Artie 'Blues Boy' White - First Thing Tuesday Morning

Size: 97.9 MB
Time: 41:36
File: MP3 @ 320K/s
Released: 2004
Styles: Blues Soul
Art: Full

01. Love To See You Smile (4:09)
02. First Thing Tuesday Morning (4:12)
03. A Man Down There (2:59)
04. Trying To Hoodoo Me (5:30)
05. She Hit Me From The Blind Side (3:37)
06. I Promise (4:12)
07. Crosscut (4:42)
08. You, You (4:02)
09. Crush On My Next Door Neighbor (4:05)
10. Jodie (4:04)

Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!

White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle. ~Bill Dahl

First Thing Tuesday Morning MP3
First Thing Tuesday Morning FLAC

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Artie 'Blues Boy' White - Tired Of Sneaking Around

Year: 1990
Bitrate: MP3@320K/s
Time: 42:58
Size: 99,3 MB
Styles: Electric blues
Scans: Full

1. Today I Started Loving You Again (4:14)
2. Thinking About Making A Change (5:09)
3. Jodie (3:51)
4. Peeping Tom (4:22)
5. Tired Of Sneakin' Around (4:18)
6. Don't Pet My Dog (3:22)
7. Can't Get You Off My Mind (6:00)
8. I Can't Seem To Please You (3:57)
9. Turn About Is Fair Play (4:47)
10. Nose To The Grind Stone (2:53)

Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!

White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material.

On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle. /Biography by Bill Dahl, AllMusic

(For personnel details, see artwork included.)

Tired Of Sneaking Around mc
Tired Of Sneaking Around zippy

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Artie White - Blues Boy

Bitrate: MP3@320K/s
Time: 34:12
Size: 78.3 MB
Styles: Chicago blues
Year: 2006
Art: Front

[4:12] 1. Warm Room
[3:28] 2. Leaning Tree
[5:40] 3. I Need Someone
[3:59] 4. Chain Of Fools
[3:38] 5. Turned Out
[5:47] 6. Funny, How Time Slips Away
[4:01] 7. Jimmie
[3:23] 8. What Pleases You, Please Me

Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!

White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle. ~bio by Bill Dahl

Blues Boy mc
Blues Boy zippy

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Various - Southern Shades Of Blue Vols 1 & 2

During the middle to late 1800s, the Deep South was home to hundreds of seminal bluesmen who helped to shape the music. Unfortunately, much of this original music followed these sharecroppers to their graves. But the legacy of these earliest blues pioneers can still be heard in 1920s and '30s recordings from Mississippi, Louisiana, Texas, Georgia and other Southern states. This music is not very far removed from the field hollers and work songs of the slaves and sharecroppers. Many of the earliest blues musicians incorporated the blues into a wider repertoire that included traditional folk songs, vaudeville music, and minstrel tunes. Without getting too technical, most blues music is comprised of 12 bars (or measures). A specific series of notes is also utilized in the blues. The individual parts of this scale are known as the blue notes.

Well-known blues pioneers from the 1920s such as Son House, Blind Lemon Jefferson, Leadbelly, Charlie Patton and Robert Johnson usually performed solo with just a guitar. Occasionally they teamed up with one or more fellow bluesmen to perform in the plantation camps, rural juke joints, and rambling shacks of the Deep South. Blues bands may have evolved from early jazz bands, gospel choirs and jug bands. Jug band music was popular in the South until the 1930s. Early jug bands variously featured jugs, guitars, mandolins, banjos, kazoos, stringed basses, harmonicas, fiddles, washboards and other everyday appliances converted into crude instruments.

When the country blues moved to the cities and other locales, it took on various regional characteristics. Hence the St. Louis blues, the Memphis blues, the Louisiana blues, etc. Chicago bluesmen such as John Lee Hooker and Muddy Waters were the first to electrify the blues and add drums and piano in the late 1940s. Today there are many different shades of the blues.

