Bottom of the Top
Someday You'll Have These Blue
Tough As I Want To Be
Blues
Big Blues from Texas
Working Girl Blues
I've Got A SweetTooth
Lonestar Shootout
                         
         
 

DISCOGRAPHY

RECORDINGS

           
   
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Follow the Links, under CDs pictured below. At URL, scroll UP to  selections then Listen To Samples to hear Phillip's music.  It takes a little patience, but the sound is good and  Phillip Walker wishes to thank amazon .com for graciously temporarily providing  clips of his music.  But Come "BACK" to read the thought- provoking commentary entitled:"Why Purchase from the Artist?"
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CHRONOLOGICAL  LISTING  OF  RECORDINGS

DATE

LABEL

TITLE

ARTISTS

DETAILS

1952 RPM / 45 1. The Things I Did For You RoscoeGordon Phillip Walker~guitar
  Specialty 2. Clifton's Squeeze Box Boogie Clifton Chenier & Zodeco Band
  Specialty 1. I'm On My Way, 2. I'm On My Way II Clifton Chenier & Zodeco Band
  Specialty 1. All Night Long "Lonesome Sundown"
    2.the Cat's Dreamin'  
1955 Chess 45 1. My Soul Clifton Chenier w/Texas Playboys & Etta James
    1. & 2. Clifton Chenier w/Texas Playboys & Etta James
  Chess 45 1. & 2. Clifton Chenier w/Texas Playboys & Etta James
  Argo / Chess 1. & 2. Clifton Chenier w/Texas Playboys & Etta James
  Sun / 45 1. & 2. Roscoe Gordon w/ Phillip Walker Blues Band
1959 Elko / 45 1. Want You For Myself Phillip Walker
    2. Louisiana Walk  
 
 
  Elko / 45 1. Hello My Darling Phillip Walker
    2. Playing In The Park
1963 Argo 1. Goin' Home Tomorrow Phillip Walker & Bea Bopp
  (Chess) 2. The Struggle    
  AMC / 45 1. & 2. Phillip Walker  
1964-5 Gilkey 45 1. Goin' Home Tomorrow Phillip Walker & Bea Bopp
    2. The Struggle    
  Gilkey 45 Do The Shovel, It Was You Phillip Walker & Bea Bopp
1966 Elko / 45 1. & 2. Elmond Mickel aka "Model T. Slim" Phillip Walker Blues Band
  Joliet / 45 1. & 2. George "Harmonica" Smith Phillip Walker Blues Band
  Joliet / 45 1. & 2. Preston Epps Phillip Walker Blues Band
1969 Vault / 45 1. It's All In Your Mind, ......... 2. The Struggle Phillip Walker Blues Band
  Advent 1. & 2. Johnny Shines Phillip Walker Blues Band
  Advent 1. & 2. Eddie Taylor Phillip Walker Blues Band
1970 Fantasy 1. Laughing & Clowning Phillip Walker Blues Band
1973 Playboy LP* The Bottom Of The Top Phillip Walker *REISSUED I989 HIGHTONE RECORDS
1976 Advent L.A. To L.A Phillip Walker Phillip Walker
  LP & Lonesome Sundown Blues Band
  Joliet Been Gone Too Long Phillip Walker Phillip Walker
  LP** & Lonesome Sundown Blues Band
    ** (Reissued on both Alligator Records & Hightone Records)
  Joliet LP*** Someday You'll Have These Blues Phillip Walker ***REISSUED I991 HIGHTONE RECORDS
1978 Smoke Compilation Phillip Walker San Francisco Blues Festival.
1979 P-Vine (Japan) George "Harmonica" Smith, with Phillip Walker B.B.
1982 Black & Blue (Rounder - Paris) Lowell Fulson Phillip Walker Blues Band
One More Blues          

1982 Timeless (Holland) Hit The Road Again Percy Mayfield Phillip Walker Blues Band
  Rounder   Watch Your Step Ted Hawkins Phillip Walker Blues Band
The preceding list documents over 30 years of recording by Phillip Walker. Any of these older recordings (many long out of print) ~especially those rare few that have survived the ravages of time in good condition ~is valuable today to collectors, blues lovers and historians for archival and documentation purposes, not to mention the usual good listening.

