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Tommy Ridgley

Tommy Ridgley was in the Crescent Town R&B picture when it initial caught fireplace, and he remained a very pleased section of that same picture until his loss of life in 1999. Which was a whole lot of years behind a mike, but Ridgley hardly ever sounded the slightest little bit exhausted; his 1995 Dark Top album Because the Blues Began scored as you of his liveliest outings. Ridgley trim his debut edges back 1949 for Imperial under Dave Bartholomew’s path. His “Shrewsbury Blues” and “Boogie Woogie Mama” didn’t break beyond his hometown, though. Periods for Decca in 1950 and Imperial in 1952 (where he waxed the outrageous “Looped”) preceded four 1953-1955 periods for Atlantic that included a blistering instrumental, “Jam Up,” that sported no real Ridgley participation but sold fairly well under his name (matchless tenor saxist Lee Allen was prominent). New York’s Herald Information was Ridgley’s house during the past due ’50s. The regularly solid vocalist waxed “WHILE I Match My Female” for the company in 1957, encoring using a catchy “Baby Do-Liddle.” Following that, it was to his hometown-based Ric logo design, where he laid down the beautiful stroll-tempoed “Let’s Try to Chat It Over” along with a bluesy “MUST I Ever Like Once again” in 1960. He documented intermittently after departing Ric in 1963, waxing a soulful “I’m Not similar Person” in 1969 for Ronn. Ridgley constantly continued to be a hometown preferred even when documenting opportunities demonstrated scarce. Happily, Because the Blues Began rated with 1995’s greatest albums, Ridgley sounding completely contemporary but keeping his determining Crescent Town R&B edge. Shortly following the appearance of 1999’s JUST HOW LONG, Ridgley passed on, on August 11th of this year.

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