Album: Southern Shades Of Blue
Bitrate: MP3@320K/s
Time: 56:06
Size: 128.4 MB
Styles: R&B, Electric blues
Year: 1995/2005
Art: Front

[5:24] 1. The Beat Daddys - Livin' This Love
[7:31] 2. Artie 'Blues Boy' White - I'm Gonna Marry My Mother-In-Law
[6:31] 3. Mike Griffin - Fifth Of Whiskey, Case Of The Blues
[4:39] 4. Poonanny - Out Grindin' The Grindin' Man
[4:21] 5. James Peterson - Don't Let The Devil Ride
[7:37] 6. Keri Leigh - Georgia Crawl
[7:48] 7. Mckinley Mitchell - You Know I've Tried
[5:21] 8. The Beat Daddys - How Blue Must I Get
[6:51] 9. Poonanny - Clean Out Your Dresser

Southern Shades Of Blue mc
Southern Shades Of Blue zippy

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Album: Southern Shades Of Blue Vol. 2
Bitrate: MP3@320K/s
Time: 61:44
Size: 141.3 MB
Styles: R&B, Retro soul, Electric blues
Year: 2005
Art: Front

[4:29] 1. Ernie Johnson - I'm In The Mood For The Blues
[3:23] 2. James Peterson - Silky Silk
[5:31] 3. Artie 'Blue Boy' White - Man Of The House
[4:19] 4. Bobby Rish - Dangerous
[4:02] 5. Poonanny - Meatman
[2:54] 6. King Floyd - Baby Let Me Kiss You
[3:31] 7. McKinley Mitchell - Trouble Blues
[3:25] 8. Artie 'Blues Boy' White - All In The Open Now
[4:42] 9. Poonanny - Packin' Heavy
[3:38] 10. Keri Leigh - Here's Your Mop Mr. Johnson
[4:25] 11. The Beat Daddys - Different Name
[3:50] 12. Big Mike Griffin - Sittin' Here With Nothing
[5:17] 13. James Peterson - Went Too Far, Stayed Too Long
[4:30] 14. Bobby Rush - Can't Save A Cent
[3:41] 15. The Beat Daddys - Train In The Distance

Southern Shades Of Blue Vol. 2 mc
Southern Shades Of Blue Vol. 2 zippy

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Artie 'Blues Boy' White - Dark End Of The Street / Different Shades Of Blue

Album: Dark End Of The Street
Size: 95,7 MB
Time: 41:12
File: MP3 @ 320K/s
Released: 1991
Styles: Modern Electric Blues, Blues Soul
Label: Ichiban
Art: Full

01. Tore Up (3:30)
02. Clock Don't Tick (5:07)
03. Nite Before Pay Day (3:17)
04. Not In The Begging Business (4:51)
05. Somebody Changed My Sweet Baby's Mind (3:51)
06. Dark End Of The Street (5:24)
07. Hit The Nail On The Head (3:06)
08. I Intend To Take Your Place (3:56)
09. Darlin' You Know I Love You (3:17)
10. I'm Mean (4:48)

Whether it's blues, soul, or something midway between the two, White does a fine job throughout this disc. Travis Haddix, once White's Ichiban labelmate, contributes three nice tunes, Bob Jones a couple more, and White dips into past triumphs by B.B. King, Ike Turner, James Carr, and Little Milton for the rest.

Dark End Of The Street

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Album: Different Shades Of Blue
Size: 99,2 MB
Time: 40:21
File: MP3 @ 320K/s
Released: 1994
Styles: Modern Electric Blues, Blues Soul
Art: Full

01. I'm Gonna Marry My Mother-In-Law (4:49)
02. Hot Wired My Heart (3:54)
03. There's Nothing I Wouldn't Do (3:52)
04. When You Took Your Love From Me (3:32)
05. Willie Mae Don't Play (4:20)
06. I've Been Shackin (3:08)
07. Did Alright By Myself (4:17)
08. Ain't Nothing You Can Do (5:36)
09. I'd Rather Be Blind, Crippled And Crazy (3:23)
10. All In The Open Now (3:25)

Artie "Blues Boy" White (vocals); Big Mike Griffin (guitar, guitars); William Thomas (guitar); William Andrew Thomas (guitars); Jim Horn (flute, alto saxophone, baritone saxophone); Harvey Thompson (tenor saxophone); Jim Williamson (trumpet); Charles Rose (trombone); Clayton Ivey (keyboards); Bob Babbitt (bass instrument); Paul Lee (drums); Valeria Kashimuri, Jewel Bass, Thomisene Anderson, Valeria Kashimuri (background vocals).

Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was at rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree."

Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store for White with the Full Gospel Wonders. The singer claims that he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!

White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," White was able to command a nice asking price on the Chicago circuit (and still does). For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy.

White signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a Best Of CD in 1991, which made seven), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue.