Mr. Walker often receives requests for this material and would appreciate any details his fans might supply about the long-forgotten specifics of any of these recordings as well as any information about their availability today. Thanks in advance for all of your help. Please continue on for recordings that are available. email: pw@phillipwalker.com


1973
 
 
I Cant Lose (With The Stuff I Use)
Tin Pan Alley  Click this link to hear a sample of Tin Pan Alley.
Hello Central
Hello My Darling  Click this link to hear a sample of Hello My Darling.
Laughing & Clowning  Click this link to hear a sample of Laughing & Clowning.
 
Hightone (HCD 8020)
The Bottom of The Top
 
Still Great, 27 years later!
 
Phillip Walker (guitar,vocals), Dennis Walker, Charles Jones, Curtis Johnson (bass), Johnny Tucker, Glen McTeer (drums), Nat Dove, Teddy Reynolds, Arthur Woods, Teddy Vaughn (keys), Bea Bopp Walker (vocals), Freeman Lacy, Samuel Cross, Ike Williams, David Li, Joel Peskin, Chops Anthony, Sammy Coleman (horns).
 
1976
 
 
  Someday You'll Have
    These Blues  Click this link to hear a sample of Someday You'll Have These Blues.
  Beaumont Blues  Click this link to hear a sample of Beaumont Blues.
  Breakin' Up Somebody's Home  Click this link to hear a sample of Breakin' Up Somebody's Home.
  Laughing & Clowning  Click this link to hear a sample of Laughing and Clowning.
  Mama's Gone
  When It Needs Gettin' Done
   
  Sure Is Cold
  Part Time Love
  El Paso Blues
  Don't Tell Me
  If We Can Find It  Click this link to hear a sample of If We Can Find It.
   
Hightone (HCD 8032)
Someday You'll Have These Blues


     
           
Phillip Walker (guitar,vocals), Al Bruno (guitar), Dennis Walker (bass), Bill Murray (keyboards), Freddie Lewis, Archie Francis,Victor Hill,Aaron Tucker (drums), Johnny Banks (organ), David Li (sax), Al Deville
1983
 
 
       
Think     What Can I Do?
Brother Go Ahead And Take Her     Port Arthur Blues
Not The Same Man     I'm Tough ( As I Want To Be)
The Blues And My Guitar     Wondering
A Lyin' Woman      
Tape Cassette Only [from Rounder]
 
  Rounder (ROU2038)

Tough As I Want To Be

 
Phillip Walker (guitar,vocals), Dennis Walker (bass), Johnny Tucker (drums), Nat Dove, Llew Matthews (keyboards), Art Hillary (piano), Margie Evans (backup vocals), David Li (sax), Steve Smith (trumpet).
1988
 
 
           

  How Many More Years?  Click this link to hear a sample of How Many More Years?   Big Rear Window  Click this link to hear a sample of Big Rear Window.
                   
  90 Proof  Click this link to hear a sample of 90 Proof.   Her Own Keys  Click this link to hear a sample of Her Own Keys.
                   
  What'd You Hope To Gain?  Click this link to hear a sample of What'd You Hope To Gain?.   Talk To That Man  Click this link to hear a sample of Talk To That Man.
                   
  What Did I Do Wrong?  Click this link to hear a sample of What Did I Do Wrong?.   Sometime Girl  Click this link to hear a sample of Sometime Girl.
                   
  Dont Be Afraid Of The Dark  Click this link to hear a sample of Dont Be Afraid Of The Dark.   I Had A Dream  Click this link to hear a sample of I Had A Dream.
        Hightone (HCD 8013)                                                
Blues

                                 

                   
 
Phillip Walker (guitar,vocals), Jimi Stewart (keys), James "Broadway" Thomas, Antoine Salley (bass), Johnny Tucker (Drums), The Memphis Horns: Wayne Jackson (trumpet,trumbone), Andrew Love (sax), Karen Kraft (bkgrnd vocals).
1992 (1999)
 
 
 
Phillip Walker & Otis Grand
  Dressin' Trashy *   Play Me Some Blues
  Young Devil  Click this link to hear a sample of Young Devil.   Insomnia  Click this link to hear a sample of Insomnia.
  She's Gone  Click this link to hear a sample of She's Gone.   Goodie Train
  Bluesmobile  Click this link to hear a sample of Bluesmobile.   She Torture Me
  Beatrice, Beatrice  Click this link to hear a sample of Beatrice, Beatrice.   You're So Fine
  Don't Leave me Baby  Click this link to hear a sample of Don't Leave me Baby.   Big Blues From Texas
A
JSP CD 248) [England]            
Big Blues From Texas
 
