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Lewis, Smiley - The Best of Smiley Lewis: I Hear You Knocking - Amazon.com Music
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Reviewed in the United States on February 15, 2011
Note: this is the exact CD previously released on Imperial, and almost identical to the one on Proper.
I agree that Smiley ought to be a household name, alongside the other NO legends, such as Dave Bartholomew, Huey Piano Smith, Fats Domino, the Neville Brothes, the Meters,Little Richard (who recorded mostly in NO), etc. Many of these tunes have become standards in the genre (in addition to those mentioned, "Ain't Gonna Do It", "Big Mamou", and "Gumbo Blues".) "I Hear You Knockin'" is best known these days in the '80's version by Dave Edmunds. "Bumpity Bump" was recorded by Big Joe Turner under another title. If you enjoy Fats and the others, you'll love this too!The Cosimo Matassa StoryGreatest Hits: Walking To New OrleansCrawfish FiestaCrescent City Bounce: From Blues To R&B In New Orleans, CD A
Smiley Lewis' obscurity is a travesty shared, unfortunately, by many New Orleans rhythm and blues artists. From the postwar period up to the early sixties, New Orleans flourished as a musical Mecca, a fact that is regrettably ignored in the face of much Sun Records/Sam Phillips/Elvis Presley hyping that prefers myth to history. Lewis was an important part of the Crescent City scene: his voice was panoramic, a mighty, blue sound that is as overwhelming now as it was fifty years ago; those that knew him and saw him perform remark that he didn't need a microphone. His material, produced and often written by the canny Dave Bartholomew for Imperial records, was uniformly strong, often brilliant. His self-penned first record in 1950, "Tee Nah Nah," for example, is one of the most haunting blues ever recorded. Typically, Lewis was the voice of the hard working, hard playing man, and there is ample evidence that he lived the life about which he sang. His quintessential song may be Bartholomew's "Blue Monday," which details the misery of the hard work week one day at a time and rejoices in the release brought by the weekend. Not a revolutionary idea now, to be sure, but it's a tight piece of writing and after a couple of listens you're right in the groove with Lewis and Bartholomew's epochal band (which, over dozens of sessions with dozens of artists, laid down the blueprint for Elvis and everything after). "The Bells are Ringing," "Lillie Mae," "I Hear You Knocking," "One Night" - hell, all the rest - are on regular rotation on an oldies station in some alternate universe where people who record great music, if not given stardom, are at least spared the indignity of having their efforts largely forgotten. While sadly never anywhere as successful as labelmate Fats Domino, Lewis' music came from a similar if sometimes more bleak well. This is propulsive New Orleans rhythm and blues (some of which was recorded before anyone imagined calling it rock and roll) and is as essential a purchase as a good Fats Domino collection for anyone interested in learning about this city's music. If you can afford the Bear Family box set of 4 CDs (everything Lewis recorded), you'll be rewarded with an insightful essay by musicologist Rick Coleman that reveals the difficult man behind the music, but for the more budget minded this one disc set is an excellent overview full of songs no one should be shy about calling classics.
Reviewed in the United States on November 24, 2004
There was a wealth of really good bouncing Black music during the 1950s but there was much segregation to the point that it only played on all-black stations. As I often mention in reviews, the young Elvis Presley was a fan and recorded a lot of it, first for Sun Records where for a time Sam Phillips had a lot of black recording artists (the music didn't sell well). After Elvis moved to RCA, he recorded "One Night" but the still puritanical times dictated that "...one night of sin is what I'm now paying for.." be changed to something more tame. Of course the original by Smiley Lewis (the good version) is in this package. Contrary to what another reviewer said, Smiley's "I Hear You Knockin'" was a hit for him, just not to the degree of Gale Storm's. Black music still did not get the air play it deserved, but it was being recorded by white singers left and right afte Elvis' success. Smiley Lewis had another real hit, "Shame, Shame, Shame" way back in 1952 before most of us white boys ever heard the expression "rock and roll" (a black euphemism of the time for sex and not an Alan Freed creation). Fats Domino did justice to his "Blue Monday" and here's hoping Smiley got some royalties (sometimes Fats didn't even get them). Smiley, who was born Overton Lemons, died of stomach cancer in 1966, unfortunately just a footnote in music history. He was only 53. This package captures the great sound of a very different time and I highly recommend it.
Smiley Lewis has been underrated for far too long. Basically, he was overshadowed by the enormously popular Fats Domino, who recorded some of his songs such as "Blue Monday". His songs were much bigger hits for other artists, like "One Night" for Elvis Presley and "I Hear You Knocking" for Dave Edmunds and I think earlier for Georgia Gibbs. I compare Smiley Lewis to Fats since they both recorded for Imperial and had the New Orleans sound (even though I believe Smiley was born in Texas). I would like to say that this is an excellent compilation of his music. I haven't found hardly anything of his on CD other than one or two tunes on anthology collections. This is truly wonderful,vintage r'n'b, and it's to be recommended-especially to people who really love this genre.
知名度ではファッツ・ドミノ、ロイド・プライスには負けますが、太くてよく響くがなる感じの声のスマイリー・ルイスのインペリアル録音のベストです。Tee Nah Nahなどの50年代初期のジャズっぽいものから、Jailbirdのニュー・オーリンズ独特のセカンド・ラインのリズム、自身の最大のヒット曲I Hear You Knockingのじわじわとやってくる感じ、Shame, Shame, Shameの御機嫌なノリまで、デイヴ・バーソロミューのバンドによる全体的にはもっさりゆったりしたシャッフルのリズム＆ブルースが繰り広げられます。Blue Mondayはファッツ・ドミノ、One Nightはエルヴィス・プレスリーがヒットさせましたが、本家の方はもっと物憂気な引きずるようなところがブルースを感じさせ、以外に淡々とした歌い方だけれども歌詞の本来の意味を引き出すような歌唱になっています。
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