Скачать или смотреть Troy Turner - Teenage Blues In Baton Rouge (1990) [FULL ALBUM]

Released on King Snake Records.

0:00 Teenage Blues In Baton Rouge
3:22 She's Burnin'
6:56 Your Daddy Wants You Back
10:08 House Without A Home
15:46 Xpress Train
18:46 Hold Me close
22:55 Life Is A Gamble
26:31 My Little Woman
29:43 Lady At The Bottom Of The Sea
34:44 Try To Satisfy

Personnel
Troy Turner - vocals & guitar
Ernie Lancaster - guitar
Bob Greenlee - bass guitar & baritone sax
Jim Payne - drums
Lucky Peterson - piano & organ
Sylvester Polk - trumpet
Bill Samuel - tenor sax

They say that the blues is an older man's game, that the years enduring the hardships and travails of rural or ghetto life are what make a real blues musician. They also say that the blues, the bedrock of much of America's popular music, is a genre that gives to others rather than takes. But both suppositions need not be true, especially when you consider the life and music of Troy Turner. Turner is just 23. And his influences reflect his age. But, and here is the essence of the blues, his music reflects a tradition. And that tradition for Troy Turner is the blues of Baton Rouge.

Troy was born in Baton Rouge to a family solidly set in gospel. His grandmother, Edna Mae Turner, and two aunts, Veta Mae and Thelma Jean Turner, as well are well known Baton Rouge gospel singers. It was through his grandmother and aunts that a very young Troy Turner was introduced to music. "There was always a piano around," says Troy. And at an early age he began working the keys. But the guitar held a special fascination and that fascination grew when Edna Mae took Troy to see Reverend Charlie Jackson. Jackson, a Baton Rouge gospel musician, accompanied his vocals with guitar and harmonica. Says Troy, "Now that I'm old enough to understand the music more, I know is sounded basically like blues." Troy started taking his guitar to the church where Jackson performed and, sitting in the front row, would attempt to follow Jackson's guitar lines.

Gospel left an influence on Troy. "I learned to do a lot of things from gospel, from the churches in the country. 'Cause blues is basically gospel. They both come from the slaves out in the fields. When I was a little boy I could hear the feet on the ground, on the floor, banging to a real bass drum sound. And the folks get happy, man."

While attending junior high school Troy's musical education continued. He learned tuba and alto saxophone and played in the school marching bands. His talent took him into the senior bands, even though he was much younger than the other kids. Outside of the school grounds he played around with various Top-40 aggregations. All this time, (since the age of ten) he was also taking guitar lessons from a teacher versed in most styles, but most comfortable with heavy metal. Troy's other influences are equally startling - Prince, Hendrix, and Stevie Ray Vaughan. But another young local bluesman, Kenny Neal, brought Troy back to his roots. "I always wanted to play guitar 'cause I've always idealized Hendrix. But I never knew how to break into the blues scene until I saw Kenny Neal. Kenny really inspired me." Troy teamed up with Kenny's brother, Darnell, and another musician to play the jam sessions at a Baton Rouge club, the Catery. Kenny Neal, gigging regularly at the club, encouraged the younger musicians. The Baton Rouge blues tradition was well reflected in the band's song selections. They covered material by Slim Harpo, Buddy Guy (originally from Baton Rouge), and Whisperin' Slim, among others. The band, Third Gear, began peforming in and around Baton Rouge, often getting unexpected reactions to the blues they covered. "Raining In My Heart" sometimes moved the audience to laughter rather than tears. The bands finally disintegrated when Darnell left to join Kenny's bands. Troy kept gigging for a while in and around Baton Rouge, holding down evenings at Tabby Thomas's Blues Box.

Troy's next move was to join J. Monque'd to play the clubs of New Orleans, (including Tipitina's and the Maple Leaf). But Troy still kept Third Gear going in various configurations, teaming up again with Darnell Neal to play the 1988 Baton Rouge festival. The fact that he was running with two bnads finally caught up with him, and he stuck out on his own as Troy Turner and Third Gear. It was Troy's talent, and the commitment of such a young man to one of the most vibrant traditions in blues, that attracted producer Bob Greenlee's attention. The result is this album.

It is Troy and his generation that will again shape and change the course of Baton Rouge blues. This album is Troy's beginnings. But those beginnings, however transformed, are rooted in the sounds of his gospel-influenced childhood, the diverse group of musicians he has idealized, and the blues people of Louisiana who have gone before him.

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