K Cover of First Release, 1992        

A Reissued with new art, 1999

 
                                                                 
Phillip Walker (guitar,vocals), Otis Grand (guitar), Dan Quinton (bass), Alan Premier (drums), Steve Diamond (piano,Hammond B3), Buzz Brown (harmonica), Oh Gee Horns: Peter Beck, Mike Hobart, Noel Harris.

1994
Hightone Hightone: The First Ten Years Phillip Walker + 20 Other Artists
  Compilation Includes 4 Rereleased Phillip Walker cuts
 
 
1994
Blue Ace Jaywalkin' Phillip Walker w/ Jay Gordon
* Private Issue Not Available at this time*
 

1995
 
 
Blacktop (BT 1117)
  Special Built Woman  Click this link to hear a sample of Special Built Woman.   The Hustle Is On  Click this link to hear a sample of The Hustle Is On.
  Hey, Hey, Baby's Gone  Click this link to hear a sample of Hey, Hey, Baby's Gone.   Hurry Back Home  Click this link to hear a sample of Hurry Back Home.
  Working Girl Blues  Click this link to hear a sample of Working Girl Blues.   A Thing They Call The Blues
  Bad Luck *   I Got A Problem
  Brother, Go Ahead And Take Her   How Long Must I Wait?
  Thanks Alot (For The Offer)   Hello My Darling  Click this link to hear a sample of Hello My Darling.
  Beatrice, Beatrice  Click this link to hear a sample of Beatrice, Beatrice.   My Baby's Gonna Wash Me Down  Click this link to hear a sample of My Baby's Gonna Wash Me Down.
 

 
Working Girl Blues
 

   
   
Phillip Walker (guitar,vocals), Charles Elam, Phillip Manuel (bkgrnd vocals), Sammy Berfect (organ), David Torkanowsky, Fred Kaplan, Lonnie Holland (piano), George Porter Jr., Larry Allen Zeno, Larry Taylor (bass), Raymond Weber, Richard Innes, Johnny Tucker, Charles La Mark II (drums), Johnny Dyer (harmonica), Anthony Chenevert (washboard), Brian Terry (accordion), Patrick Terry (guitar) The Black Top Horns: Mark "Kaz" Kazanoff, Steve Howard, Ward Smith, Rick Trolson.

 
1998
 
Blacktop (BT 1146)

I've Got A Sweet Tooth

 
Phillip Walker (guitar,vocals), Derek O'Brien (guitar), Charles Elam, Curtis "Bio" Watson (bkgrnd vocals), David Torkanowsky, and Riley Osborne, (piano and organ) Lee Allen Zeno, Larry Fulcher (bass), Herman V. Ernest III, B.E. "Frosty" Smith, and Johnny Tucker (drums), The Black Top Horns: Mark "Kaz" Kazanoff (Tenor and Baritone saxophone), Ernest Youngblood, Jr. (Tenor saxophone), Gary Slechta (trumpet), Randy Zimmerman (trombone).
1999
Three long time friends reunite for some of the best cookin' guitar yet!...
 
  Roll, Roll, Roll *
  A Little More Time *
  Feel Good Doin' Bad *
  Street Walking Woman  Click this link to hear a sample of Street Walking Woman.
  You're Playing Hooky
  Quit My Baby
  It's Mighty Crazy  Click this link to hear a sample of It's Mighty Crazy.
  Two Trains Running
  Boogie Rambler  Click this link to hear a sample of Boogie Rambler.
  Bon Ton Roulet  Click this link to hear a sample of Bon Ton Roulet.
  Alligators Around My Door
  This Should Go On Forever
  Born in Louisiana
  I Can't Stand it No More  Click this link to hear a sample of I Can't Stand it No More.
  I Met The Blues In Person  Click this link to hear a sample of I Met The Blues In Person.
   
