© - 706 UNION AVENUE SESSIONS - ©
Lillie Mae Glover was a Memphis-based classic blues
songstress in the style of Bessie Smith or Ma Rainey, the woman from whom she took her stage name. This recordings is a fascinating amalgam of Handy Park blues from Pat Hare and Houston Stokes on guitar and drums, and schooled musicianship from Onzie Horne
on vibes and Tuff Green on bass. Onzie Horne was an arranger and an educator who tutored Phineas Newborn and Charles Lloyd. Horne hosted a talk show on WDIA. At one time or another, he was the musical director at the Beale Street theatres where Glover plied
her trade, and, for a time, worked with Duke Ellington's manager, Billy Strayhorn. One of his last arrangement was Isaac Hayes' ''Theme From Shaft''. Horne died in 1963, aged 49.
got to sing the blues with your soul. It looks like you hurt in the deep-down part of your heart. You really hurt when you sing the blues. Blues can make you cry. I was singing at a little old club and I'd just sit down and sing, just sing, I'd sing the blues.
I remember times I singed the blues, I just cried, just deliberate cried. And I told the people I didn't know what was wrong with me, but it just got me. And my boss man used to tell me, 'Go on and get it out of you, old lady, just help yourself".
STUDIO SESSION FOR LILLIE MAE GLOVER MARAINEY
AT THE MEMPHIS RECORDING SERVICE FOR SUN RECORDS 1953
SUN RECORDING STUDIO
706 UNION AVENUE, MEMPHIS, TENNESSEE
SUN SESSION: SUNDAY APRIL 19, 1953
SESSION HOURS: UNKNOWN
PRODUCER AND RECORDING ENGINEER - SAM C. PHILLIPS
was never enough money to live on from either of Mama's career, and so almost always she had an outside job. She worked as a cook, as a cleanup woman for a trucking line, as a stacker for a fence company, and at a lumber company where "my boss said I was the
best man he had there".
The truth is, Big Memphis Marainey's lone Sun single is more interesting to write about than listen. It is best seen as a failed experiment; one
of the few hybrids attempted at 706 Union Avenue that went wrong.
Lillie Mae Glover's approach to music is clearly rooted in the classic blues shouting tradition of her
namesake, Ma Rainey. On these recordings she was paired with Memphis jazz vibist Onzie Horne and blues guitar King, Pate Hare. Onzie Horne had paid the rent by transcribing music for Sam Phillips' publishing companies. When he was sober, Hare worked the local
blues scene and brought to it the same barely controlled rage that appeared in other areas of his personal life.
At its best, the fury and distortion of Hare's guitar
work truly defined a genre within the blues. On these sides, he plays competently, but without the passion of his best work.
On "Call Me Anything, But Call Me", there
is an uneasy alliance of styles, as Hare's bluesy guitar fills clash pointlessly with Horne's jazzy supper club stylings. Though it all, and seemingly oblivious to the chaos, Lillie Mae belts out her message. Lillian Mae Glover sings in a style which has its
origins in a musical era entirely different to virtually everything else on the recordings, her full-throated vocal delivery being derived from Vaudeville and classic blues - and the Lady herself obviously considers herself an heir to this tradition, by virtue
of her adopted pseudonym. On this session she was paired with Onzie Horne, the late Memphis musician who originally worked for Sam Phillips transcribing songs for copyright purposes (Horne would work with Isaac Hayes in a later era). This track is a fascinating
experiment which frankly, does not work, presenting a curious clash of styles - most notably with Pat Hare's decidedly blues guitar battling out for pole position with Onzie Horne's irksome vibes.
> CALL ME ANYTHING, BUT CALL
Composer: - Dubrover-Milton ''Mitt'' Addington
Publisher: - B.M.I.
- Delta Music Incorporated
Matrix number: - U 71 - Master (2:58)
Recorded: - April 19, 1953
Released: - June 1953
First appearance: - Sun Records (S) 78/45rpm standard single Sun 184-A mono
CALL ME ANYTHING, BUT CALL ME / BABY NO! NO!
Reissued: - 1994 Bear Family Records (CD) 500/200rpm BCD 15801-1/17 mono
THE SUN SINGLES COLLECTION - VOLUME 1
A few weeks after ''Call Me Anything, But Call Me''
was recorded, one of its writer, Milton ''Mitt'' Addington, pitched another song, ''Burned Fingers'', to western star Wade Ray, who did fairly well with it. One year or so later, Sam Phillips asked him to write songs for Elvis Presley, but he demurred. In
1964, he wrote a by-god hit, ''Laurie (Strange Things Happen In This World)'', during the short-lived craze for death discs. Performed by another Sun alumnus, Dickey Lee, it was published by yet another, Jack Clement. Around the same time, Lee and Addington
combined to write ''Memphis Beat'' for Jerry Lee Lewis. Addington, who made his career as a psychologist, died in 1979, aged 55.