. The music ranges from the well known — Bradley Kincaid’s 1928 recording of “Froggie Went A-Courtin” and Ukulele Ike’s “(I’m Cryin’ ‘Cause I Know I’m) Losing You” — to virtually unknown sides taken from home recordings. This is all annotated by a lengthy poetic essay by Roden that attempts to create a social and poetic context from the ephemeral, and is underscored by epigraphs from writers from James Agee, Joseph Roth, and William Wordsworth to P? r Lagerqvist and Gerhart Hauptmann. The collection? s photographs offer no sense of context other than ? antique.? By contrast, the music, which is annotated inside the book, is situated inside particularly American frameworks — from folk and blues music to vaudeville and traditional pop. The rub between visual and aural lends the package its uneasy, but nonetheless intoxicating, strangeness. Pourin…

1,000 Recordings to Hear Before You Die: A Listener’s Life List $5.95 Used – Drawing from classical, jazz, rock, pop, blues, country, folk, opera, and more, this reference is arranged alphabetically by artist to create unexpected juxtapositions. Dozens of indexes and playlists for different moods and occasions are included.

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10 Days Out (Blues from the Backroads) $24.98 10 Days Out may well be Kenny Wayne Shepherd’s most important and intriguing album, even though the guitarist is hardly the featured artist on any of these tracks, working instead more as a sideman and facilitator for the impressive cast of venerable blues players who get a chance to shine here. Make no mistake about it, this recording belongs to such senior citizens as Henry Townsend, Etta Baker, Pinetop Perkins, and Henry Gray, and Shepherd’s presence (and the presence of Stevie Ray Vaughan’s Double Trouble rhythm section of bassist Tommy Shannon and drummer Chris Layton) simply helps to focus the attention on these veteran blues players. Shepherd embarked on a ten-day journey into the American South in 2004 with a documentary film crew, a portable recording studio, and Double Trouble as a house band in an effort to catch the blues in its natural habitat of living rooms, kitchens, porches, back yards, and local watering holes, and the performances that resulted are priceless. Here is one-armed harp player Neal Pattman and blind guitarist Cootie Stark turning in a joyous, ramshackle version of “Prison Blues.” A little later, Stark delivers further on a delightful song called “U-Haul,” complete with a marvelous improvised rap over the tune’s run-out coda. Here, too, is the then-96-year-old Henry Townsend turning in a poignant “Tears Came Rollin’ Down.” Etta Baker, then 93, shows that age hadn’t slowed her as a guitarist at all as she delivers an elegant “Knoxville Rag.” Shepherd wisely stays in the background on cut after cut, allowing these amazing musical treasures to unfold naturally and without intrusive elements. There are absolutely no hotshot guitar histrionics anywhere on this disc, which speaks to Shepherd’s sincere vision for this project. He’s after the preservation of blues history with 10 Days Out, and as if to underscore that aim, five of the album’s participants (Neal Pattman, Cootie Stark, Gatemouth Brown, George “Wild Child” Butler, and…

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19 $12.99 With just a couple of cursory listens to the few tracks that popped up all over the Internet through 2007, comparisons were made between Adele, the much-hyped brassy British songstress, and Amy Winehouse, the…much-hyped brassy British songstress. However, after a solid listen to 19, the first full sampling by the up-and-coming Adele, listeners are forced to throw all comparisons to the wind; Adele is simply too magical to compare her to anyone. Bluesy like it’s no one’s business yet voluptuously funky in a contemporary way, Adele rocks out 19 with a unique voice and gritty sound that dazzle endlessly. Synthesizing blues, jazz, folk, soul, and even electric pop, Adele mystifies through her mature songwriting skills and jaw-dropping arrangements. As the album opens with “Daydreamer,” Adele’s illusionary instrument — over minimal sounds — engulfs the listener with a gorgeous feeling of awe and wonderment. On “Melt My Heart to Stone” and the bona fide hit “Chasing Pavements,” Adele allows herself to soar over the strings and power her way through these incredible songs. The upbeat “Right as Rain” is just wonderful, with clear Ashford & Simpson influences speckled all over it in an upbeat set. Nearly all the tracks seem to have been nurtured to glory over months as labors of love. What’s simply awesome on 19 is its capability to capture the listener through mere teasing; Adele doesn’t shout for attention, and doesn’t rely on anyone but herself to prove she’s worth it, in the same vein as Sara Bareilles, another heavily praised artist of 2007. The jazzy “Best for Last” is as retro as the tunes get on the album, yet it still manages to steer away from being boring or old-fashioned. The only awkwardness throughout all of 19 is the overly poppy galactic “Tired,” which sounds as though it might have fallen off a Lily Allen track list, something that doesn’t suit Adele as a musician. As far as artistic drive goes, it seems as though Adele is hoping to capita…

1932 Songs: Mad About the Boy, Blue Yodel, Try a Little Tenderness, Night and Day, Granada, Let’s Put Out the Lights $20.03 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Mad About the Boy, Blue Yodel, Try a Little Tenderness, Night and Day, Granada, Let’s Put Out the Lights, Between the Devil and the Deep Blue Sea, It Don’t Mean a Thing, April in Paris, Willow Weep for Me, Fascination, the Song Is You, Alone Together, I’ve Told Ev’ry Little Star, I’m Getting Sentimental Over You, You’re Getting to Be a Habit With Me, Isn’t It Romantic?, New Orleans, Sophisticated Lady, How Deep Is the Ocean?, I Don’t Stand a Ghost of a Chance With You, What More Can I Ask?, Have You Ever Been Lonely?, Let’s Have Another Cup of Coffee, I Gotta Right to Sing the Blues, Street of Dreams, Forty-Second Street, Snuggled on Your Shoulder, the Sun Has Got His Hat On, in a Shanty in Old Shanty Town, Moon Song, Irgendwo Auf Der Welt, You’ve Got What Gets Me, Somebody Loves You, My Cousin in Milwaukee, After You, Who?, Mimi, Fit as a Fiddle, Say It Isn’t So, Goodnight My Love. Excerpt: ” After You, Who? ” is a song written by Cole Porter for his 1932 musical Gay Divorce , where it was introduced by Fred Astaire . Notable recordings A hyperlinked version of this chapter is at ” Alone Together ” is a song composed by Arthur Schwartz with lyrics by Howard Dietz . It was introduced in the Broadway musical Flying Colors in 1932 by Jean Sargent. The song soon became a hit, with Leo Reisman and His Orchestra’s 1932 recording being the first to reach the charts. It is the most popular of Schwartz and Dietz’s collaborations and has become a jazz standard . The first jazz artist to record the song was Artie Shaw in 1939. Selective list of recorded versions Notes See also (online edition) A hyperlinked version of this chapter is at “April in Paris” refrain , mm.8-11. Play (help ·info ) ” April in Paris item Music by: Vernon Duke item Lyrics by: E.Y. Harburg

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