Alligator (ALCD4866)  


Lonestar Shootout

                   
Phillip Walker, Lonnie Brooks, Long John Hunter, and Ervin Charles (guitar, vocals), Derek O'Brien (rhythm guitar), David Torkanowsky and Riley Osborne, (piano, organ, and rhythm guitar), Marcia Ball (piano), Larry Fulcher (bass), B.E. "Frosty" Smith (drums and percussion), Mike Buck (drums), John "Mambo" Tranor (rubboard), Mark "Kaz" Kazanoff (Tenor and Baritone saxophone, horn arrangements and harmonica), Ernest Youngblood, Jr., Red Rails, and John Mills (Baritone sax), Les Izmore (Tenor Sax), Gary Slechta and Frank Vert (trumpet), Randy Zimmerman and Mike Mordecai (trombone).
 
FOR DETAILS ABOUT RECORDINGS, SCROLL UP...OR PRESS RECORD PICTURED HERE.
 
Bottom of the Top
Someday You'll Have These Blue
Tough As I Want To Be
Blues
Big Blues from Texas
Working Girl Blues
I've Got A SweetTooth
Lonestar Shootout
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WHY PURCHASE FROM THE ARTIST? (Scroll On)

WHY PURCHASE FROM THE ARTIST? ---A Commentary

It is common knowledge that once their work has gained popularity, most artists, whatever their medium, can no longer afford to buy or even own their own work. This is a sad comment on the state of the arts entering the millennium. Initially an artist must devote years of hard work honing his (or her) skills in order to be good at what he does. When he eventually becomes very good at his craft, his "product" (any artist's output) has grown as he has developed a good reputation from knowledge and skill he has acquired, and his "product" becomes in demand (the price goes up). Most artists cannot afford to own their own "originals" because they had to sell their best work during those lean years when they were gaining their experience working at their art (instead of at something else which probably would have generated more income).

In the case of musicians, whose work is called "play," (and seems to be generally regarded as such), it has been widely accepted that you don't really have to pay them much to "play." Of course there are notable exceptions who have "struck it rich" being in the right place at the right time, but these are by no means the status quo, generally regardless of an artist's talent, skill, creative genius or hard work. In the music industry it is standard practice to pay the artist for the recording session as though it is a good "gig" (not very much...they're just playing). They are able to do this because the artist is supposedly "not taking the financial risk." [This is a common myth sold every day to recording artists. Actually the artist does take a financial risk because he becomes dependent upon the recording company to reproduce and publicize his product well for him so that he might get good employment and market his own "product." When a recording company does not do a good job, the artist's income and reputation are both at stake, so artists are possibly taking a greater financial risk than the recording companies!]

Once an artist's work becomes popular, it doesn't matter whether it is a painting, sculpture, photograph, song, recorded "master" of a performance piece, a film or a script, the scenario is always the same. Interested parties (often fans of the work but not necessarily), people with more disposable income than the underpaid artists, step in to market the "product" and they enjoy a profit in which the artist does not share, since the artist made no "investment" (save his initial time, creativity, talent and hard work, of course). We call these people "entrepreneurs" and as a society appear to have greater respect for them, and their money- making abilities, than we do for the artists who are making it possible. Buy Low, Sell High. It's smart investing. But there is a fine line between capitalizing, downright swindling or taking advantage of someone's poverty, (especially if you have had a part in creating that poverty). The recording industry today is much like the proverbial "company store," and one look at a "standard recording contract" would prove this point.

Besides taking financial advantage of artists, this common entrepreneurial scenario also serves to put one more layer of separation between the artist and his "buying" and appreciating public, making the artist appear inaccessible though that is often not the artist’s wish. Most artists, especially performers, rely on their fans, and the fans become part of their artistic process. When a fan purchases an artist’s product directly from the artist, it is mutually satisfying to both parties and a bond of trust and appreciation is established. The artist gets necessary feedback about his work and by supporting the artist, (instead of the entrepreneurs), the fan is able to demonstrate his appreciation directly to the artist, and can feel like he is giving something back, for what he has received from the artist

Given the opportunity to purchase an artist's product directly from the artist who created It (a product they enjoy), most people have demonstrated a preference to do so. They enjoy showing their appreciation and respect by purchasing directly from the product's true creator, the artist, because they are aware that at least some of their purchase price for the art they have bought actually reaches the artist’s pockets. This is not the case when purchasing the artist’s product from entrepreneurs.

Article for Blues News by bookin@bluesbook.com October 28, 1999

 

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