Saturday, April 11, 2026
Art Adams • Rock Crazy Baby
Born Arthur Adams, 12 February 1935, Carollton, Kentucky
Art Adams is one of several rockabilly artists who made one or two obscure records in the fifties, then quit the music business and went back to performing decades later, after being discovered by (mostly European) music fans.
Born in Kentucky into a musical family, Adams moved to a farm just outside Bean Blossom, Indiana, at the age of twelve. Art's education came to an abrupt end when his parents divorced. He never attended high school and by the age of 15 was living in Indianapolis where he worked at a shopping bag company where he met his future wife, Tommie Arlene Melton. On February 3, 2009, they celebrated their 58th wedding anniversary.Yes, that's right, he got married at 15.
Adams was taught to play guitar by his brother-in-law, Dave Logsdon. Together with Danny Cole (bass) and Ray Paley (steel guitar) they formed a country band, the Kentucky Drifters, in late 1954. They cut a demo session at a local Indianapolis radio station and took the results ("Down In Tennessee" and "She's From Tennessee", both written by Art) to the Sun Studio in Memphis after a 700 mile drive. They arrived unannounced only to find out that Sam Phillips was not there. Jack Clement listened to the tapes, said that Adams sounded like Johnny Cash and had to get his own sound. He also said that Sun had too many other artists to deal with then.
Art grew restless with the Kentucky Drifters and wanted to play more rockabilly, whereas Dave Logsdon wanted to stick with country. The band was renamed the Rhythm Kings in 1957 and reshaped with twin guitarists Roy Robinette and Edwin Weil. The drummer, Norm Wagner, died at a very young age and was replaced by Bennie Abott, aka Kentucky Curly. They soon acquired a residency at the Playmore Club in Indianapolis (spelled Pla-Mor by Ian Wallis in Now Dig This). In July 1959, Art Adams and the Rhythm Kings signed a three-year contract with the Cherry label (from Scottsville, Kentucky), owned by Joe Dyson. Soon they had their first recording session, in Nashville. The resultant single paired "Rock Crazy Baby" with "Indian Joe", both songs fiery, primitive rockabilly. A second Cherry single was recorded in May 1960, "Dancing Doll"/"She Don't Live Here No More". "Dancing Doll" featured some truly exciting guitar work, but rockabilly of this type was no longer commercially viable in 1960. Moreover, with all the band members holding down day jobs, there were very limited opportunities for promotion. Cherry Records reneged on their contract and failed to issue "at least two releases per year for a period of three years", as promised, even though they had finished material in the can , like Art's composition "Honey Girl" and a frenzied instrumental version of "Orange Blossom Special".
In 1961 Art formed a completely new band, the Epics, with Billy Stewart on lead guitar, who has been a vital part of Art's musical life since that time. This was an attempt to update his sound with more of an R & B feel and to secure work in more upmarket venues. Art Adams and the Epics were soon in demand as a backing band, especially for well-known acts who visited Indianapolis and had no backing band of their own. "We backed up people like Jerry Lee Lewis, Dee Dee Sharp, Conway Twitty and Gene Simmons". Art kept on going until about 1968. By then he was building up a vending machine company and had three children, leaving no time for music. So he quit the music business, forever, he thought.
During the 1980s, Adams received more and more calls from collectors around the world who tried to find his old records. Counterfeit versions of his Cherry recordings began circulating. But it was not until 2003 that the second part of Art Adams' career as a rockabilly singer took off, with the release by Cees Klop of hirst first CD, "Rock Crazy Baby" on Collector 4477. It contained the four Cherry sides plus alternate takes and a bunch of demos, "not all of which were really deserving of release", as Ian Wallis puts it. I wholeheartedly agree. Many tracks sound amateurish, disjointed or out of tune. Moreover, who really needs the 634th version of "Blue Suede Shoes" or another take on "Tutti Frutti"? Still, two further CD's have been released since then, "Rockin' My Way Around" on Collector in 2005 and "Dancing Doll" on Flying Saucer Records in 2006. Both are newly recorded, primitive and frantic.
Adams' first comeback performance was at Viva Las Vegas in April 2003, followed that same year by gigs in Montreal, Canada, and Hemsby, England. Since then Art has returned to the UK several times and also played in other European countries, like Sweden, France and Spain. He has an energetic stage act and has built up a loyal and enthusiastic following. Today, Adams is backed by Danny Thompson (lead guitar), Mark Cutsinger (drums) and Mike Strauss (bass).
