Bobby Webb & The Jets, "Tell Me" c/w "Feel The Same," Jazzmar 1 (rel. 8/1956)
Here's a deep-dish Delta obscurity from 1956. As with yesterday's record, is shows the blurred boundaries of Black and white vernacular music. Both sides have shown up on compilations of Black rhythm and blues. Yet lead singer Bobby Webb is Caucasian: his solo singles attest to that. As do photos, which I didn't think existed until just now.
That's him. He partnered with Robert Thibodeaux on a series of songs for local performers. They hailed from St. Martinville, Louisiana, and were a vital part of the first years of what is now called swamp pop: atmospheric, often heartbroken bayou songs with a slow grind rhythm and lots of triplets (a beat with three sharp notes per measure and a staple of 1950s popular music). Thibodeaux became a music teacher and was a much-loved local figure; there's almost nothing on Webb, though he made several solo records and was co-writer on a number of swamp pop classics.
Today we'll hear his first record, made with a backing group called The Jets for the debut release of Jazzmar Music Mart Recordings. It seems likely that this was associated with a local music store; the label had two releases, both rare and seldom-seen. This single turned up in a job lot I bought from a friend. I'd heard both sides on CD compilations, but here was the real thing--a battered-but-serviceable 1956 original!
"Tell Me" is on the rockin' side of swamp pop, with manic piano pounding, muddy percussion, prominent electric bass and a solid, husky sax solo in service of Webb's spirited vocal. It's a typical swamp pop song: complaining about an unhappy love affair. One thousand songs were penned in this region alone on this eternal topic. This recording's primitive, heartfelt drive is impressive and engaging. The Jets' sax man deserves a gold star for his two fine solos; I love the coda, where the beat at last slows down and we hear final chords from the pianist, who has been in overdrive the whole time.
In no way, shape or form could "Tell Me" have broken into the mainstream market. This single had two pressings, but both were small-batch orders. As a great admirer of Louisiana music, I'm honored to have this little-known record--and to share it with you today.
Today we'll hear his first record, made with a backing group called The Jets for the debut release of Jazzmar Music Mart Recordings. It seems likely that this was associated with a local music store; the label had two releases, both rare and seldom-seen. This single turned up in a job lot I bought from a friend. I'd heard both sides on CD compilations, but here was the real thing--a battered-but-serviceable 1956 original!
"Tell Me" is on the rockin' side of swamp pop, with manic piano pounding, muddy percussion, prominent electric bass and a solid, husky sax solo in service of Webb's spirited vocal. It's a typical swamp pop song: complaining about an unhappy love affair. One thousand songs were penned in this region alone on this eternal topic. This recording's primitive, heartfelt drive is impressive and engaging. The Jets' sax man deserves a gold star for his two fine solos; I love the coda, where the beat at last slows down and we hear final chords from the pianist, who has been in overdrive the whole time.
In no way, shape or form could "Tell Me" have broken into the mainstream market. This single had two pressings, but both were small-batch orders. As a great admirer of Louisiana music, I'm honored to have this little-known record--and to share it with you today.
"Feel the Same" continues in fast mode, but with less sturm and drang. Thus, we hear that Webb is a white vocalist who tries to emulate the likes of a Smiley Lewis or Fats Domino. This is a fast stroll tempo with prominent second and fourth beats on each measure of music.
Our hard-working pianist again strains his carpals on the 88s. A walking bass has a fat presence, and the hardest-working sax man in Lafayette, LA is back for more solo goodness. This is an excellent B-side with a real drive; were the lo-fi just a little more hi, we'd have more details to discern. This is one lump of monoural sound, with all elements fused like Grandman's candy dish (don't eat them; they've been there for quite a while).
Our hard-working pianist again strains his carpals on the 88s. A walking bass has a fat presence, and the hardest-working sax man in Lafayette, LA is back for more solo goodness. This is an excellent B-side with a real drive; were the lo-fi just a little more hi, we'd have more details to discern. This is one lump of monoural sound, with all elements fused like Grandman's candy dish (don't eat them; they've been there for quite a while).
Though Bobby Webb continued to record, success as a performer eluded him. His cleffing partnership with Thibodeaux resulted in a sheaf of swamp-pop gems, including the fantastic, much-bootlegged "Feelin' Right Saturday Night" for Black vocal group The Velvetiers on Ric Records. Look that one up on YouTube for some additional joy!
Thibodeaux passed on at age 89 in 2011. Webb was his junior by some years; he is, I guesstimate, 20-23 on today's record. If he's still with us, he's in his 80s. There isn't much (any) solid information on his later life. He chose to step away from the spotlight at some point.
Tomorrow: a surprise from a recent unscheduled dig: fab Nashville rockabilly by Jackie Cray, for Mercury Records' Limelight imprint, 1958.
Thibodeaux passed on at age 89 in 2011. Webb was his junior by some years; he is, I guesstimate, 20-23 on today's record. If he's still with us, he's in his 80s. There isn't much (any) solid information on his later life. He chose to step away from the spotlight at some point.
Tomorrow: a surprise from a recent unscheduled dig: fab Nashville rockabilly by Jackie Cray, for Mercury Records' Limelight imprint, 1958.
To my ears, I'm hearing a Fats Domino-adjacent rolling piano sound to both of these—which sure sound a lot a like. Webb would have certainly heard or even seen Domino around the New Orleans area and could have picked up this swamp pop sound.
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