JO-ANN KELLY (S/T) LP, NM / VG+, 1969, Shrink, Cut Corner
$
34
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Description
Condition: AMG Artist Biography by Chris Nickson The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all -- Jo Ann Kelly -- seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen. Born January 5, 1944, Kelly and her older brother Dave were both taken by the blues, and born at the right time to take advantage of a young British blues scene in the early '60s. By 1964 she was playing in clubs, including the Star in Croydon, and had made her first limited-edition record with future Groundhogs guitarist Tony McPhee. She expanded to play folk and blues clubs all over Britain, generally solo, but occasionally with other artists, bringing together artists like Bessie Smith and Sister Rosetta Tharpe into her own music. After the first National Blues Federation Convention in 1968 her career seemed ready to take flight. She began playing the more lucrative college circuit, followed by her well-received debut album in 1969. At the second National Blues Convention, she jammed with Canned Heat, who invited her to join them on a permanent basis. She declined, not wanting to be a part of a band -- and made the same decision when Johnny Winter offered to help her. Throughout the '70s, Kelly continued to work and record solo, while also gigging for fun in bands run by friends, outfits like Tramp and Chilli Willi -- essentially pub rock, as the scene was called, and in 1979 she helped found the Blues Band, along with brother Dave, and original Fleetwood Mac bassist Bob Brunning. The band backed her on an ambitious show she staged during the early '80s, Ladies and the Blues, in which she paid tribute to her female heros. In 1988, Kelly began to suffer pain. A brain tumor was diagnosed and removed, and she seemed to have recovered, even touring again in 1990 with her brother before collapsing and dying on October 21. Posthumously, she's become a revered blues figure, one who helped clear the path for artists like Bonnie Raitt and Rory Block. But more than a figurehead, her recorded material -- and unreleased sides have appeared often since her death -- show that Kelly truly was a remarkable blueswoman.
Jo-Ann Kelly ?– Jo-Ann Kelly
Label: Epic ?– BN 26491 Format: Vinyl, LP, AlbumCountry: US Released: 1969 Genre: Blues Style: Country Blues
TracklistHide Credits
A1 Louisiana Blues 2:31 A2 Fingerprints Blues 3:26 A3 Driftin' And Driftin' 2:39 A4 Look Here Partner 2:35 A5 Moon Going Down 4:02 B1 Yellow Bee Blues 3:46 B2 Whiskey Head Woman Written-By – Tommy McClennan 1:50 B3 Sit Down On My Knee 2:45 B4 Man I'm Lovin 2:44 B5 Jinx Blues 2:30 B6 Come On In My Kitchen 2:50Companies etc
- Published By – Yellow Bee Music
- Published By – Duchess Music Corp.
- Manufactured By – Epic Records
- Manufactured By – CBS Inc.
Credits
- Engineer, Producer [Yellow Bee Productions] – Nick Perls
- Guitar, Vocals – Jo-Ann Kelly
- Written-By – Jo-Ann Kelly (tracks: A1 To B1, B3 To B6)
Notes
All songs published by Yellow Bee Music (BMI) a division of Yellow Bee Productions, Inc., except "Whiskey Head Woman" which is published by Duchess Music Corp. (BMI)Writing Credits appear as Jo-Ann Kelly on the Back cover and J. A. Kelly on the labels.
Likewise, Tommy McClennan on the cover and T. McClennan on the label.
Barcode and Other Identifiers
- Matrix / Runout (Side A Stamped Runout): XSB150746-2A
- Matrix / Runout (Side B Stamped Runout): XSB150747-1A
- Rights Society: BMI
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GOLDMINE GRADING
MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.
NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.
VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.
VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.
GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.
POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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