More info : http://www.rockabillyhall.com/ArtAdams.html
VA • Nu Yorica Roots! The Rise Of Latin Music In New York City In The 1960s
Review by John Bush
One
of the best collections of Latin American music ever assembled, Nu
Yorica Roots! compiles some of the funkiest Latin soul and,
occasionally, traditional music recorded in the Big Apple during the
1960s and '70s. The disc definitely concentrates on groove tracks, with
standout inclusions by Joe Cuba ("El Pito"), Ray Barretto ("Acid,"
"Together"), and Tito Puente ("Oye Como Va," "Tito on Timbales"). But Nu
Yorica Roots! also salutes the more tribal, drum-centered facets of
Latin music during the era, with Mongo Santamaria ("Druma Kuyi"), Eddie
Palmieri ("My Spiritual Indian"), and Sabu Martinez ("The Oracle")
paying homage to their Afro-Cuban roots with flair. Harvey Averne's
swinging cover of "The Word" by the Beatles and Orchestra Harlow's dance
novelty "Horsin' Up" are a bit silly (even if they're good
representations of the Latin soul scene), but without exception, this
compilation nails the late-'60s convergence of amazing Latin
instrumentalists and more groove-centered black music around El Barrio
in East Harlem. Though it's saying quite a bit, Nu Yorica Roots! is the
finest compilation produced by the inestimably valuable reissue label
Soul Jazz Records.
https://www.allmusic.com/album/nu-yorica-roots%21-the-rise-of-latin-music-in-new-york-city-in-the-1960s-mw0000454610
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Reseña de John Bush
Una
de las mejores colecciones de música latinoamericana jamás reunida, Nu
Yorica Roots! recopila algunos de los temas más funk del soul latino y,
ocasionalmente, de la música tradicional grabada en la Gran Manzana
durante las décadas de 1960 y 1970. El disco definitivamente se
concentra en temas de groove, con inclusiones destacadas de Joe Cuba
("El Pito"), Ray Barretto ("Acid"," Together") y Tito Puente ("Oye Como
Va","Tito on Timbales"). Pero Raíces Nu Yorica! también rinde homenaje a
las facetas más tribales y centradas en el tambor de la música latina
durante la época, con Mongo Santamaria ("Druma Kuyi"), Eddie Palmieri
("My Spiritual Indian") y Sabu Martinez ("The Oracle") rindiendo
homenaje a sus raíces afrocubanas con estilo. La versión oscilante de
Harvey Averne de "The Word" de the Beatles y la novedad de baile de
Orchestra Harlow "Horsin' Up " son un poco tontas (incluso si son buenas
representaciones de la escena del soul latino), pero sin excepción,
esta compilación clava la convergencia de finales de los años 60 de
increíbles instrumentistas latinos y música negra más centrada en el
groove alrededor de El Barrio en East Harlem. Aunque es decir bastante,
Nu Yorica Roots! es la mejor compilación producida por el
inestimablemente valioso sello de reedición Soul Jazz Records.
https://www.allmusic.com/album/nu-yorica-roots%21-the-rise-of-latin-music-in-new-york-city-in-the-1960s-mw0000454610
VA • Nu Yorica! Culture Clash In New York City Experiments In Latin Music 1970-77
Review from The Guardian (CD of the Week):
An inspired selection. Soul Jazz deserve credit for delving further into the murky background of popular dance and jazz music. If ever a CD was worth buying, this is it.
https://www.theguardian.com
Review from Record Collector:
Some compilations are so influential and universally loved that they become classic albums in their own right. Just as Harry Smith cemented forever the underground sound of the US between the wars, so did the then young Soul Jazz imprint immortalise the Latin music emerging from 1970s New York with Nu Yorica! This anniversary reissue retains what was always a sensational collection of almighty Latin grooves. Make no mistake, this album is extraordinary. Infectious, revolutionary, inspirational and funkier than a mosquito's tweeter, Nu Yorica! fuses jazz, soul, funk and every kind of Latin music, all the while infusing it with the energy and freedom of the Big Apple.
https://recordcollectormag.com/reviews/album/nu-yorica-culture-clash-new-york-city-experiments-latin-music-1970-77
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Resena de The Guardian (CD de la Semana):
Una seleccion inspirada. Soul Jazz merece credito por profundizar en los oscuros antecedentes de la musica popular de baile y el jazz. Si algun dia vale la pena comprar un CD, este es el caso.
https://www.theguardian.com
Resena de Record Collector:
Algunas compilaciones son tan influyentes y universalmente amadas que se convierten en albumes clasicos por derecho propio. Asi como Harry Smith cimento para siempre el sonido underground de los EE.UU. entre guerras, el entonces joven sello Soul Jazz inmortalizo la musica latina emergente del Nueva York de los anos 70 con Nu Yorica! Esta reedicion aniversario conserva lo que siempre fue una coleccion sensacional de poderosos grooves latinos. Sin lugar a dudas, este album es extraordinario. Infeccioso, revolucionario, inspirador y mas funky que nada, Nu Yorica! fusiona jazz, soul, funk y todo tipo de musica latina, impregnandola con la energia y la libertad de la Gran Manzana.
https://recordcollectormag.com/reviews/album/nu-yorica-culture-clash-new-york-city-experiments-latin-music-1970-77
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