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Ivory Joe Hunter

Bespectacled and velvet-smooth in the vocal department, pianist Ivory Joe Hunter appeared an excessive amount of mild-mannered to be always a rock & roller. However when the rebellious music initial crashed the American awareness in the middle-’50s, there is Ivory Joe, deftly providing his blues ballad “Since I Met You Baby” correct alongside the wildest pioneers from the period. Hunter had been a grizzled R&B veterinarian by that point who had 1st heard his tone of voice on the 1933 Library of Congress cylinder documenting made in Tx (where he was raised). An achieved tunesmith, he performed round the Gulf Coastline area, hosting his personal radio program for a while in Beaumont before migrating to California in 1942. It had been a smart move since Hunter — whose actual name was Ivory Joe, incidentally (maybe his folks had been psychic!) — found out plenty of function pounding out blues and ballads in wartime California. He began his personal label, Ivory Information, to press up his “Blues at Sunrise” (with Johnny Moore’s Three Blazers support him), and it became a nationwide strike when leased to Leon Rene’s Distinctive imprint in 1945. Another Hunter organization, Pacific Records, managed a major strike in 1948 when the pianist’s “Pretty Mama Blues” topped the R&B graphs for three weeks. At whatever logo design Hunter paused in the middle-’40s through the past due ’50s, his platters marketed like scorching cakes. For Cincinnati-based Ruler in 1948-1949, he strike with “Don’t Fall deeply in love with Me,” “What Do You Do if you ask me,” “Waiting around in Vain,” and “Figure Who.” At MGM, after that not used to the record biz, he cut his immortal “I Nearly Lost My Brain” (another R&B chart-topper in 1950), “I WANT You Therefore” (afterwards included in Elvis), and “It’s a Sin.” Putting your signature on with Atlantic in 1954, he strike big with “Since I Met You Baby” in 1956 as well as the two-sided smash “Clear Hands”/”Love’s a Harming Video game” in 1957. Hunter’s fondness for nation music reared its mind in 1958. Upon switching to Dot Information, he have scored his last pop strike using a cover of Costs Anderson’s “Town Lighting.” Hunter’s Dot encores proceeded to go nowhere; neither do typically mellow outings for Vee-Jay, Smash, Capitol, and Veep. Epic proceeded to go as far as to recruit a simmering Memphis music group (including organist Isaac Hayes, trumpeter Gene “Bowlegs” Miller, and saxist Charles Chalmers) for an LP entitled The Come back of Ivory Joe Hunter that he hoped would revitalize his profession, nonetheless it wasn’t designed to be. The album’s cover photo — a closeup of Hunter’s grinning encounter having a cigarette dangling from his lip area — appears grimly ironic when confronted with his loss of life from lung malignancy just a few years later.

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