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Not entirely content with being a 1950s R&B star on the strength of his immortal New Orleans classic "Lawdy Miss Clawdy," singer Lloyd Price yearned for massive pop acceptance. He found it, too, with a storming rock & roll reading of the ancient blues "Stagger Lee" and the unabashedly pop-slanted "Personality" and "I'm Gonna Get Married" (the latter pair sounding far removed indeed from his Crescent City beginnings).
Growing up in Kenner, a suburb of New Orleans, Price was exposed to seminal sides by Louis Jordan, the Liggins brothers, Roy Milton, and Amos Milburn through the jukebox in his mother's little fish-fry joint. Lloyd and his younger brother Leo (who later co-wrote Little Richard's "Send Me Some Lovin'") put together a band for local consumption while in their teens. Bandleader Dave Bartholomew was impressed enough to invite Specialty Records boss Art Rupe to see the young singer (this was apparently when Bartholomew was momentarily at odds with his longtime employers at rival Imperial).
At his very first Specialty date in 1952, Price sang his classic eight-bar blues "Lawdy Miss Clawdy" (its rolling piano intro courtesy of a moonlighting Fats Domino). It topped the R&B charts for an extended period, making Price a legitimate star before he was old enough to vote. Four more Specialty smashes followed -- "Oooh, Oooh, Oooh," "Restless Heart," "Tell Me Pretty Baby," "Ain't It a Shame" -- before Price was drafted into the Army and deposited unhappily in Korea.
When he finally managed to break free of the military, Price formed his own label, KRC Records, with partners Harold Logan and Bill Boskent and got back down to business. "Just Because," a plaintive ballad Price first cut for KRC, held enough promise to merit national release on ABC-Paramount in 1957 (his ex-valet, Larry Williams, covered it on Price's former label, Specialty).
"Stagger Lee," Price's adaptation of the old Crescent City lament "Stack-A-Lee," topped both the R&B and pop lists in 1958. By now, his sound was taking on more of a cosmopolitan bent, with massive horn sections and prominent pop background singers. Dick Clark insisted on toning down the violence inherent to the song's story line for the squeaky-clean American Bandstand audience, accounting for the two different versions of the song you're likely to encounter on various reissues.
After Price hit with another solid rocker, "Where Were You (On Our Wedding Day)?" in 1959, the heavy brass-and-choir sound became his trademark at ABC-Paramount. "Personality," "I'm Gonna Get Married," and "Come Into My Heart" all shot up the pop and R&B lists in 1959, and "Lady Luck" and "Question" followed suit in 1960.
Always a canny businessman, Price left ABC-Paramount in 1962 to form another firm of his own with Logan. Double L Records debuted Wilson Pickett as a solo artist and broke Price's Vegas lounge-like reading of "Misty" in 1963. Later, he ran yet another label, Turntable Records (its 45s bore his photo, whether on his own sizable 1969 hit "Bad Conditions" or when the single was by Howard Tate!), and operated a glitzy New York nightspot by the same name.
But the music business turned sour for Price when his partner, Logan, was murdered in 1969. He got as far away from it all as he possibly could, moving to Africa and investing in nonmusical pursuits. Perfect example: He linked up with electric-haired Don King to promote Muhammad Ali bouts in Zaire (against George Foreman) and Manila (against Joe Frazier). He indulged in a few select oldies gigs (including an appearance on NBC-TV's Midnight Special), but overall, little was seen of Price during the 1970s.
Returning to America in the early '80s, he largely resisted performing until a 1993 European tour with Jerry Lee Lewis, Little Richard, and Gary "U.S." Bonds convinced him there was still a market for his bouncy, upbeat oldies. Price's profile went on the upswing since -- he guested on a PBS-TV special with Huey Lewis & the News, and regularly turned up to headline the Jazz & Heritage Festival in his old hometown. ~ Bill Dahl, All Music Guide
Funk songs are often based on an extended vamp on a single chord, distinguishing it from R&B and soul songs, which are built on chord progressions.
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