Different Shades Of Blue

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Artie 'Blues Boy' White - Thangs Got To Change / Hit And Run

Album: Thangs Got To Change
Size: 82,0 MB
Time: 35:26
File: MP3 @ 320K/s
Released: 1989
Styles: Modern Electric Blues, Blues Soul
Art: Full

01. Thangs Got To Change (4:38)
02. Rainy Day (3:46)
03. I Ain't Taking No Prisoners (3:21)
04. You Upset Me Baby (3:27)
05. Thank You, Pretty Baby (2:56)
06. Hattie Mae (4:30)
07. I Wonder Why (4:33)
08. Reconsider Baby (3:51)
09. Somebody's On My Case (4:21)

Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!

White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle. ~Bio by Bill Dahl

Thangs Got To Change

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Album: Hit And Run
Size: 96,3 MB
Time: 41:39
File: MP3 @ 320K/s
Released: 1992
Styles: Modern Electric Blues, Soul Blues
Art: Full

01. Doctor, Doctor (3:58)
02. Hit And Run (3:54)
03. Nothing But The Blues (5:45)
04. You Left Me Standing (3:34)
05. Bad Luck Child (3:40)
06. I'm Glad You Gone (4:42)
07. Just Getting In (4:01)
08. You Build My Hopes So High (3:18)
09. Mr. Mailman (3:45)
10. I'm A Lonely Man (4:57)

Without a great deal of fanfare, Artie White released a steady stream of quality contemporary releases on Ichiban, each straddling the sometimes imperceptible fence between blues and deep soul. This one's no exception -- backed by a Chicago combo called Masheen Co., White delivers originals penned by Travis Haddix, Bob Jones (the title cut), and himself in assured, smooth style. ~Review by Bill Dahl

Hit And Run

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Artie 'Blues Boy' White - Home Tonight

Bitrate: 320K/s
Time: 43:29
Size: 99.5 MB
Styles: R&B, Blues vocals
Year: 1997/2005
Art: Front

[4:09] 1. Your Man Is Home Tonight
[4:19] 2. Somebody's Fool
[5:28] 3. Man Of The House
[3:16] 4. If You Don't Love Me
[5:27] 5. Black Cat Scratchin'
[3:57] 6. High Steppin' Mama
[3:39] 7. The More You Lie To Me
[4:19] 8. Second Chance
[4:37] 9. Feet Must Be Tired
[4:12] 10. One Step From The Blues

White was born on April 16, 1937, either in or near the city of Vicksburg, Miss. He sang gospel as a youth, and after moving to Chicago in the mid-1950s, he worked with such local gospel groups as the Full Gospel Wonders and the Sensational True Lights (out of Hopewell Baptist Church at 65th and Cottage Grove). But by the time he began to record in about 1968, he’d crossed over into secular music. His first significant record was “(You Are My) Leanin’ Tree” by Chicago songwriter Bob Jones, issued on the AlTee label in 1977. It peaked at number 99 on the national R&B charts. Although he never had another chart single, he recorded and toured consistently until health problems finally slowed him down. A few of his albums made the national R&B charts; some of his singles (“I’m Gonna Marry My Mother-In-Law” in 1991; “Your Man Is Home Tonight” from 1997) became popular along the southern soul-blues circuit. In the early 2000s, he launched his own label, Achilltown. This wasn’t the first time he showed an entrepreneurial flair: Back in the ’70s, he became the proprietor of Bootsy’s Show Lounge at 2335 S. Cottage Grove. In the mid-‘80s, he opened its successor, the New Club Bootsy’s, at 55th and State and it remained in operation until the early 1990s.

At least in Chicago, White will be remembered for his outsized personality as much as for his music. He was almost much a fixture in the audiences at blues shows around Chicago as he was onstage. Whenever a big-name blues revue rolled into town to appear at East of the Ryan on 79th Street, or at Mr. G’s Supper Club on 87th, you’d probably find Artie there, sitting at the bar or standing in a corner with a group of friends, surveying the scene through heavy-lidded eyes. When the inevitable recognition came from the stage—“Ladies and gentlemen, we have Artie ‘Blues Boy’ White in the house tonight!”—he’d break into a smile and acknowledge the applause with a brief wave of offhand, almost regal ease. In his demeanor and his conversation, he seemed to epitomize the prototypical big-city blues hipster: affectionate but gruff, a bit profane, signifying and carrying on with his running buddies, a man among men. ~David Whiteis

Home Tonight

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